Podcasts about Penn

SUMMARY: ICS appears on a list of funniest podcasts. There's a new magic show coming to The Strip; is it better than Penn & Teller? In Scoop Mail, we're asked what to do when you've bought a house that belonged to a pervy peeper. Plus, Paul's got moose hands, a Jersey donkey, and a Scoopardy.

How do you stay audacious in a world that's noisier and more saturated than ever? How might the idea of creative rhythm change the way you write? Lara Bianca Pilcher gives her tips from a multi-passionate creative career. In the intro, becoming a better writer by being a better reader [The Indy Author]; How indie authors can market literary fiction [Self-Publishing with ALLi]; Viktor Wynd's Museum of Curiosities; Seneca's On the Shortness of Life; All Men are Mortal – Simone de Beauvoir; Surface Detail — Iain M. Banks; Bones of the Deep – J.F. Penn. This episode is sponsored by Publisher Rocket, which will help you get your book in front of more Amazon readers so you can spend less time marketing and more time writing. I use Publisher Rocket for researching book titles, categories, and keywords — for new books and for updating my backlist. Check it out at www.PublisherRocket.com This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Lara Bianca Pilcher is the author of Audacious Artistry: Reclaim Your Creative Identity and Thrive in a Saturated World. She's also a performing artist and actor, life and creativity coach, and the host of the Healthy Wealthy Wise Artist podcast. 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 self-doubt is a normal biological response — and how audacity means showing up anyway The difference between creative rhythm and rigid discipline, and why it matters for writers How to navigate a saturated world with intentional presence on social media Practical strategies for building a platform as a nonfiction author, including batch content creation The concept of a “parallel career” and why designing your life around your art beats waiting for a big break Getting your creative rhythm back after crisis or burnout through small, gentle steps You can find Lara at LaraBiancaPilcher.com. Transcript of the interview with Lara Bianca Pilcher Lara Bianca Pilcher is the author of Audacious Artistry: Reclaim Your Creative Identity and Thrive in a Saturated World. She's also a performing artist and actor, life and creativity coach, and the host of the Healthy Wealthy Wise Artist podcast. Welcome, Lara. Lara: Thank you for having me, Jo. Jo: It's exciting to talk to you today. First up— Tell us a bit more about you and how you got into writing. Lara: I'm going to call myself a greedy creative, because I started as a dancer, singer, and actress in musical theatre, which ultimately led me to London, the West End, and I was pursuing that in highly competitive performance circles. A lot of my future works come from that kind of place. But when I moved to America—which I did after my season in London and a little stint back in Australia, then to Atlanta, Georgia—I had a visa problem where I couldn't work legally, and it went on for about six months. Because I feel this urge to create, as so many of your listeners probably relate to, I was not okay with that. So that's actually where I started writing, in the quietness, with the limits and the restrictions. I've got two children and a husband, and they would go off to school and work and I'd be home thinking, ha. In that quietness, I just began to write. I love thinking of creativity as a mansion with many rooms, and you get to pick your rooms. I decided, okay, well the dance, acting, singing door is shut right now—I'm going to go into the writing room. So I did. Jo: I have had a few physical creatives on the show. Obviously one of your big rooms in your mansion is a physical room where you are actually performing and moving your body. I feel like this is something that those of us whose biggest area of creativity is writing really struggle with—the physical side. How do you think that physical practice of creativity has helped you in writing, which can be quite constrictive in that way? Lara: It's so good that you asked this because I feel what it trained me to do is ignore noise and show up. I don't like the word discipline—most of us get a bit uncomfortable with it, it's not a nice word. What being a dancer did was teach me the practice of what I like to call a rhythm, a creative rhythm, rather than a discipline, because rhythm ebbs and flows and works more with who we are as creatives, with the way creativity works in our body. That taught me: go to the barre over and over again—at the ballet barre, I'm talking about, not the pub. Go there over and over again. Warm up, do the work, show up when you don't feel like it. thaT naturally pivoted over to writing, so they're incredibly linked in the way that creativity works in our body. Jo: Do you find that you need to do physical practice still in order to get your creativity moving? I'm not a dancer. I do like to shake it around a bit, I guess. But I mainly walk. If I need to get my creativity going, I will walk. If people are stuck, do you think doing something physical is a good idea? Lara: It is, because the way that our body and our nervous system works—without going into too much boring science, although some people probably find it fascinating—is that when we shake off that lethargic feeling and we get blood flowing in our body, we naturally feel more awake. Often when you're walking or you're doing something like dance, your brain is not thinking about all of the big problems. You might be listening to music, taking in inspiration, taking in sunshine, taking in nature, getting those endorphins going, and that naturally leads to the brain being able to psychologically show up more as a creative. However, there are days, if I'm honest, where I wake up and the last thing I want to do is move. I want to be in a little blanket in the corner of the room with a hot cocoa or a coffee and just keep to myself. Those aren't always the most creative days, but sometimes I need that in my creative rhythm, and that's okay too. Jo: I agree. I don't like the word discipline, but as a dancer you certainly would've had to do that. I can't imagine how competitive it must be. I guess this is another thing about a career in dance or the physical arts. Does it age out? Is it really an ageist industry? Whereas I feel like with writing, it isn't so much about what your body can do anymore. Lara: That is true. There is a very real marketplace, a very real industry, and I'm careful because there's two sides to this coin. There is the fact that as we get older, our body has trouble keeping up at that level. There's more injuries, that sort of thing. There are some fit women performing in their sixties and seventies on Broadway that have been doing it for years, and they are fine. They'll probably say it's harder for some of them. Also, absolutely, I think there does feel in the professional sense like there can be a cap. A lot of casting in acting and in that world feels like there's fewer and fewer roles, particularly for women as we get older, but people are in that space all the time. There's a Broadway dancer I know who is 57, who's still trying to make it on Broadway and really open about that, and I think that's beautiful. So I'm careful with putting limits, because I think there are always outliers that step outside and go, “Hey, I'm not listening to that.” I think there's an audience for every age if you want there to be and you make the effort. But at the same time, yes, there is a reality in the industry. Totally. Jo: Obviously this show is not for dancers. I think it was more framing it as we are lucky in the writing industry, especially in the independent author community, because you can be any age. You can be writing on your deathbed. Most people don't have a clue what authors look like. Lara: I love that, actually. It's probably one of the reasons I maybe subconsciously went into writing, because I'm like, I want to still create and I'm getting older. It's fun. Jo: That's freeing. Lara: So freeing. It's a wonderful room in the mansion to stay in until the day I die, if I must put it that way. Jo: I also loved you mentioning that Broadway dancer. A lot of listeners write fiction—I write fiction as well as nonfiction—and it immediately makes me want to write her story. The story of a 57-year-old still trying to make it on Broadway. There's just so much in that story, and I feel like that's the other thing we can do: writing about the communities we come from, especially at different ages. Let's get into your book, Audacious Artistry. I want to start on this word audacity. You say audacity is the courage to take bold, intentional risks, even in the face of uncertainty. I read it and I was like, I love the sentiment, but I also know most authors are just full of self-doubt. Bold and audacious. These are difficult words. So what can you say to authors around those big words? Lara: Well, first of all, that self-doubt—a lot of us don't even know what it is in our body. We just feel it and go, ugh, and we read it as a lack of confidence. It's not that. It's actually natural. We all get it. What it is, is our body's natural ability to perceive threat and keep us safe. So we're like, oh, I don't know the outcome. Oh, I don't know if I'm going to get signed. Oh, I don't know if my work's going to matter. And we read that as self-doubt—”I don't have what it takes” and those sorts of things. That's where I say no. The reframe, as a coach, I would say, is that it's normal. Self-doubt is normal. Everyone has it. But audacity is saying, I have it, but I'm going to show up in the world anyway. There is this thing of believing, even in the doubt, that I have something to say. I like to think of it as a metaphor of a massive feasting table at Christmas, and there's heaps of different dishes. We get to bring a dish to the table rather than think we're going to bring the whole table. The audacity to say, “Hey, I have something to say and I'm going to put my dish on the table.” Jo: I feel like the “I have something to say” can also be really difficult for people, because, for example, you mentioned you have kids. Many people are like, I want to share this thing that happened to me with my kids, or a secret I learned, or a tip I think will help people. But there's so many people who've already done that before. When we feel like we have something to say but other people have said it before, how do you address that? Lara: I think everything I say, someone has already said, and I'm okay with that. But they haven't said it like me. They haven't said it in my exact way. They haven't written the sentence exactly the way—that's probably too narrow a point of view in terms of the sentence—maybe the story or the chapter. They haven't written it exactly like me, with my perspective, my point of view, my life experience, my lived experience. It matters. People have very short memories. You think of the last thing you watched on Netflix and most of us can't remember what happened. We'll watch the season again. So I think it's okay to be saying the same things as others, but recognise that the way you say it, your point of view, your stories, your metaphors, your incredible way of putting a sentence togethes, it still matters in that noise. Jo: I think you also talk in the book about rediscovering the joy of creation, as in you are doing it for you. One of the themes that I emphasise is the transformation that happens within you when you write a book. Forget all the people who might read it or not read it. Even just what transforms in you when you write is important enough to make it worthwhile. Lara: It really, really is. For me, talking about rediscovering the joy of creation is important because I've lost it at times in my career, both as a performing artist and as an author, in a different kind of way. When we get so caught up in the industry and the noise and the trends, it's easy to just feel overwhelmed. Overwhelm is made up of a lot of emotions like fear and sadness and grief and all sorts of things. A lot of us don't realise that that's what overwhelm is. When we start to go, “Hey, I'm losing my voice in all this noise because comparison is taking over and I'm feeling all that self-doubt,” it can feel just crazy. So for me, rediscovering the joy of creation is vital to survival as an author, as an artist. A classic example, if you don't mind me sharing my author story really quickly, is that when I first wrote the first version of my book, I was writing very much for me, not realising it. This is hindsight. My first version was a little more self-indulgent. I like to think of it like an arrowhead. I was trying to say too much. The concept was good enough that I got picked up by a literary agent and worked with an editor through that for an entire year. At the end of that time, they dropped me. I felt like, through that time, I learned a lot. It was wonderful. Their reason for dropping me was saying, “I don't think we have enough of a unique point of view to really sell this.” That was hard. I lay on my bed, stared at the ceiling, felt grief. The reality is it's so competitive. What happened for me in that year is that I was trying to please. If you're a new author, this is really important. You are so desperately trying to please the editor, trying to do all the right things, that you can easily lose your joy and your unique point of view because you are trying to show up for what you think they all need and want. What cut through the noise for me is I got off that bed after my three hours of grief—it was probably longer, to be fair—but I booked myself a writing coach. I went back to the drawing board. I threw a lot of the book away. I took some good concepts out that I already knew were good from the editor, then I rewrote the entire thing. It's completely different to the first version. That's the book that got a traditional publishing deal. That book was my unique point of view. That book was my belief, from that grief, that I still have something to say. Instead of trusting what the literary agent and the editor were giving me in those red marks all over that first version, I was like, this is what I want to say. That became the arrowhead that's cut into the industry, rather than the semi-trailer truck that I was trying to bulldoze in with no clear point of view. So rediscovering the joy of creation is very much about coming back to you. Why do I write? What do I want to say? That unique point of view will cut through the noise a lot of the time. I don't want to speak in absolutes, but a lot of the time it will cut through the noise better than you trying to please the industry. Jo: I can't remember who said it, but somebody talked about how you've got your stone, and your stone is rough and it has random colours and all this. Then you start polishing the stone, which you have to do to a point. But if you keep polishing the stone, it looks like every other stone. What's the point? That fits with what you were saying about trying to please everyone, you end up pleasing no one. I also think the reality of what you just said about the book is a lot of people's experience with writing in general. Certainly for me, I don't write in order. I chuck out a lot. I'm a discovery writer. People think you sit down and start A and finish Z, and that's it. It's kind of messy, isn't it? Was that the same in your physical creative life? Lara: Yes. Everything's a mess. In the book I actually talk about learning to embrace the cringe, because we all want to show up perfect. Just as you shared, we think, because we read perfect and look at perfect or near-perfect work—that's debatable all the time—we want to arrive there, and I guess that's natural. But what we don't often see on social media or other places is the mess. I love the behind the scenes of films. I want to see the messy creative process. The reality is we have to learn to embrace the messy cringe because that's completely normal. My first version was so messy, and it's about being able to refine it and recognise that that is normal. So yes, embrace it. That's my quote for the day. Embrace the cringe, show up messy. It's all right. Jo: You mentioned the social media, and the subtitle of the book mentions a “saturated world.” The other problem is there are millions of books out there now. AI is generating more content than humans do, and it is extremely hard to break through. How are we to deal with this saturated world? When do we join in and when do we step away? Lara: I think it's really important not to have black and white thinking about it, because trust me, every day I meet an artist that will say, “I hate that I have to show up online.” To be honest with you, there's a big part of me that does also. But the saturation of the world is something that I recognise, and for me, it's like I'm in the world but not of it. That saturation can cause so much overwhelm and nervous system threat and comparison. What I've personally decided to do is have intentional showing up. That looks like checking in intentionally with a design, not a randomness, and then checking out. When push comes to shove, at the end of the day, I really believe that what sells books is people's trust in us as a person. They might go through an airport and not know us at all and pick up the book because it's a bestseller and they just trust the reputation, but so much of what I'm finding as an artist is that personal relationship, that personal trust. Whether that's through people knowing you via your podcast or people meeting you in a room. Especially in nonfiction, I think that's really big. Intentional presence from a place where we've regulated ourselves, being aware that it's saturated, but my job's not to be focused on the saturation. My job is to find my unique voice and say I have something to bring. Be intentional with that. Shoot your arrow, and then step out of the noise, because it's just overwhelming if you choose to live there and scroll without any intentionality at all. Jo: So how do people do that intentionality in a practical way around, first of all, choosing a platform, and then secondly, how they create content and share content and engage? What are some actual practical tips for intentionality? Lara: I can only speak from my experience, but I'm going to be honest, every single application I sent asked for my platform stats. Every single one. Platform stats as in how many followers, how many people listening to your podcast, how many people are reading your blog. That came up in every single literary agent application. So I would be a fool today to say you've got to ignore that, because that's just the brass tacks, unless you're already like a famous footballer or something. Raising and building a platform of my own audience has been a part of why I was able to get a publishing deal. In doing that, I've learned a lot of hard lessons. Embrace the cringe with marketing and social media as well, because it's its own beast. Algorithms are not what I worry about. They're not going to do the creativity for you. What social media's great at is saying, “Hey, I'm here”—it's awareness. It's not where I sell stuff. It's where I say, I'm here, this is what I'm doing, and people become aware of me and I can build that relationship. People do sell through social media, but it's more about awareness statistically. I am on a lot of platforms, but not all of them work for every author or every style of book. I've done a lot of training. I've really had to upskill in this space and get good at it. I've put myself through courses because I feel like, yes, we can ignore it if we want to, but for me it's an intentional opting in because the data shows that it's been a big part of being able to get published. That's overwhelming to hear for some people. They don't want to hear that. But that's kind of the world that we are in, isn't it? Jo: I think the main point is that you can't do everything and you shouldn't even try to do everything. The best thing to do is pick a couple of things, or pick one thing, and focus on that. For example, I barely ever do video, so I definitely don't do TikTok. I don't do any kind of video stuff. But I have this podcast. Audio is my happy place, and as you said, long-form audio builds trust. That is one way you can sell, but it's also very slow—very, very slow to build an audio platform. Then I guess my main social media would be Instagram, but I don't engage a lot there. So do you have one or two main things that you do, and any thoughts on using those for book marketing? Lara: I do a lot of cross-posting. I am on Instagram and I do a lot of creation there, and I'm super intentional about this. I actually do 30 days at a time, and then it's like my intentional opt-in. I'll create over about two days, edit and plan. It's really, really planned—shoot everything, edit everything, put it all together, and then upload everything. That will be 30 days' worth. Then I back myself right out of there, because I don't want to stay in that space. I want to be in the creative space, but I do put those two days a month aside to do that on Instagram. Then I tweak things for YouTube and what works on LinkedIn, which is completely different to Instagram. As I'm designing my content, I have in mind that this one will go over here and this one can go on here, because different platforms push different things. I am on Threads, but Threads is not statistically where you sell books, it's just awareness. Pinterest I don't think has been very good for my type of work, to be honest. For others it might. It's a search engine, it's where people go to get a recipe. I don't necessarily feel like that's the best place, this is just my point of view. For someone else it might be brilliant if you're doing a cookbook or something like that. I am on a lot of platforms. My podcast, however, I feel is where I'm having the most success, and also my blog. Those things as a writer are very fulfilling. I've pushed growing a platform really hard, and I am on probably almost every platform except for TikTok, but I'm very intentional with each one. Jo: I guess the other thing is the business model. The fiction business model is very, very different to nonfiction. You've got a book, but your higher-cost and higher-value offerings are things that a certain number of people come through to you and pay you more money than the price of a book. Could talk about how the book leads into different parts of your business? Because some people are like, “Am I going to make a living wage from book sales of a nonfiction book?” And usually people have multiple streams of income. Lara: I think it's smart to have multiple streams of income. A lot of people, as you would know, would say that a book is a funnel. For those who haven't heard of it, a way that people come into your bigger offerings. They don't have to be, but very much I do see it that way. It's also credibility. When you have a published book, there's a sense of credibility. I do have other things. I have courses, I have coaching, I have a lot of things that I call my parallel career that chug alongside my artist work and actually help stabilise that freelance income. Having a book is brilliant for that. I think it's a wonderful way to get out there in the world. No matter what's happening in all the online stuff, when you're on an aeroplane, so often someone still wants to read a book. When you're on the beach, they don't want to be there with a laptop. If you're on the sand, you want to be reading a beautiful paper book. The smell of it, the visceral experience of it. Books aren't going anywhere, to me. I still feel like there are always going to be people that want to pick it up and dig in and learn so much of your entire life experience quickly. Jo: We all love books here. I think it's important, as you do talk about career design and you mentioned there the parallel career—I get a lot of questions from people. They may just be writing their first book and they want to get to the point of making money so they could leave their day job or whatever. But it takes time, doesn't it? So how can we be more strategic about this sort of career design? Lara: For me, this has been a big one because lived experience here is that I know artists in many different areas, whether they're Broadway performers or music artists. Some of them are on almost everything I watch on TV. I'm like, oh, they're that guy again. I know that actor is on almost everything. I'll apply this over to writers. The reality is that these high-end performers that I see all the time showing up, even on Broadway in lead roles, all have another thing that they do, because they can still have, even at the highest level, six months between a contract. Applying that over to writing is the same thing, in that books and the money from them will ebb and flow. What so often artists are taught—and authors fit into this—is that we ultimately want art to make us money. So often that becomes “may my art rescue me from this horrible life that I'm living,” and we don't design the life around the art. We hope, hope, hope that our art will provide. I think it's a beautiful hope and a valid one. Some people do get that. I'm all for hoping our art will be our main source of income. But the reality is for the majority of people, they have something else. What I see over and over again is these audacious dreams, which are wonderful, and everything pointing towards them in terms of work. But then I'll see the actor in Hollywood that has a café job and I'm like, how long are you going to just work at that café job? They're like, “Well, I'm goint to get a big break and then everything's going to change.” I think we can think the same way. My big break will come, I'll get the publishing deal, and then everything will change. The reframe in our thinking is: what if we looked at this differently? Instead of side hustle, fallback career, instead of “my day job,” we say parallel career. How do I design a life that supports my art? And if I get to live off my art, wonderful. For me, that's looked like teaching and directing musical theatre. It's looked like being able to coach other artists. It's looked like writing and being able to pivot my creativity in the seasons where I've needed to. All of that is still creativity and energising, and all of it feeds the great big passion I have to show up in the world as an artist. None of it is actually pulling me away or draining me. I mean, you have bad days, of course, but it's not draining my art. When we are in this way of thinking—one day, one day, one day—we are not designing intentionally. What does it look like to maybe upskill and train in something that would be more energising for my parallel career that will chug alongside us as an artist? We all hope our art can totally 100% provide for us, which is the dream and a wonderful dream, and one that I still have. Jo: It's hard, isn't it? Because I also think that, personally, I need a lot of input in order to create. I call myself more of a binge writer. I just finished the edits on my next novel and I worked really hard on that. Now I won't be writing fiction for, I don't know, maybe six months or something, because now I need to input for the next one. I have friends who will write 10,000 words a day because they don't need that. They have something internal, or they're just writing a different kind of book that doesn't need that. Your book is a result of years of experience, and you can't write another book like that every year. You just can't, because you don't have enough new stuff to put in a book like that every single year. I feel like that's the other thing. People don't anticipate the input time and the time it takes for the ideas to come together. It is not just the production of the book. Lara: That's completely true. It goes back to this metaphor that creativity in the body is not a machine, it's a rhythm. I like to say rhythm over consistency, which allows us to say, “Hey, I'm going to be all in.” I was all in on writing. I went into a vortex for days on end, weeks on end, months and probably years on end. But even within that, there were ebbs and flows of input versus “I can't go near it today.” Recognising that that's actually normal is fine. There are those people that are outliers, and they will be out of that box. A lot of people will push that as the only way. “I am going to write every morning at 10am regardless.” That can work for some people, and that's wonderful. For those of us who don't like that—and I'm one of those people, that's not me as an artist—I accept the rhythm of creativity and that sometimes I need to do something completely different to feed my soul. I'm a big believer that a lot of creative block is because we need an adventure. We need to go out and see some art. To do good art, you've got to see good art, read good art, get outside, do something else for the input so that we have the inspiration to get out of the block. I know a screenwriter who was writing a really hard scene of a daughter's death—her mum's death. It's not easy to just write that in your living room when you've never gone through it. So she took herself out—I mean, it sounds morbid, but as a writer you'll understand the visceral nature of this—and sat at somebody's tombstone that day and just let that inform her mind and her heart. She was able to write a really powerful scene because she got out of the house and allowed herself to do something different. All that to say that creativity, the natural process, is an in-and-out thing. It ebbs and flows as a rhythm. People are different, and that's fine. But it is a rhythm in the way it works scientifically in the body. Jo: On graveyards—we love graveyards around here. Lara: I was like, sorry everyone, this isn't very nice. Jo: Oh, no. People are well used to it on this show. Let's come back to rhythm. When you are in a good rhythm, or when your body's warmed up and you are in the flow and everything's great, that feels good. But what if some people listening have found their rhythm is broken in some way, or it's come to a stop? That can be a real problem, getting moving again if you stop for too long. What are some ways we can get that rhythm back into something that feels right again? Lara: First of all, for people going through that, it's because our body actually will prioritise survival when we're going through crisis or too much stress. Creativity in the brain will go, well, that's not in that survival nature. When we are going through change—like me moving countries—it would disconnect us a lot from not only ourselves and our sense of identity, but creativity ultimately reconnects you back into life. I feel like to be at our optimum creative self, once we get through the crisis and the stress, is to gently nudge ourselves back in by little micro things. Whether it's “I'm just going to have the rhythm of writing one sentence a day.” As we do that, those little baby steps build momentum and allow us to come back in. Creativity is a life force. It's not about production, it's actually how we get to any unique contribution we're going to bring to the world. As we start to nudge ourselves back in, there's healing in that and there's joy in that. Then momentum comes. I know momentum comes from those little steps, rather than the overwhelming “I've got to write a novel this week” mindset. It's not going to happen, most of the time, when we are nudging our way back in. Little baby steps, kindness with ourselves. Staying connected to yourself through change or through crisis is one of the kindest things we can offer ourselves, and allowing ourselves to come into that rhythm—like that musical song of coming back in with maybe one line of the song instead of the entire masterpiece, which hopefully it will be one day. Jo: I was also thinking of the dancing world again, and one thing that is very different with writers is that so much of what we do is alone. In a lot of the performance art space, there's a lot more collaboration and groups of people creating things together. Is that something you've kept hold of, this kind of collaborative energy? How do you think we can bring that collaborative energy more into writing? Lara: Writing is very much alone. Obviously some people, depending on the project, will write in groups, but generally speaking, it's alone. For me, what that looks like is going out. I do this, and I know for some writers this is like, I don't want to go and talk to people. There are a lot of introverts in writing, as you are aware. I do go to creative mixers. I do get out there. I'm planning right now my book launch with a local bookstore, one in Australia and one here in America. Those things are scary, but I know that it matters to say I'm not in this alone. I want to bring my friends in. I want to have others part of this journey. I want to say, hey, I did this. And of course, I want to sell books. That's important too. It's so easy to hide, because it's scary to get out there and be with others. Yet I know that after a creative mixer or a meetup with all different artists, no matter their discipline, I feel very energised by that. Writers will come, dancers will come, filmmakers will come. It's that creative force that really energises my work. Of course, you can always meet with other writers. There's one person I know that runs this thing where all they do is they all get on Zoom together and they all write. Their audio's off, but they're just writing. It's just the feeling of, we're all writing but we're doing it together. It's a discipline for them, but because there's a room of creatives all on Zoom, they're like, I'm here, I've showed up, there's others. There's a sense of accountability. I think that's beautiful. I personally don't want to work that way, but some people do, and I think that's gorgeous too. Jo: Whatever sustains you. I think one of the important things is to realise you are not alone. I get really confused when people say this now. They're like, “Writing's such a lonely life, how do you manage?” I'm like, it is so not lonely. Lara: Yes. Jo: I'm sure you do too. Especially as a podcaster, a lot of people want to have conversations. We are having a conversation today, so that fulfils my conversation quota for the day. Lara: Exactly. Real human connection. It matters. Jo: Exactly. So maybe there's a tip for people. I'm an introvert, so this actually does fulfil it. It's still one-on-one, it's still you and me one-on-one, which is good for introverts. But it's going out to a lot more people at some point who will listen in to our conversation. There are some ways to do this. It's really interesting hearing your thoughts. Tell people where they can find you and your books and your podcast online. Lara: The book is called Audacious Artistry: Reclaim Your Creative Identity and Thrive in a Saturated World, and it's everywhere. The easiest thing to do would be to visit my website, LaraBiancaPilcher.com/book, and you'll find all the links there. My podcast is called Healthy Wealthy Wise Artist, and it's on all the podcast platforms. I do short coaching for artists on a lot of the things we've been talking about today. Jo: Brilliant. Well, thanks so much for your time, Lara. That was great. Lara: Thank you.The post Audacious Artistry: Reclaiming Your Creative Identity And Thriving In A Saturated World With Lara Bianca Pilcher first appeared on The Creative Penn.

What does it really mean to treat your writing as a business?In this episode, I'm joined by bestselling author and entrepreneur Joanna Penn to explore how writers can build a sustainable writing business without losing their creative spark.If you want to move from hobbyist to professional author, this conversation breaks down what a real author business looks like — from mindset shifts to practical systems.We cover:What a writing business actually is (and why most authors get this wrong) How to balance writing as a business without burnout or overwhelm How to get inside your reader's head and clearly define your target audience The essential steps to kickstart your author business today Direct book selling, special editions, and owning your customer relationship Book marketing methods that still work — email marketing, paid advertising, and author networking How to use AI in your writing business (marketing content, concept images, Amazon ads optimisation, book descriptions and more) How Joanna Penn uses AI herself to support her fiction and non-fiction author income Time management strategies for writers building a business while improving craftIf you're serious about turning your writing into income, this episode will help you think strategically, act intentionally, and build long-term author resilience.Because writing as a business isn't about selling out — it's about building freedom.About Joanna PennNon-fiction for authors: https://www.thecreativepenn.com/books-for-authors/Fiction (J.F. Penn): https://jfpennauthor.com/books/The Creative Penn Podcast: https://www.thecreativepenn.com/podcasts/Socials: Website: https://www.thecreativepenn.com Instagram: https://www.instagram.com/jfpennauthor/ Facebook: https://www.facebook.com/TheCreativePenn X / Twitter: https://twitter.com/thecreativepenn YouTube: https://www.youtube.com/c/TheCreativePenn✍️ Join Our Community and Access Writing Tools:Join The Discord Community: ⁠https://www.patreon.com/TheFantasyWritersToolshed⁠Richie's Patreon for free stories: https://www.patreon.com/cw/RichieBillingWebsite and writing classes: ⁠https://richiebilling.com/online-writing-classesFollow on Instagram: https://www.instagram.com/fantasywriterstoolshed/

Have an idea or tip? Send us a text!In the preview of his Photo Imaging CONNECT keynote, Stuart MacDonald — magician, filmmaker, entrepreneur — explores how LEAN principles, continuous improvement, and ruthless clarity transformed a faceplant into standing ovations, a win on Penn & Teller: Fool Us, and a top-10 finish at the world championships.MacDonald takes us through the nerve-wracking world of competitive magic, where originality is mandatory, time limits are tight, and the smallest defect can collapse the illusion. He breaks down how continuous feedback revealed hidden waste on stage, why a candelabra beat a single candle for instant story logic, and how standardized, travel-ready props removed friction from his global tour. We dig into 5S for creatives—everything in its place, every time—and the unglamorous decisions that protect attention when the lights hit.MacDonald's 100-runs-in-30-days practice loop shows how tiny upgrades compound into confidence and clean execution, even when things go sideways. If you've ever felt torn between art and process, this conversation proves structure is rocket fuel for creativity.Register today for the Photo Imaging CONNECT conference at www.photoimagingconnect.comPhoto Imaging CONNECTThe Photo Imaging CONNECT conference, March 1-2, 2026, at the RIO Hotel and Resort in Las Vegas, NMediaclipMediaclip strives to continuously enhance the user experience while dramatically increasing revenue.Independent Photo ImagersIPI is a member + trade association and a cooperative buying group in the photo + print industry.Buzzsprout - Let's get your podcast launched!Start for FREEPhoto Imaging CONNECTThe Photo Imaging CONNECT conference, March 1-2, 2026, at the RIO Hotel and Resort in Las Vegas, NDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showSign up for the Dead Pixels Society newsletter at http://bit.ly/DeadPixelsSignUp.Contact us at gary@thedeadpixelssociety.comVisit our LinkedIn group, Photo/Digital Imaging Network, and Facebook group, The Dead Pixels Society. Leave a review on Apple and Podchaser. Are you interested in being a guest? Click here for details.Hosted and produced by Gary PageauAnnouncer: Erin Manning

We get the second hour jumping with Shelbyville head coach John Hartnett breaking down his team's close win over New Pal. Then it’s Mark James with his Triton Central team’s win over Greensburg. Park Tudor came back from 18 points down to beat Liberty Christian tonight. Panthers’ head coach Tim Adams details how his team adjusted and persevered. Monroe Central and Wapahani faced off tonight, and the winning head coach of the Golden Bears Brian Klein has the breakdown for us. The great Greg Rakestraw had Lawrence North and Ben Davis tonight, while we also get to Loogootee head coach Josh Thompson. Plus, Hauser vs. Jac-Cen-Del, Jeffersonville vs Bedford. Lastly, Penn’s Barak Coolman shines light on his team's blowout win over South Bend Washington. See omnystudio.com/listener for privacy information.

Do you or your children enjoy entertaining friends and family with sleight of hand tricks? Do they want to become the next Penn and Teller or David Blaine? The nonprofit College of Magic has launched expanded beginner courses accompanied by a FREE Open Day at their Claremont home, and it will be taking place on 14 February 2026. Lester Kiewit speaks to Chad Findlay, Creative Director at the College of Magic. Good Morning Cape Town with Lester Kiewit is a podcast of the CapeTalk breakfast show. This programme is your authentic Cape Town wake-up call. Good Morning Cape Town with Lester Kiewit is informative, enlightening and accessible. The team’s ability to spot & share relevant and unusual stories make the programme inclusive and thought-provoking. Don’t miss the popular World View feature at 7:45am daily. Listen out for #LesterInYourLounge which is an outside broadcast – from the home of a listener in a different part of Cape Town - on the first Wednesday of every month. This show introduces you to interesting Capetonians as well as their favourite communities, habits, local personalities and neighbourhood news. Thank you for listening to a podcast from Good Morning Cape Town with Lester Kiewit. Listen live on Primedia+ weekdays between 06:00 and 09:00 (SA Time) to Good Morning CapeTalk with Lester Kiewit broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/xGkqLbT or find all the catch-up podcasts here https://buff.ly/f9Eeb7i Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567See omnystudio.com/listener for privacy information.

Penn is still recovering from his broken ankle, and Members of the Congregation are writing in to help him get higher. Plus, Matt’s back out to sea performing magic, Penn & Teller remain entirely unsentimental, vision measurements, vibrating tools, and lots more.

In this episode you will hear: (02:05) In Our Question from a Listener-Carter joins Mark to answer a question from a mom who wants her son to be authentic in his application, but he only wants to play video games, and she wonders how admission officers will perceive this (20:00) Mark interviews Elliot Felix, author of the book, 'the Connected College" o Elliot talks about an aha moment he had when he was doing research for his book o Elliot talks about how we have to change what we are doing with emailing students o Elliot talks about how we have to reinvent how libraries function, and how we have to have, "Next Generation Libraries" o Elliot talks about what he does with the 120 colleges that have hired him o Elliot talks about who the people on his team are and what are their roles (38:38) College Spotlight-Daniela Uribe and Summer Cobb Tell us What Penn is like for students. ¨ Daniela and Summer share their experience with the other two colleges: Wharton, which is the business school and the college of nursing ¨ I share some things one of my students at Wharton who was supposed to join us and had a conflict; I share what he told me are some things he wanted to share about Wharton ¨ Summer and Daniela continue to talk about some of Penn stereotypes, and they discuss if they feel it is true ¨ Daniela talks about coffee chatting is foundational at Penn ¨ Summer and Daniela describe Penn's personality ¨ Daniela and Summer get to be college counselors and I ask them, what does the student look like who you would recommend to Penn and what is the person that you would not recommend to Penn Recommended Resource Guide to help first year students complete the Common Application- Application guide for first-year students Speakpipe.com/YCBK is our method if you want to ask a question and we will be prioritizing all questions sent in via Speakpipe. Unfortunately, we will NOT answer questions on the podcast anymore that are emailed in. If you want us to answer a question on the podcast, please use speakpipe.com/YCBK. We feel hearing from our listeners in their own voices adds to the community feel of our podcast. You can also use this for many other purposes: 1) Send us constructive criticism about how we can improve our podcast 2) Share an encouraging word about something you like about an episode or the podcast in general 3) Share a topic or an article you would like us to address 4) Share a speaker you want us to interview 5) Leave positive feedback for one of our interviewees. We will send your verbal feedback directly to them and I can almost assure you your positive feedback will make their day. To sign up to receive Your College-Bound Kid PLUS, our new monthly admissions newsletter, delivered directly to your email once a month, just go to yourcollegeboundkid.com, and you will see the sign-up popup. We will include many of the hot topics being discussed on college campuses. Check out our new blog. We write timely and insightful articles on college admissions: https://yourcollegeboundkid.com/category/blog/ Follow Mark Stucker on Twitter to get breaking college admission news, and updates about the podcast before they go live. You can ask questions on Twitter that he will answer on the podcast. Mark will also share additional hot topics in the news and breaking news on this Twitter feed. Twitter message is also the preferred way to ask questions for our podcast: 1. To access our transcripts, click: https://yourcollegeboundkid.com/category/transcripts/ 2. Find the specific episode transcripts for the one you want to search for and click the link 3. Find the magnifying glass icon in blue (search feature) and click it 4. Enter whatever word you want to search. I.e. Loans 5. Every word in that episode when the words loans are used will be highlighted in yellow with a timestamps 6. Click the word highlighted in yellow and the player will play the episode from that starting point 7. You can also download the entire podcast as a transcript We would be honored if you will pass this podcast episode on to others who you feel will benefit from the content in YCBK. Please subscribe to our podcast. It really helps us move up in Apple's search feature so others can find our podcast. If you enjoy our podcast, would you please do us a favor and share our podcast both verbally and on social media? We would be most grateful! If you want to help more people find Your College-Bound Kid, please make sure you follow our podcast. You will also get instant notifications as soon as each episode goes live. Check out the college admissions books Mark recommends: https://yourcollegeboundkid.com/recommended-books/ Check out the college websites Mark recommends: https://yourcollegeboundkid.com/recommended-websites/ If you want to have some input about what you like and what you recommend, we change about our podcast, please complete our Podcast survey; here is the link: https://docs.google.com/forms/d/e/1FAIpQLScCauBgityVXVHRQUjvlIRfYrMWWdHarB9DMQGYL0472bNxrw/viewform If you want a college consultation, text Mark at 404-664-4340, or email us at yourcollegeboundkid@yahoo.com All we ask is that you review their services and pricing on their website before the complimentary session; here is link to their services with transparent pricing: https://schoolmatch4u.com/services/compare-packages/

Message us!Family folklore, questionable signatures, and courtroom surprises, this episode takes a fascinating look at how title defects, probate complications, and estate planning mistakes can expose mineral owners and operators to significant risks. In Part Two of our Crude Bit of Humor series, title attorney Mellisa Gardner of Ball Morse Lowe joins Buffie Campbell and Coby Nathanson to walk through real‑world scenarios where family dynamics, decades‑old documents, and unclear intent collide, often with complex and costly outcomes.Whether you work in oil & gas, manage mineral interests, or simply want to prevent avoidable legal challenges for your family, this conversation offers practical insight you won't find in a textbook.What you will learn: How seemingly harmless "family stories" can escalate into serious legal problemsHow risk is evaluated when the title isn't perfectly clear Common estate planning missteps mineral owners makeIn oil and gas, the past has a way of resurfacing.Old deeds, missing heirs, and long-forgotten interests can come back to haunt a project, especially after a merger, acquisition, or divestiture.Ball Morse Lowe is a leader in oil, gas, and energy law, delivering trusted, thoughtful title opinions and curative solutions that bring clarity to complex ownership.We understand tight timelines and the need for certainty - moving your projects forward with speed and precision.Ball Morse Lowe. Excellence from the ground up.Learn more at ballmorselowe.com.Fill out this form to have new episodes sent right to your inbox! Follow Whitley Penn on LinkedIn, Instagram, Facebook, and X for more industry insights and thought leadership!

To speak with an advisor and map out your student's next steps, book a Complimentary Strategy Call at admittedly.co/apply. In this episode of the Admittedly Podcast, Thomas Caleel steps away from tactical admissions advice to share the story behind Admittedly — how it started, why it exists, and where it's headed next. With nearly two decades inside selective admissions, including leading MBA Admissions and Financial Aid at Wharton, Thomas reflects on the experiences that shaped his philosophy as an educator, advisor, and parent. He talks candidly about his own path through boarding school, Penn, entrepreneurship, business school, and admissions leadership — and how working with thousands of families ultimately led him to build an education-first company focused on clarity, strategy, and integrity. Thomas also explains why Admittedly has grown so quickly: families are exhausted by hacks, shortcuts, and resume-stuffing advice — and are looking instead for honest guidance grounded in real admissions experience. From launching the podcast and free resources to building Early Edge Plus and Early Edge Premium, this episode lays out the long-term vision for how Admittedly supports students not just to get into college, but to become confident, independent, resilient adults. This episode is especially valuable for new listeners, parents considering professional guidance, and families who want to understand what truly differentiates Admittedly from traditional college consulting. Key Takeaways: Admissions outcomes are driven by strategy and intention, not checklists or hacks. Experience inside elite admissions offices fundamentally changes how guidance should be delivered. Education sits at the core of Admittedly's mission. Group learning, multiple admissions perspectives, and intentional planning create stronger outcomes. The goal isn't just college admission, but building confident, capable young adults. Listeners can continue the conversation by following @admittedlyco on Instagram and TikTok, where Thomas shares weekly guidance and answers real family questions. Free downloads, webinars, and additional resources are available at admittedly.co. To speak with an advisor and map out your student's next steps, book a Complimentary Strategy Call at admittedly.co/apply.

Alessandra Mauro"Irving Penn. Photographs 1939 - 2007"Centro della Fotografia, RomaFino al 29 giugno 2026Ad inaugurare il programma espositivo del neonato Centro della Fotografia di Roma è la grande mostra IRVING PENN. PHOTOGRAPHS 1939 – 2007, che presenta al pubblico una selezione di 109 stampe provenienti dalla prestigiosa collezione della Maison Européenne de la Photographie (MEP) di Parigi, realizzate tra il 1939 e il 2007. La collezione della MEP è il risultato di un lungo rapporto di collaborazione con l'artista e, negli anni più recenti, di un dialogo continuo con la Irving Penn Foundation, istituzione fondata dallo stesso Irving Penn per preservare e promuovere il suo lascito artistico.La mostra è curata da Pascal Hoël, Head of Collections MEP, Frédérique Dolivet Deputy to Head of Collections MEP e Alessandra Mauro curatrice per il Centro della Fotografia di Roma.Irving Penn (1917–2009) è universalmente riconosciuto come uno dei più grandi maestri della fotografia del Novecento. Per oltre sessant'anni protagonista della scena internazionale e firma storica della rivista Vogue, Penn ha rivoluzionato i generi della fotografia di moda, del ritratto e della natura morta, con uno stile inconfondibile fatto di rigore formale, eleganza essenziale e straordinaria attenzione ai dettagli. Le sue immagini, per lo più realizzate in studio, sono celebri per la loro apparente semplicità e per la capacità di restituire, con la stessa intensità, soggetti famosi e persone comuni. Accanto ai ritratti di artisti, scrittori e celebrità, Penn ha dedicato grande attenzione a progetti personali diventati iconici, come le nature morte con mozziconi di sigarette o oggetti abbandonati, trasformati in immagini di sorprendente bellezza.La mostra, articolata in sei sezioni, offre una panoramica completa della sua opera, mettendo in luce non solo la potenza della sua visione artistica, ma anche la sua straordinaria abilità di stampatore. Penn seguiva, infatti, ogni fase del processo con estrema cura, sperimentando tecniche raffinate come la stampa al platino, per ottenere immagini senza tempo, oggi considerate pietre miliari della storia della fotografia.Il percorso espositivo si apre con i Primi lavori (1939-1947), cioe le prime fotografie che realizza lungo le strade di New York, poi nel sud degli Stati Uniti e poi ancora in Messico nel 1941. Nel 1945 e in Europa e in Italia, come autista volontario di ambulanze dell'esercito americano e utilizza la sua macchina fotografica per raccogliere testimonianze visive di quel periodo travagliato. In mostra anche la celebre fotografia dedicata al “gruppo d'intellettuali italiani al Caffe Greco” realizzata a Roma da Irving Penn per Vogue nel 1948. La seconda sezione e dedicata ai numerosi Viaggi tra il 1948 ed il 1971 per Vogue, dal Peru al Nepal, dal Camerun alla Nuova Guinea, nei quali realizza ritratti degli indigeni immersi nella luce naturale, dopo averli isolati dal loro ambiente in uno spazio neutro. La sezione numero tre riguarda invece i Ritratti (1947 – 1996) soprattutto delle celebrità e che vengono fotografate per lo più nel suo studio, dove Penn crea i suoi set. Nella quarta sezione troviamo i Nudi (1949 – 1967): una serie molto personale di fotografie di nudi femminili, per i quali sceglie modelle professioniste per pittori e scultori con l'obiettivo di inquadrare i corpi il piu da vicino possibile, senza mai mostrare i volti, celebrando la loro bellezza scultorea. Sottopone poi i suoi negativi a tecniche di stampa sperimentali, sbiancando e rielaborando le sue stampe fino a ottenere toni diafani che variano sempre da una stampa all'altra. La sua forza creativa e evidente anche nel lavoro che realizza nel 1967 per il Dancers' Workshop di San Francisco in cui non cerca di dare un preciso significato a una coreografia specifica, ma piuttosto sceglie un'interpretazione piu libera dei corpi in movimento che si esibiscono solo per essere fotografati. Infine, le ultime due sezioni: Moda e bellezza (1949 – 2007), durante la sua lunga carriera per Vogue, la moda e parte essenziale del suo lavoro e Still Life (1949 –2007), nella quale dimostra grande creativita nella messa in scena di oggetti inanimati, con una costante determinazione a rimuovere il superfluo. Spesso include nelle sue realizzazioni riferimenti alla Vanitas e al memento mori dell'arte antica, che conferiscono alle sue immagini un potere e una presenza senza tempo. E anche interessato a soggetti che a prima vista possono sembrare banali, insignificanti o ripugnanti, come i mozziconi di sigarette trovate in strada o le gomme da masticare usate, che Penn glorifica in sontuose stampe al platino-palladio. Così, esplorando nuovi soggetti con nuove tecniche, continua sempre a forzare i confini creativi del mezzo fotografico.Accompagna la mostra un booklet in vendita al bookshop del Centro di Fotografia.La mostra è promossa da Roma Capitale e Fondazione Mattatoio e organizzata da Civita Mostre e MuseiDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Por milhares de anos, pessoas com treino e estudo foram capazes de enganar a percepção humana ao executar truques que pareciam contrariar as leis da natureza. Até que David Blaine percebeu que o melhor jeito de fazer algo que parecia impossível era simplesmente ir lá e fazer de verdade. Foi assim que ele acabou batendo o recorde mundial de tempo sem respirar embaixo da água.Este é mais um episódio do Escuta Essa, podcast agora quinzenal em que Denis e Danilo trocam histórias de cair o queixo e de explodir os miolos. Duas vezes por mês, sempre às quartas-feiras, no seu agregador de podcasts favorito!Ajude o Escuta Essa a voltar a ser semanal! Faça parte do Clube dos Escuteiros agora mesmo em apoia.se/escutaessaMande seus comentários e perguntas no Spotify, nas redes sociais, ou no e-mail escutaessa@aded.studio. A gente sempre lê mensagens no final de cada episódio!...NESTE EPISÓDIO•⁠ ⁠David Blaine conta sua obsessão por não respirar num famoso Ted Talk realizado em 2010.•⁠ ⁠O mergulho de pérolas é uma atividade com pelo menos dois mil anos de história.•⁠ ⁠O canal Mental Floss produziu uma breve história da mágica.•⁠ ⁠Desde 2011 os mágicos Penn e Teller apresentam o programa "Fool Us", em que tentam adivinhar como outros mágicos fazem seus truques, mas sem nunca revelar o segredo para a audiência.•⁠ ⁠Os livros "The Discoverie of Witchcraft" e "The First Part of Clever and Pleasant Inventions" lançados em 1584 tentam desbancar charlatões e são os primeiros livros a compilar truques de mágica.•⁠ ⁠James Randi e sua fundação ofereciam um prêmio de 1 milhão de dólares para qualquer pessoa que comprovasse poderes paranormais. Mais de mil pessoas tentaram mas nenhuma conseguiu o prêmio.•⁠ ⁠A garota que se dizia capaz de enxergar doenças dentro dos corpos das pessoas chama-se Anita Ikonen e, ao contrário do que foi dito no episódio, é sueca e não russa. Ela conta no podcast "Be Reasonable" como foi participar do teste de James Randi....AD&D STUDIOA AD&D produz podcasts e vídeos que divertem e respeitam sua inteligência! Acompanhe todos os episódios em aded.studio para não perder nenhuma novidade.

This week on Laugh Lines, Penn and I talk about something that sneaks up on a lot of us in midlife: friendship, purpose, and the quiet fear of wondering if we still matter the way we used to. We're joined by New York Times bestselling author Jennifer Wallace (straight from Oprah to Laugh Lines!) who explores why feeling seen, needed, and valued isn't just nice... it's essential to our well-being. The three of us dig into what “mattering” really means, why so many adults feel lonelier than they expected, and how friendships change when kids leave home, careers shift, and life gets a little more complicated.We've all been guilty of flaking on plans or feeling like if a kind gesture wasn't "perfect" we shouldn't do it. But the truth is, showing up messy and not canceling plans might be the most powerful relationship tools we have. Jennifer shares practical, doable ways to deepen friendships and how small moments of connection often mean more than big gestures.If you've ever missed someone you haven't called, felt unsure of your place in this season of life, or wanted to be a better friend but didn't know where to start, this conversation is for you. It's a good reminder that connection doesn't have to be perfect to be meaningful. (And if you're listening and wondering if you matter, you do.) We love to hear from you! Leave us a message at 323-364-3929 or write the show at podcast@theholdernessfamily.com. You can also watch our podcast on YouTube.Learn more about Jennifer's book, MatteringVisit Our ShopJoin Our NewsletterFind us on SubstackFollow us on InstagramFollow us on TikTok Follow us on FacebookLaugh Lines with Kim & Penn Holderness is an evolution of The Holderness Family Podcast, which began in 2018. Kim and Penn Holderness are award-winning online content creators known for their original music, song parodies, comedy sketches, and weekly podcasts. Their videos have resulted in over three billion views and over nine million followers since 2013. Penn and Kim are also authors of the New York Times Bestselling Books, ADHD Is Awesome: A Guide To (Mostly) Thriving With ADHD and All You Can Be With ADHD. They were also winners on The Amazing Race (Season 33) on CBS. Laugh Lines is hosted and executive produced by Kim Holderness and Penn Holderness, with original music by Penn Holderness. Laugh Lines is also written and produced by Ann Marie Taepke, and edited and produced by Sam Allen. It is hosted by Acast. Thanks for listening! Hosted on Acast. See acast.com/privacy for more information.

On February 26th, parcel owners and registered voters from both Fire Protection Districts will have a chance to formally protest the consolidation. The hearing will be held at 10 a.m. at the Rough & Ready Fire Station at 14506 Rough and Ready Highway in Rough and Ready.

The Rise of the Red Hot Chili Peppers, The Exorcism at 1600 Penn, Rooster Trailer, God of War Casting. Read the full article at sideshow.com/blog Hosted on Acast. See acast.com/privacy for more information.

In this week's Overdrive Radio, part 2 of our series honoring our Trucker of the Year, John Penn, for the big win for 2025. Part 1, ICYMI: https://overdriveonline.com/15815690 In this edition, Penn details his approach to maintenance with an experiment he's conducted to extend oil drain intervals beyond the manufacturer-recommended 75,000 miles for his 2019 Freightliner Cascadia. Also: You'll hear about Penn's close attention to customer opportunity, and keys to prevention when it comes to the maintenance issues with emissions system in the Cascadia -- no "deleted" emissions here. He's running with all the sensors and the diesel particular filter, the diesel exhaust fluid dosing, and the rest, and hitting big fuel-efficiency numbers we detailed in the last episode featuring him. Above 10 mpg for a lifetime average is certainly nothing to sniff at, but has he been plagued with sensor failures and other problems common to emissions-equipped diesels? The answer is not really, though he's had some minor issues for certain. Part of his success on that front starts with his approach to the used market for such trucks to begin with -- with a keen eye not just on a prospective purchase's miles for previous-life wear and tear, but engine hours, too. The lower the hours, the less the unit's prior owner likely idled the rig -- one of the big killers of emissions equipment in modern trucks in his view. Penn, despite his late-model equipment, might well qualify among the oldest of the old-school in that regard. As he put it about his own idling practice: "This piece of machinery is feeding us and keeping a roof over our head," Penn noted, "so I want to treat it the best I can. I will not idle, ever. I don't care how hot it is." That's right, even in Texas in mid-summer, where he finds himself often enough at the end of one or another of his LTL furniture runs. "I don't have an APU or anything," he added, but he does utilize a fan and his truck's window screens. He's comfortable with the tradeoff. "I'd rather put my truck's health in front of my comfort," he said, laughing. He does run with a fuel-fired heater for those dangrously cold temps, but it's safe to say Trucker of the Year John Penn is one tough customer when it comes to downtime OTR. In the podcast, dive into new opportunities he's set himself up for with diligent, always-on customer service and networking. "You never know when an opportunity is going to pop up," he said, about potential new direct freight opportunites he details here. And he's made great strides, too, paying his growing experience forward to peers. There's good possibility of a bit of expansion for his one-truck JP Transport business as soon as this quarter, with addition of a leased owner he's really bonded with as a back-and-forth sounding board for trucking information, knowledge, advice. The like-minded pair may soon make for a great two-truck hauling team in JP Transport. Enter the 2026 Trucker of the Year competition: https://overdriveonline.com/toptrucker

Thursday, February 5, 2026 - Week 6 Happy #RareDisease & #BlackHistory Month!   #NaturalHistory means how this disease progresses.  Reminder: We have only been at this for 17 years, first patients were identified via Hamdan, 2009. https://pubmed.ncbi.nlm.nih.gov/19196676/   Retrospective Digital NHS: cureSYNGAP1.org/Citizen (Growing list of tools available to families, for free)   Prospective Multi-disciplinary Multi-site NHS: ProMMiS cureSYNGAP1.org/ProMMiS   Reminder, only possible by CS1 support for non-CHOP sites and travel plus huge gift to Penn. https://www.chop.edu/news/25-million-gift-penn-medicine-and-children-s-hospital-philadelphia-establishes-center-epilepsy   Potential for being a control arm in the future.   Protocol: https://www.linkedin.com/posts/curesyngap1_syngap1-stxbp1-dee-activity-7425223573134327808-SVEQ & early data: https://pubmed.ncbi.nlm.nih.gov/40119723/   Join the ~160 families who have enjoyed excellent clinical care and contributed tot he future of SYNGAP1.  Today, a 4 month old is going! CHOP: 119 new, V2- 67, V3- 32, V4- 10, V5- 4 CHCO: 37 new, V2- 7 Stanford: 8 new, V2- 2 Total: 164 (double counting one family who goes to multiple sites)   Survey English: https://curesyngap1.org/SurveyProMMiS Spanish: https://curesyngap1.org/encuestaProMMiS   94 Responses to survey, so far: Why not? Did not receive an invitation, Too far to travel, Too expensive Barriers: Logistics, Cost, Time off, Behaviors, Insurance   ETC. Pubmed 2026 is at 6!  But will soon be 7 with the McKee paper! https://pubmed.ncbi.nlm.nih.gov/?term=syngap1&filter=years.2026-2026&sort=date   Biorepository needs more samples.  Check out the list and map here https://docs.google.com/presentation/d/1IjaHILXj7AlBDlbTJgvYrkBS_0bnI8VCnTIiPXJ7JGM/edit?usp=sharing and contribute blood.  The data and research we do with these samples is invaluable.   May 28, San Francisco, CA: cureSYNGAP1.org/SF26   SOCIAL MATTERS 4,668 LinkedIn.  https://www.linkedin.com/company/curesyngap1/ 1,520 YouTube.  https://www.youtube.com/@CureSYNGAP1 11.2k Twitter https://twitter.com/cureSYNGAP1 45k Insta https://www.instagram.com/curesyngap1/   $CAMP stock is at $3.59 on 5 Feb. ‘26 https://www.google.com/finance/beta/quote/CAMP:NASDAQ   Like and subscribe to this podcast wherever you listen.  https://curesyngap1.org/podcasts/syngap10/ Episode 198 of #Syngap10 #CureSYNGAP1 #Podcast

Have you ever wondered what it was like to be in the room when the first pelvic embolization was performed or how the TIPS procedure was pioneered? Dr. Ernie Ring, a legendary figure from UCSF and a true forefather of Interventional Radiology, joins host Dr. Peder Horner to recount the early days of the specialty. Dr. Ring shares fascinating stories from his training at Massachusetts General Hospital under Dr. Stanley Baum, where he witnessed the birth of transformative techniques using angiographic catheters to treat life-threatening bleeding. --- SYNPOSIS From improvising the use of autologous blood clot and thrombin to stop massive hemorrhages to his pivotal role in developing the TIPS procedure and specialized biliary catheters, Dr. Ring's career is loaded with innovation. The conversation explores the "cowboy" era of IR, the evolution of essential tools like the glide wire, and the critical importance of maintaining a "high-touch" clinical practice in the face of emerging technologies like AI. Dr. Ring also reflects on his later transition into hospital leadership as Chief Medical Officer, where he applied his problem-solving mindset to institutional quality and safety. --- TIMESTAMPS 00:00 - Introduction01:58 - Upbringing from Detroit to Mass Gen 06:55 - Early IR with an Embo Case13:50 - Trailblazing Cases in IR16:17 - Penn and Innovation20:00 - Polarizing Procedures24:13 - IR Device Innovation33:00 - Dotter's Separation from Diagnostics37:30 - Fear Finds Cowboys39:08 - AI and Robotics40:08 - Fun Hobbies

LECTURE ONE: CHURCH HISTORYSpeaker: Terry Parrish---Dr. John E. Penn was the Pastor Emeritus of North Bryant Baptist Church (formerly Southwest MBC), where he pastored for 43 years. He was also professor at the Missionary Baptist Seminary where he taught for 34 years (1970-2004). During Bro. Penn's time there, he taught several courses, including Church History, Hermeneutics, Comparative Religion, and Ministerial Practicalities.Bro. Penn was passionate about Church History and Hermeneutics. He taught Church History seminars in several states and conducted Church History tours in the U.S. and abroad in France and Italy. His pastorate was characterized by his conservative doctrinal stance, and his verse-by-verse exposition of the Bible, which led him to preach through the entire New Testament.We hope this lecture series will inspire the next generation to study and learn from God's word and about His people! Date: February 5, 2026

LECTURE TWO: HERMENEUTICSSpeaker: Joey McDermott---Dr. John E. Penn was the Pastor Emeritus of North Bryant Baptist Church (formerly Southwest MBC), where he pastored for 43 years. He was also professor at the Missionary Baptist Seminary where he taught for 34 years (1970-2004). During Bro. Penn's time there, he taught several courses, including Church History, Hermeneutics, Comparative Religion, and Ministerial Practicalities.Bro. Penn was passionate about Church History and Hermeneutics. He taught Church History seminars in several states and conducted Church History tours in the U.S. and abroad in France and Italy. His pastorate was characterized by his conservative doctrinal stance, and his verse-by-verse exposition of the Bible, which led him to preach through the entire New Testament.We hope this lecture series will inspire the next generation to study and learn from God's word and about His people! Date: February 5, 2026

Interviewer: MATTHEW ROTH. If today's politicians, even and the state and local level, often seem more interested in scoring off ideological opponents to gain clicks than in working across party lines to solve problems, LEO SOLGA aspires to follow a different path. Solga is a recent Penn graduate in Political Science and a candidate in the Democratic primary for Pennsylvania House District 148. In his discussion with historian Matthew Roth, he describes his journey into politics and his positions on such issues as transit, education, reproductive rights, housing, and criminal justice. Above all, he argues that politics can and should be rooted in the concrete concerns of constituents and a deep and personal connection to local districts – and that Pennsylvania state government, which has not yet become consolidated under one party, is a place where cross-party collaboration is a necessity. The Pennsylvania primaries take place on May 19, 2026.

Gilbert and Frank returned to the famed New York Friars Club to sit down with Gilbert's old pal, magician-illusionist-comedian-provocateur Penn Jillette of Penn & Teller fame. Over the course of an amusing and highly informative hour, Penn shared fond memories of Johnny Carson, George Carlin and Jerry Lewis, explained how his love of jazz inspired the hit 2005 documentary “The Aristocrats” (a movie he co-conceived and co-produced). Also, Penn reveals the real, no-“Bullshit” story behind the death of legendary showman Harry Houdini. PLUS: The near-death of Gilbert Gottfried! Learn more about your ad choices. Visit megaphone.fm/adchoices

Cyber weapons knock out Iranian air defenses during strikes on nuclear sites. ShinyHunters dump more than a million stolen records from Harvard and Penn. Betterment confirms a breach exposing data from roughly 1.4 million accounts. Researchers uncover a sprawling scam network impersonating law firms. Italy blocks cyberattacks aimed at Olympics infrastructure. Critical bugs put n8n and Google Looker servers at risk of full takeover. A state-backed Shadow Campaign hits governments worldwide. OpenClaw shows how AI-powered attacks are becoming faster, cheaper, and harder to stop. Our guest is Tony Scott, CEO of Intrusion and former federal CIO, sharing his perspective on evolving regulation and the realities behind critical policy shifts. Your smartphone may testify against you. Remember to leave us a 5-star rating and review in your favorite podcast app. Miss an episode? Sign-up for our daily intelligence roundup, Daily Briefing, and you'll never miss a beat. And be sure to follow CyberWire Daily on LinkedIn. CyberWire Guest Our guest today comes as a segment from our Caveat podcast. Tony Scott, CEO of Intrusion and former federal CIO, joins Dave Bittner to share his perspective on evolving regulation and the realities behind critical policy shifts. You can listen to Tony and Dave's full conversation on this week's episode of Caveat, and catch new episodes of Caveat every Thursday on your favorite podcast app. Selected Reading Exclusive: US used cyber weapons to disrupt Iranian air defenses during 2025 strikes (The Record) Personal data stolen during Harvard and UPenn data breaches leaked online - over a million details, including emails, home addresses and more, all published (TechRadar) Data breach at fintech firm Betterment exposes 1.4 million accounts (Bleeping Computer) Researchers Expose Network of 150 Cloned Law Firm Websites in AI-Powered Scam Campaign (SecurityWeek) Italy Averted Russian-Linked Cyberattacks Targeting Winter Olympics Websites, Foreign Minister Says (SecurityWeek) n8n security woes roll on as new critical flaws bypass December fix (The Register) LookOut: Discovering RCE and Internal Access on Looker (Google Cloud & On-Prem) (Tenable) Cyberspy Group Hacked Governments and Critical Infrastructure in 37 Countries (SecurityWeek) The Rise of OpenClaw (SECURITY.COM) Smartphones Now Involved in Nearly Every Police Investigation (Infosecurity Magazine) Share your feedback. What do you think about CyberWire Daily? Please take a few minutes to share your thoughts with us by completing our brief listener survey. Thank you for helping us continue to improve our show. Want to hear your company in the show? N2K CyberWire helps you reach the industry's most influential leaders and operators, while building visibility, authority, and connectivity across the cybersecurity community. Learn more at sponsor.thecyberwire.com. The CyberWire is a production of N2K Networks, your source for strategic workforce intelligence. © N2K Networks, Inc. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode you will hear: (02:48) In the News-Hilary and Kate join Mark to discuss an article that appears in USA Today that asks the question, "Are parent Facebook groups helpful or toxic"? Rachel Hale is the author of the article, which is entitled: "College, parent Facebook groups and when helicopter parenting goes too far" Part 3 of 3 (23:50) Mark interviews Elliot Felix, author of the book, 'the Connected College" o Elliot shares how his background has impacted the work he does today, helping colleges strategize to design campuses that produce the best learning o Elliot new book is called, "The Connected College" and he tells us "what a Connected College Is" o Elliot talks about what makes a great strategic plan and what are the flaws of so many strategic plans that are prevalent o Elliot explains how he gleaned his knowledge about what makes a Connected College (45:00) College Spotlight-Daniela Uribe and Summer Cobb Tell us What Penn is like for students. ¨ We take a look at the University of Pennsylvania by listening to one current Penn student and one recent college graduate ¨ Summer and Daniela share their background ¨ Daniela and Summer share what they feel are the best things about the University of Pennsylvania ¨ Summer and Daniela share what they would change if they could change anything about the University of Pennsylvania ¨ Daniela gives her best advice for students, and I want every parent to get their student to listen to what Daniela says ¨ Summer gives us an overview of the four different colleges Recommended Resource Guide to help first year students complete the Common Application- Application guide for first-year students Speakpipe.com/YCBK is our method if you want to ask a question and we will be prioritizing all questions sent in via Speakpipe. Unfortunately, we will NOT answer questions on the podcast anymore that are emailed in. If you want us to answer a question on the podcast, please use speakpipe.com/YCBK. We feel hearing from our listeners in their own voices adds to the community feel of our podcast. You can also use this for many other purposes: 1) Send us constructive criticism about how we can improve our podcast 2) Share an encouraging word about something you like about an episode or the podcast in general 3) Share a topic or an article you would like us to address 4) Share a speaker you want us to interview 5) Leave positive feedback for one of our interviewees. We will send your verbal feedback directly to them and I can almost assure you your positive feedback will make their day. To sign up to receive Your College-Bound Kid PLUS, our new monthly admissions newsletter, delivered directly to your email once a month, just go to yourcollegeboundkid.com, and you will see the sign-up popup. We will include many of the hot topics being discussed on college campuses. Check out our new blog. We write timely and insightful articles on college admissions: https://yourcollegeboundkid.com/category/blog/ Follow Mark Stucker on Twitter to get breaking college admission news, and updates about the podcast before they go live. You can ask questions on Twitter that he will answer on the podcast. Mark will also share additional hot topics in the news and breaking news on this Twitter feed. Twitter message is also the preferred way to ask questions for our podcast: 1. To access our transcripts, click: https://yourcollegeboundkid.com/category/transcripts/ 2. Find the specific episode transcripts for the one you want to search for and click the link 3. Find the magnifying glass icon in blue (search feature) and click it 4. Enter whatever word you want to search. I.e. Loans 5. Every word in that episode when the words loans are used will be highlighted in yellow with a timestamps 6. Click the word highlighted in yellow and the player will play the episode from that starting point 7. You can also download the entire podcast as a transcript We would be honored if you will pass this podcast episode on to others who you feel will benefit from the content in YCBK. Please subscribe to our podcast. It really helps us move up in Apple's search feature so others can find our podcast. If you enjoy our podcast, would you please do us a favor and share our podcast both verbally and on social media? We would be most grateful! If you want to help more people find Your College-Bound Kid, please make sure you follow our podcast. You will also get instant notifications as soon as each episode goes live. Check out the college admissions books Mark recommends: https://yourcollegeboundkid.com/recommended-books/ Check out the college websites Mark recommends: https://yourcollegeboundkid.com/recommended-websites/ If you want to have some input about what you like and what you recommend, we change about our podcast, please complete our Podcast survey; here is the link: https://docs.google.com/forms/d/e/1FAIpQLScCauBgityVXVHRQUjvlIRfYrMWWdHarB9DMQGYL0472bNxrw/viewform If you want a college consultation, text Mark at 404-664-4340, or email us at yourcollegeboundkid@yahoo.com All we ask is that you review their services and pricing on their website before the complimentary session; here is link to their services with transparent pricing: https://schoolmatch4u.com/services/compare-packages/

The Patina battles mercenaries and unravels the heart of Sasnak Traveling.Cast: - Marathon Messenger is played by Penn Van Batavia. She can be found on Twitter at @acquiredchaste and in drag as horror king JOHN on Instagram at @john.is.risen. Penn is an indie TTRPG designer whose most recent work includes SLICE *IT* OUT, a grisly carving RPG about cutting pieces of yourself out to fit in. Check out faer other work at pennharper.itch.io. - Cassidy Shard is played by Sydney Whittington. She is our wonderful editor. She's also a contributing editor and occasional guest player for the Orpheus Protocol, a cosmic horror espionage actual play podcast. Find her on Twitter at @sydney_whitt. - Emma Blackwood is played by Cameron Robertson. Find her on Twitter at @midnightmusic13 and on Instagram at @reading_and_dreaming. Cameron is also a player on Tabletop Squadron, a Star Wars Edge of the Empire actual play podcast. - Birdie Foundling is played by Kit Adames. Find her on Twitter at @venusvultures. Kit is also a voice actor and writer on Elevator Pitch Podcast, a queer genre-hopping anthology podcast that can be accessed on Spotify and YouTube. - Our GM and narrator is Nick Robertson. Find him on Twitter at @alias58. Nick is also the GM for Tabletop Squadron and can also be found as a player on the Orpheus Protocol.Music & Sound Credits: - This podcast features the musical talents of Dora Violet and Arne Parrott. You can find Dora at facebook.com/doraviolett. You can find Arne at atptunes.com. - old radio Channel search sound effect by Garuda1982. Link & License. - gunshot.wav by mark646. Link & License. - " Bangs and Explosions » Explosion_001.mp3 " by cydon. Link & License. - Sundial_Bridge_03_cable_13.flac by DAAyer. Link & License. - The Leopard by Julia Kent. Link & License. - Long Story by Sergey Cheremisinov. Link & License.Art Credits: - The official artwork for this podcast was created by Rashed AlAkroka, who can be found on Instagram and Artstation @rashedjrs.Find Us Online: - Our Website - Twitter - Join our Patreon - Join our Discord

In this episode Nick and Mac are joined by Dave Stark of Cook Stark Management and host of the Athletes Podcast. Nick and Dave recap a weekend of festivities in Pennsylvania, beginning with the Working in Hockey event in Pittsburgh, and wrapping up with an unbelievable experience at the Penn state vs. Michigan State outdoor game at Beaver Stadium. Nick and Mac also react to the Artemi Panarin trade and the future of Chris Drury, the upcoming Beanpot championship, and they wrap up with the Weekly ReCap. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Penn continues healing from his broken ankle with the… help(?) of new drugs, thoughts on Springsteen’s “Streets of Minneapolis,” Matt prepares to return to cruise ship life and another leg of the Jokers of Magic tour and looks to level up his marketing game, Penn & Matt’s big Super Bowl bet, and lots more.

Jesse Metcalfe comes on Podcrushed and opens up about being bullied for being “too pretty,” carrying a chip on his shoulder into Hollywood, and how the peaks and valleys of his incredible career introduced him to spirituality. He revisits John Tucker Must Die with Penn for the first time in decades, including JTMD moments from behind the scenes, and a dinner moment involving edamame that still haunts Penn to this day. There’s soap-opera hell portals, pilot-season pressure cookers, and a brutally honest reckoning with fame and identity. Funny, uncomfortable, and unexpectedly deep — this one's a banger. David is offering our listeners a special deal: buy 4 cartons and get the 5th free when you go to https://davidprotein.com/PODCRUSHED Right now, new customers can get 15% off sitewide at https://magneticme.com.

In this thought-provoking episode, political philosopher and Penn GSE professor Dr. Sigal Ben-Porath joins host Dustin to unpack one of higher ed's most pressing—and polarizing—topics: the future of free speech and academic freedom on campus. Drawing from her books Free Speech on Campus and Cancel Wars, Dr. Ben-Porath makes the case for a more inclusive vision of free expression in higher education, while warning against rising government overreach in curricula. She also highlights the important work happening on this topic at the SNF Paideia Program, where she is Faculty Director.Together, they explore how colleges can stay true to their democratic mission even as they navigate growing political pressure and cultural division.Guest Name: Dr. Sigal Ben-Porath - Professor & Faculty Director at University of Pennsylvania Graduate School of EducationGuest Social: LinkedInGuest Bio: Dr. Ben-Porath has been teaching at Penn GSE since 2004. She is an associate member of the political science department and the philosophy department at Penn. She also currently serves as the faculty director of the Stavros Niarchos Foundation (SNF) Paideia Program. She served as a special assistant to the university president, and as chair of the faculty advisory board to Penn Press, and as executive committee member of the Andrea Mitchell Center for the Study of Democracy. In 2010 she was a fellow at the Institute for Advanced Studies at Princeton, in 2012–2013 she was affiliated with the Safra Center for Ethics at Tel Aviv University, and in 2020–2021 she was a fellow in residence at the Edmond J. Safra Center for Ethics at Harvard. - - - -Connect With Our Host:Dustin Ramsdellhttps://www.linkedin.com/in/dustinramsdell/About The Enrollify Podcast Network:The Higher Ed Geek is a part of the Enrollify Podcast Network. If you like this podcast, chances are you'll like other Enrollify shows too!Enrollify is made possible by Element451 — The AI Workforce Platform for Higher Ed. Learn more at element451.com. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this episode, Lyell K. Jones Jr, MD, FAAN, speaks with Aaron L. Berkowitz, MD, PhD, FAAN, who served as the guest editor of the February 2026 Neurology of Systemic Disease issue. They provide a preview of the issue, which publishes on February 2, 2026. Dr. Jones is the editor-in-chief of Continuum: Lifelong Learning in Neurology® and is a professor of neurology at Mayo Clinic in Rochester, Minnesota. Dr. Berkowitz is a Continuum® Audio interviewer and a professor of neurology in the Department of Neurology at the University of California, San Francisco, in San Francisco, California. Additional Resources Read the issue: continuum.aan.com Subscribe to Continuum®: shop.lww.com/Continuum Continuum® Aloud (verbatim audio-book style recordings of articles available only to Continuum® subscribers): continpub.com/Aloud More about the American Academy of Neurology: aan.com Social Media facebook.com/continuumcme @ContinuumAAN Host: @LyellJ Guest: @AaronLBerkowitz Full episode transcript available here Dr Jones: The human nervous system is so complex. You can spend your whole career studying it and still have plenty to learn. But the human brain does not exist in isolation. It's intricately connected with and reliant on other bodily systems. When those systems go awry, sometimes the first sign is in the nervous system. Today we will speak with Dr Aaron Berkowitz, an expert on the neurology of systemic disease, and learn a little about how these disorders can present and what we can do about it. Dr Jones: This is Dr Lyell Jones, Editor-in-Chief of Continuum. Thank you for listening to Continuum Audio. Be sure to visit the links in the episode notes for information about subscribing to the journal, listening to verbatim recordings of the articles, and exclusive access to interviews not featured on the podcast. Dr Jones: This is Dr Lyell Jones, Editor-in-Chief of Continuum: Lifelong Learning in Neurology. Today, I'm interviewing Dr Aaron Berkowitz, who is Continuum's guest editor for our latest issue of Continuum on the neurology of systemic disease. Dr Berkowitz is a professor of clinical neurology at the University of California, San Francisco, and he has an active practice as a neurohospitalist and in outpatient general neurology---and, importantly, as a clinician educator. In addition to numerous teaching awards, Dr Berkowitz has published several books and also serves on our editorial board for Continuum. Dr Berkowitz, welcome. Thank you for joining us. Why don't you introduce yourself to our listeners?  Dr Berkowitz: Thanks, Lyell. As you mentioned, I'm a general neurologist and neurohospitalist here in San Francisco, California at UCSF and very involved in resident education as well. And I was honored, flattered and a little bit frightened when I received the invitation to guest edit this massive issue on the neurology of systemic disease. But I've learned a ton, and it's been great to work with you and the incredible authors we recruited to write for us. And I'm excited to have the issue out in the world.  Dr Jones: Yeah, me too. And you and I have talked about it before: you're one of a very small group of people who have guest edited multiple issues on different topics, right?  Dr Berkowitz: That's right. I did the neuroinfectious disease issue in… was it 2020? 2021? Something like that.  Dr Jones: Yeah. So, congratulations, more people have walked on the moon than done what you've done. And I'm looking forward to chatting, Aaron, and really grateful for your work putting together a fantastic issue. I think our listeners will appreciate that the nervous system does not function in isolation. It's important to understand the neurologic manifestations of diseases that originate within the brain, spinal cord, nerves, muscles, etc., but also the manifestations of diseases that begin in other systems and, you know, may masquerade as a primary neurologic disorder. So, it's obviously an important topic for neurologists, since many of these patients are receiving care in another setting, perhaps from another specialist. I almost think of this issue of Continuum as a handbook for the consultant neurologist, inpatient or outpatient. I don't know. Do you think that's a fair characterization of the topic? Dr Berkowitz: Absolutely. I completely agree with you. I think, yeah, many of us go into neurology interested in our primary diseases, whether it's stroke or Parkinson's or neuropathy or particular interest in neurologic symptoms, whether they're cognitive, motor, sensory, visual. And we quickly learn in residency, right? As you said, a lot of what we see is neurologic manifestations of primary diseases. So, I don't know how similar this is to other training programs. But it seemed like, if I'm remembering correctly, my first year of residency was mostly on primary neurology services, general stroke, ICU. And we moved into the consultant role more in the PGY-3 year the next year. And I remember explaining to students rotating with us on the consult services, this is actually much more complex in a way, because the patient has some type of symptom in a much broader and much more complicated context of multiple things going on. And I call it "neurology in the wild." There's, like, neurology of, this patient's had a stroke and we know they have a stroke and we're trying to figure out why and treat it. That's all interesting. But our question here, is there a stroke needle buried in this haystack of all of these medical or surgical complications? And learning what I call neurology of X, which is really what this issue is; as you said, that there's a neurology of everything. There's a neurology of cardiac disease. There's a neurology of the peripartum. There's a neurology of rheumatologic disease. There's every new treatment that comes out in oncology has a neurology we learn, right? There's a neurology of everything.  Dr Jones: There's a lot of axes, right? There's the heart-brain axis and the kidney-brain axis. And… I think we cover everything except the spleen-brain axis, which maybe that's a thing, maybe not. I'll probably hear from all the spleen fans out there. So, I want to do a little bit of an experiment. We're going to do something new today on the podcast. Before we get into the questions, we're going to start with a Continuum Audio trivia question. So, this will be a first time ever. Dr Berkowitz, we all know that chronic hyperglycemia, or diabetes, can lead to many neurologic and systemic complications and that optimal glucose control is our goal. For our listeners, here's the question: what neurologic complication can occur from correcting hyperglycemia too quickly? What neurologic complication can occur from correcting hyperglycemia too quickly? Stick around to the end of our interview for the answer. So, Aaron, let's get right to it. You had a chance to review all the articles in this issue on the neurology of systemic disease. What do you think in all of those is the most exciting recent development for patients who fit into this category? Dr Berkowitz: Yeah, that's a great question. I think we talked about when we were putting this issue together, right, a lot of the Continuum subspecialty topics; there should have been updates on particular disease diagnostics, treatments, new phenotypes. Whereas here probably a lot less has changed in primary heart disease, primary cancer. As I'd like to say to our students trying to excite them about neurology, most specialties have new treatments, but I can name a large number of new diseases, right, that have been discovered since we've been out of training. So, a lot of the primary medicine stays the same, and the neurologic complications stay the same. But probably the thing that many readers will want to keep handy and will probably be much in need of update again in three years are the neurologic complications of all the new cancer treatments. So, if we think back to I finished training just over ten years ago when a lot of the fill-in-the-blank-umabs were coming out, CAR T therapy, and we were starting to see a lot of neurology, I remember, related to these and telling the oncologists and they said, oh, you just wait. We are seeing at the conferences that there's a lot of neurology to these. And I feel like that is always a moving target. And I think we are seeing a lot of those and it's hard to keep up with which treatments can cause which complications, which syndromes and which severities require holding the treatment when you can rechallenge longer-term complications of CAR T cell therapies now that we've learned more about the acute complications. So, Amy Pruitt from Penn has written us a fantastic article for this issue that covers a lot of the updates there. And I learned a lot from that. I feel like that's the one that just like every time the carnioplastic diseases are reviewed in Continuum, it seems like the table is another page longer from your colleagues there in Rochester teaching us about new antibodies. And I feel like, for this issue, that's one of the areas that felt like there was a lot of very new content to keep up with since last time.  Dr Jones: That's good news, right? It's good that we have new immunotherapies for cancer, but it does lead to neurologic catastrophes sometimes, and it is a moving target, really rapid. So, you mentioned that just over ten years ago you finished your training and now we see a lot more of these complex immunotherapy-related neurologic complications. What about in the other direction? Are there any things that you see less commonly now in your practice than you might have seen ten years ago right when you were finishing training?  Dr Berkowitz: I would say no, I think. I think we're seeing a lot of new stuff, and we're still seeing a high volume of the classic consults we tend to get, whether that's altered mental status in a patient who's systemically ill; weakness or difficulty reading from the ventilator in a patient who's critically ill; patient has endocarditis and has a stroke hemorrhage or mycotic aneurysm, what do we do? Yeah, one of the parts that was really fun and educational editing this issue is, I really wanted to ask the experts the questions I find that are really troubling and challenging and make sure we could understand their perspective on things like the endocarditis consult, which I always feel like each time there's some twist that even though the question is what do we do about this stroke and/or hemorrhage and/or aneurysm and is surgery safe? It seems like each time I always feel like I'm reinventing the wheel, trying to really sort out how to think about this. And we have a great article from Alvin Doss at Beth Israel and Steve Feskey from Boston Medical Center. It covers a lot of cardiology, as you know, in that article about a great section on endocarditis where every time it came back for review, I would say, but what about this? This comes up. What about this? Can you explain how you think about this for our readers? I don't know. I'd be curious to hear your perspective. It sounds like we agree on what has become more common. I don't think anything in neurology seems to become less… Dr Jones: Well, no, I guess we haven't really solved anything, I guess we haven't cured any problem. But that's okay, right? I mean, it's building on an established foundation of experience and history in our field. And you know, we mentioned earlier that in many ways this issue is kind of like a neurology consultant's handbook. We did something a little different with it in that sense. In addition to you serving as the guest editor, you have authored an article in the issue. It touches on something that we've talked about a couple of times, and I'd be interested to hear you talk through it with our listeners a little bit on how to approach the neurologic consultation. Tell us a little more about that and your article and how you approached it.  Dr Berkowitz: Oh, yeah, thanks. Well, thanks first of all for inviting me to think about a sort of introductory article to this issue. And I was trying to think about what to write about because, as you've said and we've been talking about, no one could know every neurologic complication of every medical disease, treatment, surgery, hospital context. Probably many of us don't even know all the muscle diseases, right, within neurology. So how could we know all this stuff? And we need some type of manual from our colleagues that can explain, okay, I know this patient has inflammatory bowel disease and they've had a stroke. Is that- are these related? Are these unrelated? And I thought the articles kind of answer all of these questions. What would I say beyond this patient has disease X and is on drug Y? Well, look up in this issue disease X and see what the neurology can be, common and rare and how often it's associated, how often it's the presenting feature, how often it means the treatment is failing, etc. I thought, I'm not sure there's much to say there. That's about a paragraph. And I thought, well, let's think even more broadly about neurologic consultation. And as you know, I like to think about diagnostic reasoning and clinical reasoning. And we talk a lot about framing bias right? And I think that is very common in consultative neurology because we'll be told in the consult or in the page or E-consult or whatever it is, this is a blank-year-old blank with a history of blank on treatment blank. And right away your mind is starting to say, oh, well, the patient just had heart disease, or, the patient is nine months pregnant, or, the patient is on an immune checkpoint inhibitor. And whether you want to do it or not, your mind is associating the patient's neurology with that. And it's- even if we know we're framing or anchoring, it's hard to kind of pull away from that. And most of the time, common things being common, a patient with cancer develops new neurology, It's probably the cancer, the treatment, or sometimes a paraneoplastic syndrome. But I've definitely found if you do a lot of inpatient neurology and a lot of consults that you're seeing so much and you have no choice but to apply these heuristics, because you're seeing a lot of volume quickly and the patients are in the hospital or they're being closely followed and outpatient setting by another specialist. You presume if you didn't get it quite right the first time, it's going to come back to you. And there's a little bit of difficulty figuring out, this is a case, actually, of all the altered mental status in acutely ill patients I got today, this is the one I should dig deeper in that I think this could turn out to be a stroke or encephalitis as opposed to delirium. I felt like that I really haven't approached that except knowing that it's easy to fall into traps. And so, I started to think about framing bias. You know, we talked about if we become aware of our biases, right, we're better at not falling prey to them. But it's subconscious. So, we might be applying it without even realizing, or even saying, I might be framing this case the wrong way, you can go right on framing it the wrong way. So, I want to kind of get a little more granular on what types of framing biases actually are relevant, specifically, to the console setting. And so, I tried to come up with a few more specific examples and try to think about ways that we could at least have a quick, if our knee-jerk is to associate primary disease X that the patient has or primary treatment X with neurologic symptom Y, what's at least a quick counter-knee jerk to say, what if it could be something else? So, for example, one of them I call "low signal-to-noise ratio bias." Altered mental status in the acutely ill hospitalized patient. What would you say, Lyell? 99 out of 100- 99.9 out of 100, it's not a primary neurologic disease. Is that fair to say? Dr Jones: Very high, yep. I agree. Dr Berkowitz: Yeah. But could it be a stroke? Could it be non-convulsive status epilepticus, meningitis encephalitis? So, how do we sort of counteract low signal-to-noise ratio bias, acknowledging it exists, acknowledging most of the time there is a low signal-to-noise, that it's not going to be neurology---to just for example, use the time course. This is pretty acute. Have I convinced myself this is not a stroke or a seizure or an acute neurologic infection? And if I'm not sure at the bedside, should I err on the side of more testing? Or the "curbside bias," as I call when your colleague just sends you a text message on your phone, No need to even open the chart, Dr Jones. Patient had a cerebellar stroke. Incidental. They're here for something else. Aspirin, right? Just like a super tentorial stroke. And you might reply thumbs up. And then imagine you open the CT scan and it's a huge cerebellar stroke with fourth ventricular compression- and patient can hide a lot of stroke back there, might just have a little ataxia. You were curbsided and that framed you to think, oh, they asked me, is aspirin okay for a cerebellar stroke and I said yes, without realizing actually the question should have been posed is, how do you manage a huge stroke with mass effect in the posterior fossa? So, these types of biases, I come up with five of them, I won't go through all of them. I'm in the article to sort of acknowledge for the reader, most of the time it's going to be what you look up in this issue, but how to think about the times where it might not be and how to be more precise about what framing is and different types of framing that occur specifically in the consultant arena. Dr Jones: And I think the longer we practice, the more of those low-frequency exceptions that you see. And, you know, and then it sticks in our mind and sometimes the bias swings the other way; people, you know, think primarily about the low frequency. And so, it's tricky. And what I really enjoyed about that article, we started talking about this probably more than a year ago, and more than a year ago, I would say relatively few clinicians were using a now widely popular large language model for clinical decision-making; we won't name the model. And now I think most clinicians are using it almost every day, right? And I think it puts a premium on how to think and how to engage with the patient, and less about the facts and the lists that a lot of conventional medical education really is derived from. So, I really appreciate that article. We can pat ourselves in the back. We had some foresight to put it in the issue, and I think it's a great addition to it. Dr Berkowitz: Thank you. Dr Jones: So, the list of potential topics when we think about the neurologic manifestations of systemic disease, we tend to break it down by organ systems, right? But the amount of things that could end up in the issue is almost infinite. Is there anything that, when you were putting this issue together---either in terms of the topics or editing the articles---is there anything that you wanted to include, but we just didn't have room? Dr Berkowitz: I certainly won't say we covered everything, but I will say we were able to recruit a fantastic team of authors. And as you and I also talked about at the beginning, although you could say, we're doing the movement disorders issue, let's find all the top movement disorders folks who are expert specialists in this field, there's not really a neurohematologist or a neurogastroenterologist out here. So, you and I put our heads together to think of phenomenal general neurologists in most cases, some subspecialists who know a lot about this but were also excited to read a lot more about it and assemble the existing knowledge by the practicing neurologist for the practicing neurologist. And I think with that approach and letting folks have kind of, you know, I asked some specific questions. These are topics I hope you'll cover. These are vexing questions in this area. I hope you'll find some answers to how often can this neurology be the primary feature of this rheumatologic disease with no systemic manifestations and when should we look or as we mentioned, the complicated endocarditis consult. I won't say we covered everything. This could be, and is, textbook-sized, and there are textbooks on this topic. But I think on the contrary, authors came back and had sections on things that I might not have thought to ask- to cover. Dr Sarah LaHue, my colleague here at UCSF, I asked for an article, as traditionally in this issue, on the neurology of pregnancy in the postpartum state and included, I think probably for the first time in Continuum, a fantastic review of neurologic considerations in patients in menopause, which I'm not sure has been covered before. So, things that I wouldn't have even thought to ask for. Our authors came back with some fantastic stuff. And the ICU article by Dr Shivani Ghoshal, instead of focusing just on altered mental status in the ICU, weakness in the ICU---those are all in there---I also asked her to discuss complications of procedures in the ICU. How often do procedures in the ICU cause local neuropathies or vascular injury, these types of things. Dr Jones: Yeah, me too. And I guess that's a great advertisement, that there probably are things that we didn't cover, but if there are, we can't think of them. We've done as best as we can. So now let's come back to our Continuum Audio trivia question for our listeners. And I'll repeat the question: what neurologic complication can occur from correcting hyperglycemia too quickly? And I actually think there might be two correct answers to this one. Dr Berkowitz, what do you think? Dr Berkowitz: Yeah, I was thinking of two things. I hope these are the things you're thinking of as well. One is what I think used to be referred to as insulin neuritis, sort of an acute painful small fiber neuropathy from after the initiation of insulin, I think also called treatment-induced diabetic neuropathy or something of that nature. And then the other one described, defined and classified by your colleagues there in Rochester, the diabetic lumbosacral radiculoplexis neuropathy or Bruns-Garland syndrome or a diabetic amyotropy, I think, can also---if I'm not mistaken---also occur in this context; you should have weight loss in association with diet treatment of diabetes. But how did I do? Dr Jones: Yeah, you win the prize, the first-ever prize. There's no monetary value to the prize, but pride, I think, is a good one. Yeah, those were the two I was thinking of. The treatment-induced neuropathy of diabetes is really nicely covered in Dr Rafid Mustafa's article on the neurologic complications of endocrine disorders. It's a rare condition characterized by the acute/subacute onset of diffuse neuropathic pain and some usually some autonomic dysfunction. And it occurs when you have rapid and substantial reductions in blood glucose levels. And you can almost map it out. There was a study from 2015 which is referenced in the article, which found that a drop in hemoglobin A1c of 2 to 3% over three months confers about a 20% absolute risk of developing this treatment-induced neuropathy of diabetes, and a drop of more than 4%, more than 80% risk. So, very substantial. And then in the other---we see this commonly in patients with diabetic lumbosacral radiculoplexis neuropathy---they have the subacute onset of usually asymmetric pain and weakness in the lower limbs that tends to occur more frequently in patients who have had recent better control of their sugar. We can also see it in the upper limbs too. So, you get a perfect score. Dr Berkowitz, well done. Again, I want to thank you. I want to thank you for such a great issue, a great article to kick off the issue, and a great discussion of the neurology of systemic disease. Today I learned a lot talking today, I learned a lot reading the issue. Really grateful for your leadership of putting it together, pulling together a really great author panel, and I think it will come in handy not just for our junior readers and listeners, but also our more experienced subscribers as well. Dr Berkowitz: Thank you so much. Like I said, it was a big honor to be invited to guest edit this issue. I've read it every three years since I started residency. It's always one of my favorite issues. As you said, a manual for consultative neurology, and I learned a ton from our authors and really appreciate the opportunity to work with you and the amazing Continuum team to bring this from an idea, as you said, probably over a year ago to a printed issue. So, thanks again, Lyell. Dr Jones: Thank you. And again, we've been speaking with Dr Aaron Berkowitz, guest editor of Continuum's most recent issue on the neurology of systemic disease. Please check it out, and thank you to our listeners for joining today. Dr Monteith: This is Dr Teshamae Monteith, Associate Editor of Continuum Audio. If you've enjoyed this episode, you'll love the journal, which is full of in-depth and clinically relevant information important for neurology practitioners. Use the link in the episode notes to learn more and subscribe. Thank you for listening to Continuum Audio.

Bomani Jones is joined by Shannon Penn, a former producer of The Right Time and currently at ESPN. They delve into the history and cultural significance of the Dallas Cowboys and their 1990s dynasty. They break down the cultural significance of Michael Irvin and Deion Sanders while pondering what is keeping the Cowboys from returning to their past success. Learn more about your ad choices. Visit megaphone.fm/adchoices

The world feels heavy and instead of trying to joke our way around that, this episode is about sitting with it. This week, Penn and I talk about how a post we made about hope turned into a political statement, the process behind the scenes, and how we're feeling. We are very lucky to have a fun job, but it doesn't mean it's not challenging in times like these. Sometimes it's hard to make comedy when you want to cry.We know you came for the humor, we hope you'll stay for the humanity. Penn and I are here for joy, for laughter, and for standing with people who need it. We believe laughter and compassion aren't opposites. Sometimes humor is how we survive, and sometimes it's how we tell the truth. We're all still learning, growing, and trying our best to love our neighbors well. We promise to keep showing up as our full selves... funny, flawed, and deeply human. (And with a cookie cake.) Thanks for being here. We love to hear from you! Leave us a message at 323-364-3929 or write the show at podcast@theholdernessfamily.com. You can also watch our podcast on YouTube.Visit Our ShopJoin Our NewsletterFind us on SubstackFollow us on InstagramFollow us on TikTok Follow us on FacebookLaugh Lines with Kim & Penn Holderness is an evolution of The Holderness Family Podcast, which began in 2018. Kim and Penn Holderness are award-winning online content creators known for their original music, song parodies, comedy sketches, and weekly podcasts. Their videos have resulted in over three billion views and over nine million followers since 2013. Penn and Kim are also authors of the New York Times Bestselling Books, ADHD Is Awesome: A Guide To (Mostly) Thriving With ADHD and All You Can Be With ADHD. They were also winners on The Amazing Race (Season 33) on CBS. Laugh Lines is hosted and executive produced by Kim Holderness and Penn Holderness, with original music by Penn Holderness. Laugh Lines is also written and produced by Ann Marie Taepke, and edited and produced by Sam Allen. It is hosted by Acast. Thanks for listening! Hosted on Acast. See acast.com/privacy for more information.

Topics: (00:00:00) - Intro (00:03:43) - Heroes and inspirations (00:07:14) - The rise of Chinese electric vehicles (00:12:13) - The Tesla experience (00:31:04) - Tesla's rapid development and industry impact (00:32:54) - The culture of speed and frugality at Tesla (00:34:10) - Elon's leadership and pressure tactics (00:37:22) - Transitioning from Tesla to Waymo (00:39:43) - Waymo's organizational structure and challenges (00:43:35) - The future of autonomous vehicles (00:54:34) - Founding Light Source and addressing procurement issues (01:00:23) - Conclusion and final thoughts Links: LightSource - https://lightsource.ai/ Spencer on LinkedIn - https://www.linkedin.com/in/spenpenn/ Preorder the Book of Elon - https://a.co/d/02huhEee To support the costs of producing this podcast:  >> Buy a copy of the Navalmanack: www.navalmanack.com/  >> Buy a copy of The Anthology of Balaji: https://balajianthology.com/ >> Sign up for my online course and community about building your Personal Leverage: https://www.ejorgenson.com/leverage  >> Invest in early-stage companies alongside Eric and his partners at Rolling Fun: https://angel.co/v/back/rolling-fun >> Join the free weekly email list at ejorgenson.com/newsletter >> Text the podcast to a friend >> Or at least give the podcast a positive review to help us reach new listeners! Quotes from Spencer: “It was the most fun I never want to have again.” (Describing his time at Tesla during the Model 3 production ramp) “The Model 3 seat feel is attuned directly to Elon's butt.” “I'm not an Elon fanboy, but I'm also not a critic. I'm an optimist.” “Speed wins. After seeing both Tesla and Waymo, that's my belief.” “We were the underdog. Eventually, it does end up feeling like you're on the winning team.” “You couldn't go into a meeting with Elon and show up empty-handed.” “This opportunity we're pursuing at LightSource should have disappeared 20 years ago.” “ERP is the finance system of record. What's Salesforce in reverse? That's LightSource.” “The thing that surprised me: every company still runs procurement on spreadsheets and email.” “Tesla built their own ERP system from scratch. That's not normal.” “There are things that are just core to the P&L of every business… and yet completely orphaned in the tech stack.”

Dr. Matt Bernstein is a clinical psychiatrist and leading voice in metabolic psychiatry, with 25 years of experience helping people achieve lasting mental health and functional recovery. A Columbia graduate (summa cum laude) and Penn-trained physician, he completed residency at MGH/McLean, where he served as chief resident and later held senior leadership roles. Now Chief Medical Officer at Ellenhorn, he develops innovative, community-based models for mental health care and serves on advisory boards advancing the metabolic psychiatry movement. In this episode, Drs. Tro and Matthew talk about… (00:00) Intro (02:19) How Dr. Matthew found his way into metabolic psychiatry (05:53) Autoimmune encephalitis (09:59) Psychiatric health and the physical body (14:41) Infectious diseases causing psychiatric diseases (18:25) Psychiatric guidelines (23:04) How Dr. Matthew's clinic approaches the treatment of psychiatric disorders from a metabolic health perspective (26:31) How diet effects the brain (29:00) The most amazing case of disease reversal Dr. Matthew has seen recently (34:22) The data on the effectiveness of metabolic psychiatry and why many psychiatrists currently practicing are resistant to it (37:32) The great work being done to heal people at Accord Mental Health (43:27) Outro and plugs For more information, please see the links below. Thank you for listening! Links: Please consider supporting us on Patreon: https://www.lowcarbmd.com/ Resources Mentioned in this Episode: Dr. Matt Bernstein: Accord Mental Health: https://accordmh.com/ Ellenhorn: https://www.ellenhorn.com/ Dr. Brian Lenzkes:  Website: https://arizonametabolichealth.com/ Twitter: https://twitter.com/BrianLenzkes?ref_src=twsrc^google|twcamp^serp|twgr^author Dr. Tro Kalayjian:  Website: https://toward.health Twitter: https://twitter.com/DoctorTro IG: https://www.instagram.com/doctortro/ Toward Health App Join a growing community of individuals who are improving their metabolic health; together.  Get started at your own pace with a self-guided curriculum developed by Dr. Tro and his care team, community chat, weekly meetings, courses, challenges, message boards and more.  Apple: https://apps.apple.com/us/app/doctor-tro/id1588693888  Google: https://play.google.com/store/apps/details?id=uk.co.disciplemedia.doctortro&hl=en_US&gl=US Learn more: https://toward.health/community/

How can indie authors raise their game through academic-style rigour? How might AI tools fit into a thoughtful research process without replacing the joy of discovery? Melissa Addey explores the intersection of scholarly discipline, creative writing, and the practical realities of building an author career. In the intro, mystery and thriller tropes [Wish I'd Known Then]; The differences between trad and indie in 2026 [Productive Indie Fiction Writer]; Five phases of an author business [Becca Syme]; Bones of the Deep – J.F. Penn; Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it's delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Melissa Addey is an award-winning historical fiction author with a PhD in creative writing from the University of Surrey. She was the Leverhulme Trust Writer in Residence at the British Library, and now works as campaigns lead for the Alliance of Independent Authors. 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 Making the leap from a corporate career to full-time writing with a young family Why Melissa pursued a PhD in creative writing and how it fuelled her author business What indie authors can learn from academic rigour when researching historical fiction The problems with academic publishing—pricing, accessibility, and creative restrictions Organising research notes, avoiding accidental plagiarism, and knowing when to stop researching Using AI tools effectively as part of the research process without losing your unique voice You can find Melissa at MelissaAddey.com. Transcript of the interview with Melissa Addey JOANNA: Melissa Addey is an award-winning historical fiction author with a PhD in creative writing from the University of Surrey. She was the Leverhulme Trust Writer in Residence at the British Library, and now works as campaigns lead for the Alliance of Independent Authors. Welcome back to the show, Melissa. MELISSA: Hello. Thank you for having me. JOANNA: It's great to have you back. You were on almost a decade ago, in December 2016, talking about merchandising for authors. That is really a long time ago. So tell us a bit more about you and how you got into writing and self-publishing. MELISSA: I had a regular job in business and I was writing on the side. I did a couple of writing courses, and then I started trying to get published, and that took seven years of jumping through hoops. There didn't seem to be much progress. At some point, I very nearly had a small publisher, but we clashed over the cover because there was a really quite hideous suggestion that was not going to work. I think by that point I was really tired of jumping through hoops, really trying to play the game traditional publishing-wise. I just went, you know what? I've had enough now. I've done everything that was asked of me and it's still not working. I'll just go my own way. I think at the time that would've been 2015-ish. Suddenly, self-publishing was around more. I could see people and hear people talking about it, and I thought, okay, let's read everything there is to know about this. I had a little baby at the time and I would literally print off stuff during the day to read—probably loads of your stuff—and read it at two o'clock in the morning breastfeeding babies. Then I'd go, okay, I think I understand that bit now, I'll understand the next bit, and so on. So I got into self-publishing and I really, really enjoyed it. I've been doing it ever since. I'm now up to 20 books in the last 10 or 11 years. As you say, I did the creative writing PhD along the way, working with ALLi and doing workshops for others—mixing and matching lots of different things. I really enjoy it. JOANNA: You mentioned you had a job before in business. Are you full-time in all these roles that you're doing now, or do you still have that job? MELISSA: No, I'm full-time now. I only do writing-related things. I left that in 2015, so I took a jump. I was on maternity leave and I started applying for jobs to go back to, and I suddenly felt like, oh, I really don't want to. I want to do the writing. I thought, I've got about one year's worth of savings. I could try and do the jump. I remember saying to my husband, “Do you think it would be possible if I tried to do the jump? Would that be okay?” There was this very long pause while he thought about it. But the longer the pause went on, the more I was thinking, ooh, he didn't say no, that is out of the question, financially we can't do that. I thought, ooh, it's going to work. So I did the jump. JOANNA: That's great. I did something similar and took a massive pay cut and downsized and everything back in the day. Having a supportive partner is so important. The other thing I did—and I wonder if you did too—I said to Jonathan, my husband, if within a year this is not going in a positive direction, then I'll get another job. How long did you think you would leave it before you just gave up? And how did that go? Because that beginning is so difficult, especially with a new baby. MELISSA: I thought, well, I'm at home anyway, so I do have more time than if I was in a full-time job. The baby sleeps sometimes—if you're lucky—so there are little gaps where you could really get into it. I had a year of savings/maternity pay going on, so I thought I've got a year. And the funny thing that happened was within a few months, I went back to my husband and I was like, I don't understand. I said, all these doors are opening—they weren't massive, but they were doors opening. I said, but I've wanted to be a writer for a long time and none of these doors have opened before. He said, “Well, it's because you really committed. It's because you jumped. And when you jump, sometimes the universe is on board and goes, yes, all right then, and opens some doors for you.” It really felt like that. Even little things—like Writing Magazine gave me a little slot to do an online writer-in-residence thing. Just little doors opened that felt like you were getting a nod, like, yes, come on then, try. Then the PhD was part of that. I applied to do that and it came with a studentship, which meant I had three years of funding coming in. That was one of the biggest creative gifts that's ever been given to me—three years of knowing you've got enough money coming in that you can just try and make it work. By the time that finished, the royalties had taken over from the studentship. That was such a gift. JOANNA: A couple of things there. I've got to ask about that funding. You're saying it was a gift, but that money didn't just magically appear. You worked really hard to get that funding, I presume. MELISSA: I did, yes. You do have to do the work for it, just to be clear. My sister had done a PhD in an entirely different subject. She said, “You should do a PhD in creative writing.” I said, “That'd be ridiculous. Nobody is going to fund that. Who's going to fund that?” She said, “Oh, they might. Try.” So I tried, and the deadline was something stupid like two weeks away. I tried and I got shortlisted, but I didn't get it. I thought, ah, but I got shortlisted with only two weeks to try. I'll try again next year then. So then I tried again the next year and that's when I got it. It does take work. You have to put in quite a lot of effort to make your case. But it's a very joyful thing if you get one. JOANNA: So let's go to the bigger question: why do a PhD in creative writing? Let's be clear to everyone—you don't need even a bachelor's degree to be a successful author. Stephen King is a great example of someone who isn't particularly educated in terms of degrees. He talks about writing his first book while working at a laundry. You can be very successful with no formal education. So why did you want to do a PhD? What drew you to academic research? MELISSA: Absolutely. I would briefly say, I often meet people who feel they must do a qualification before they're allowed to write. I say, do it if you'd like to, but you don't have to. You could just practise the writing. I fully agree with that. It was a combination of things. I do actually like studying. I do actually enjoy the research—that's why I do historical research. I like that kind of work. So that's one element. Another element was the funding. I thought, if I get that funding, I've got three years to build up a back catalogue of books, to build up the writing. It will give me more time. So that was a very practical financial issue. Also, children. My children were very little. I had a three-year-old and a baby, and everybody went, “Are you insane? Doing a PhD with a three-year-old and a baby?” But the thing about three-year-olds and babies is they're quite intellectually boring. Emotionally, very engaging—on a number of levels, good, bad, whatever—but they're not very intellectually stimulating. You're at home all day with two small children who think that hide and seek is the highlight of intellectual difficulty because they've hidden behind the curtains and they're shuffling and giggling. I felt I needed something else. I needed something for me that would be interesting. I've always enjoyed passing on knowledge. I've always enjoyed teaching people, workshops, in whatever field I was in. I thought, if I want to do that for writing at some point, it will sound more important if I've done a PhD. Not that you need that to explain how to do writing to someone if you do a lot of writing. But there were all these different elements that came together. JOANNA: So to summarise: you enjoy the research, it's an intellectual challenge, you've got the funding, and there is something around authority. In terms of a PhD—and just for listeners, I'm doing a master's at the moment in death, religion, and culture. MELISSA: Your topic sounds fascinating. JOANNA: It is interesting because, same as you, I enjoy research. Both of us love research as part of our fiction process and our nonfiction. I'm also enjoying the intellectual challenge, and I've also considered this idea of authority in an age of AI when it is increasingly easy to generate books—let's just say it, it's easy to generate books. So I was like, well, how do I look at this in a more authoritative way? I wanted to talk to you because even just a few months back into it—and I haven't done an academic qualification for like two decades—it struck me that the academic rigour is so different. What lessons can indie authors learn from this kind of academic rigour? What do you think of in terms of the rigour and what can we learn? MELISSA: I think there are a number of things. First of all, really making sure that you are going to the quality sources for things—the original sources, the high-quality versions of things. Not secondhand, but going back to those primary sources. Not “somebody said that somebody said something.” Well, let's go back to the original. Have a look at that, because you get a lot from that. I think you immerse yourself more deeply. Someone can tell you, “This is how they spoke in the 1800s.” If you go and read something that was written in the 1800s, you get a better sense of that than just reading a dictionary of slang that's been collated for you by somebody else. So I think that immerses you more deeply. Really sticking with that till you've found interesting things that spark creativity in you. I've seen people say, “I used to do all the historical research. Nowadays I just fact-check. I write what I want to write and I fact-check.” I think, well, that's okay, but you won't find the weird little things. I tend to call it “the footnotes of history.” You won't find the weird little things that really make something come alive, that really make a time and a place come alive. I've got a scene in one of my Regency romances—which actually I think are less full of historical emphasis than some of my other work—where a man gives a woman a gift. It's supposed to be a romantic gift and maybe slightly sensual. He could have given her a fan and I could have fact-checked and gone, “Are there fans? Yes, there are fans. Do they have pretty romantic poems on them? Yes, they do. Okay, that'll do.” Actually, if you go round and do more research than that, you discover they had things like ribbons that held up your stockings, on which they wrote quite smutty things in embroidery. That's a much more sexy and interesting gift to give in that scene. But you don't find that unless you go doing a bit of research. If I just fact-check, I'm not going to find that because it would never have occurred to me to fact-check it in the first place. JOANNA: I totally agree with you. One of the wonderful things about research—and I also like going to places—is you might be somewhere and see something that gives you an idea you never, ever would have found in a book or any other way. I used to call it “the serendipity of the stacks” in the physical library. You go looking for a particular book and then you're in that part of the shelf and you find several other books that you never would have looked for. I think it's encouraging people, as you're saying, but I also think you have to love it. MELISSA: Yes. I think some people find it a bit of a grind, or they're frightened by it and they think, “Have I done enough?” JOANNA: Mm-hmm. MELISSA: I get asked that a lot when I talk about writing historical fiction. People go, “But when do I stop? How do I know it's enough? How do I know there wasn't another book that would have been the book? Everyone will go, ‘Oh, how did you not read such-and-such?'” I always say there are two ways of finding out when you can stop. One is when you get to the bibliographies, you look through and you go, “Yep, read that, read that, read that. Nah, I know that one's not really what I wanted.” You're familiar with those bibliographies in a way that at the beginning you're not. At the beginning, every single bibliography, you haven't read any of it. So that's quite a good way of knowing when to stop. The other way is: can you write ordinary, everyday life? I don't start writing a book till I can write everyday life in that historical era without notes. I will obviously have notes if I'm doing a wedding or a funeral or a really specific battle or something. Everyday life, I need to be able to just write that out of my own head. You need to be confident enough to do that. JOANNA: One of the other problems I've heard from academics—people who've really come out of academia and want to write something more pop, even if it's pop nonfiction or fiction—they're also really struggling. It is a different game, isn't it? For people who might be immersed in academia, how can they release themselves into doing something like self-publishing? Because there's still a lot of stigma within academia. MELISSA: You're going to get me on the academic publishing rant now. I think academic publishing is horrendous. Academics are very badly treated. I know quite a lot of academics and they have to do all the work. Nobody's helping them with indexing or anything like that. The publisher will say things like, “Well, could you just cut 10,000 words out of that?” Just because of size. Out of somebody's argument that they're making over a whole work. No consideration for that. The royalties are basically zilch. I've seen people's royalty statements come in, and the way they price the books is insane. They'll price a book at 70 pounds. I actually want that book for my research and I'm hesitating because I can't be buying all of them at that price. That's ridiculous. I've got people who are friends or family who bring out a book, and I'm like, well, I would gladly buy your book and read it. It's priced crazy. It's priced only for institutions. I think actually, if academia was written a little more clearly and open to the lay person—which if you are good at your work, you should be able to do—and priced a bit more in line with other books, that would maybe open up people to reading more academia. You wouldn't have to make it “pop” as you say. I quite like pop nonfiction. But I don't think there would have to be such a gulf between those two. I think you could make academic work more readable generally. I read someone's thesis recently and they'd made a point at the beginning of saying—I can't remember who it was—that so-and-so academic's point of view was that it should be readable and they should be writing accordingly. I thought, wow, I really admired her for doing that. Next time I'm doing something like that, I should be putting that at the front as well. But the fact that she had to explain that at the beginning… It wasn't like words of one syllable throughout the whole thing. I thought it was a very quality piece of writing, but it was perfectly readable to someone who didn't know about the topic. JOANNA: I might have to get that name from you because I've got an essay on the Philosophy of Death. And as you can imagine, there's a heck of a lot of big words. MELISSA: I know. I've done a PhD, but I still used to tense up a little bit thinking they're going to pounce on me. They're going to say that I didn't talk academic enough, I didn't sound fancy enough. That's not what it should be about, really. In a way, you are locking people out of knowledge, and given that most academics are paid for by public funds, that knowledge really ought to be a little more publicly accessible. JOANNA: I agree on the book price. I'm also buying books for my course that aren't in the library. Some of them might be 70 pounds for the ebook, let alone the print book. What that means is that I end up looking for secondhand books, when of course the money doesn't go to the author or the publisher. The other thing that happens is it encourages piracy. There are people who openly talk about using pirate sites for academic works because it's just too expensive. If I'm buying 20 books for my home library, I can't be spending that kind of money. Why is it so bad? Why is it not being reinvented, especially as we have done with indie authors for the wider genres? Has this at all moved into academia? MELISSA: I think within academia there's a fear because there's the peer reviews and it must be proven to be absolutely correct and agreed upon by everybody. I get that. You don't want some complete rubbish in there. I do think there's space to come up with a different system where you could say, “So-and-so is professor of whatever at such-and-such a university. I imagine what they have to say might be interesting and well-researched.” You could have some sort of kite mark. You could have something that then allows for self-publishing to take over a bit. I do just think their system is really, really poor. They get really reined in on what they're allowed to write about. Alison Baverstock, who is a professor now at Kingston University and does stuff about publishing and master's programmes, started writing about self-publishing because she thought it was really interesting. This was way back. JOANNA: I remember. I did one of those surveys. MELISSA: She got told in no uncertain terms, “Do not write about this. You will ruin your career.” She stuck with it. She was right to stick with it. But she was told by senior academics, “Do not write about self-publishing. You're just embarrassing yourself. It's just vanity press.” They weren't even being allowed to write about really quite interesting phenomena that were happening. Just from a historical point of view, that was a really interesting rise of self-publishing, and she was being told not to write about it. JOANNA: It's funny, that delay as well. I'm looking to maybe do my thesis on how AI is impacting death and the death industry. And yet it's such a fast-moving thing. MELISSA: Yes. JOANNA: Sometimes it can take a year, two years or more to get a paper through the process. MELISSA: Oh, yes. It moves really, really fast. Like you say, by the time it comes out, people are going, “Huh? That's really old.” And you'll be going, “No, it's literally two years.” But yes, very, very slow. JOANNA: Let's come back to how we can help other people who might not want to be doing academic-level stuff. One of the things I've found is organising notes, sources, references. How do you manage that? Any tips for people? They might not need to do footnotes for their historical novel, but they might want to organise their research. What are your thoughts? MELISSA: I used to do great big enormous box files and print vast quantities of stuff. Each box file would be labelled according to servant life, or food, or seasons, or whatever. I've tried various different things. I'm moving more and more now towards a combination of books on the shelf, which I do like, and papers and other materials that are stored on my computer. They'll be classified according to different parts of daily life, essentially. Because when you write historical fiction, you have to basically build the whole world again for that era. You have to have everything that happens in daily life, everything that happens on special events, all of those things. So I'll have it organised by those sorts of topics. I'll read it and go through it until I'm comfortable with daily life. Then special things—I'll have special notes on that that can talk me through how you run a funeral or a wedding or whatever, because that's quite complicated to just remember in your head. MELISSA: I always do historical notes at the end. They really matter to me. When I read historical fiction, I really like to read that from the author. I'll say, “Right, these things are true”—especially things that I think people will go, “She made that up. That is not true.” I'll go, “No, no, these are true.” These other things I've fudged a little, or I've moved the timeline a bit to make the story work better. I try to be fairly clear about what I did to make it into a story, but also what is accurate, because I want people to get excited about that timeline. Occasionally if there's been a book that was really important, I'll mention it in there because I don't want to have a proper bibliography, but I do want to highlight certain books. If you got excited by this novel, you could go off and read that book and it would take you into the nonfiction side of it. JOANNA: I'm similar with my author's notes. I've just done the author's note for Bones of the Deep, which has some merfolk in it, and I've got a book on Merpeople. It's awesome. It's just a brilliant book. I'm like, this has to go in. You could question whether that is really nonfiction or something else. But I think that's really important. Just to be more practical: when you're actually writing, what tools do you use? I use Scrivener and I keep all my research there. I'm using EndNote for academic stuff. MELISSA: I've always just stuck to Word. I did get Scrivener and played with it for a while, but I felt like I've already got a way of doing it, so I'll just carry on with that. So I mostly just do Word. I have a lot of notes, so I'll have notepads that have got my notes on specific things, and they'll have page numbers that go back to specific books in case I need to go and double-check that again. You mentioned citations, and that's fascinating to me. Do you know the story about Angle of Repose by Wallace Stegner? It won the Pulitzer. It's a novel, but he used 10% of that novel—and it's a fairly slim novel—10% of it is actually letters written by somebody else, written by a woman before his time. He includes those and works with them in the story. He mentioned her very briefly, like, “Oh, and thanks to the relatives of so-and-so.” Very brief. He got accused of plagiarism for using that much of it by another part of her family who hadn't agreed to it. I've always thought it's because he didn't give enough credence to her. He didn't give her enough importance. If he'd said, “This was the woman who wrote this stuff. It's fascinating. I loved it. I wanted to creatively respond and engage with it”—I think that wouldn't have happened at all. That's why I think it's quite important when there are really big, important elements that you're using to acknowledge those. JOANNA: That's part of the academic rigour too— You can barely have a few of your own thoughts without referring to somebody else's work and crediting them. What's so interesting to me in the research process is, okay, I think this, but in order to say it, I'm going to have to go find someone else who thought this first and wrote a paper on it. MELISSA: I think you would love a PhD. When you've done a master's, go and do a PhD as well. Because it was the first time in academia that I genuinely felt I was allowed my own thoughts and to invent stuff of my own. I could go, “Oh no, I've invented this theory and it's this.” I didn't have to constantly go, “As somebody else said, as somebody else said.” I was like, no, no. This is me. I said this thing. I wasn't allowed to in my master's, and I found it annoying. I remember thinking, but I'm trying to have original thoughts here. I'm trying to bring something new to it. In a PhD, you're allowed to do that because you're supposed to be contributing to knowledge. You're supposed to be bringing a new thing into the world. That was a glorious thing to finally be allowed to do. JOANNA: I must say I couldn't help myself with that. I've definitely put my own opinion. But a part of why I mention it is the academic rigour—it's actually quite good practice to see who else has had these thoughts before. Speed is one of the biggest issues in the indie author community. Some of the stuff you were talking about—finding original sources, going to primary sources, the top-quality stuff, finding the weird little things—all of that takes more time than, for example, just running a deep research report on Gemini or Claude or ChatGPT. You can do both. You can use that as a starting point, which I definitely do. But then the point is to go back and read the original stuff. On this timeframe— Why do you think research is worth doing? It's important for academic reasons, but personal growth as well. MELISSA: Yes, I think there's a joy to be had in the research. When I go and stand in a location, by that point I'm not measuring things and taking photos—I've done all of that online. I'm literally standing there feeling what it is to be there. What does it smell like? What does it feel like? Does it feel very enclosed or very open? Is it a peaceful place or a horrible place? That sensory research becomes very important. All of the book research before that should lead you into the sensory research, which is then also a joy to do. There's great pleasure in it. As you say, it slows things down. What I tend to say to people if they want to speed things up again is: write in a series. Because once you've done all of that research and you just write one book and then walk away, that's a lot. That really slows you down. If you then go, “Okay, well now I'm going to write four books, five books, six books, still in that place and time”—obviously each book will need a little more research, but it won't need that level of starting-from-scratch research. That can help in terms of speeding it back up again. Recently I wrote some Regency romances to see what that was like. I'd done all my basic research, and then I thought, right, now I want to write a historical novel which could have been Victorian or could have been Regency. It had an openness to it. I thought, well, I've just done all the research for Regency, so I'll stick with that era. Why go and do a whole other piece of research when I've only written three books in it so far? I'll just take that era and work with that. So there are places to make up the time again a bit. But I do think there's a joy in it as well. JOANNA: I just want to come back to the plagiarism thing. I discovered that you can plagiarise yourself in academia, which is quite interesting. For example, my books How to Write a Novel and How to Write Nonfiction—they're aimed at different audiences. They have lots of chapters that are different, but there's a chapter on dictation. I thought, why would I need to write the same chapter again? I'm just going to put the same chapter in. It's the same process. Then I only recently learned that you can plagiarise yourself. I did not credit myself for that original chapter. MELISSA: How dare you not credit yourself! JOANNA: But can you talk a bit about that? Where are the lines here? I'm never going to credit myself. I think that's frankly ridiculous. MELISSA: No, that's silly. I mean, it depends what you're doing. In your case, that completely makes sense. It would be really peculiar of you to sit down and write a whole new chapter desperately trying not to copy what you'd said in a chapter about exactly the same topic. That doesn't make any sense. JOANNA: I guess more in the wider sense. Earlier you mentioned you keep notes and you put page numbers by them. I think the point is with research, a lot of people worry about accidental plagiarism. You write a load of notes on a book and then it just goes into your brain. Perhaps you didn't quote people properly. It's definitely more of an issue in nonfiction. You have to keep really careful notes. Sometimes I'm copying out a quote and I'll just naturally maybe rewrite that quote because the way they've put it didn't make sense, or I use a contraction or something. It's just the care in note-taking and then citing people. MELISSA: Yes. When I talk to people about nonfiction, I always say, you're basically joining a conversation. I mean, you are in fiction as well, but not as obviously. I say, well, why don't you read the conversation first? Find out what the conversation is in your area at the moment, and then what is it that you're bringing that's different? The most likely reason for you to end up writing something similar to someone else is that you haven't understood what the conversation was, and you need to be bringing your own thing to it. Then even if you're talking about the same topic, you might talk about it in a different way, and that takes you away from plagiarism because you're bringing your own view to it and your own direction to it. JOANNA: It's an interesting one. I think it's just the care. Taking more care is what I would like people to do. So let's talk about AI because AI tools can be incredible. I do deep research reports with Gemini and Claude and ChatGPT as a sort of “give me an overview and tell me some good places to start.” The university I'm with has a very hard line, which is: AI can be used as part of a research process, but not for writing. What are your thoughts on AI usage and tools? How can people balance that? MELISSA: Well, I'm very much a newbie compared to you. I follow you—the only person that describes how to use it with any sense at all, step by step. I'm very new to it, but I'm going to go back to the olden days. Sometimes I say to people, when I'm talking about how I do historical research, I start with Wikipedia. They look horrified. I'm like, no. That's where you have to get the overview from. I want an overview of how you dress in ancient Rome. I need a quick snapshot of that. Then I can go off and figure out the details of that more accurately and with more detail. I think AI is probably extremely good for that—getting the big picture of something and going, okay, this is what the field's looking like at the moment. These are the areas I'm going to need to burrow down into. It's doing that work for you quickly so that you're then in a position to pick up from that point. It gets you off to a quicker start and perhaps points you in the direction of the right people to start with. I'm trying to write a PhD proposal at the moment because I'm an idiot and want to do a second one. With that, I really did think, actually, AI should write this. Because the original concept is mine. I know nothing about it—why would I know anything about it? I haven't started researching it. This is where AI should go, “Well, in this field, there are these people. They've done these things.” Then you could quickly check that nobody's covered your thing. It would actually speed up all of that bit, which I think would be perfectly reasonable because you don't know anything about it yet. You're not an expert. You have the original idea, and then after that, then you should go off and do your own research and the in-depth quality of it. I think for a lot of things that waste authors' time—if you're applying for a grant or a writer-in-residence or things like that—it's a lot of time wasting filling in long, boring forms. “Could you make an artist statement and a something and a blah?” You're like, yes, yes, I could spend all day at my desk doing that. There's a moment where you start thinking, could you not just allow the AI to do this or much of it? JOANNA: Yes. Or at least, in that case, I'd say one of the very useful things is doing deep searches. As you were mentioning earlier about getting the funding—if I was to consider a PhD, which the thought has crossed my mind—I would use AI tools to do searches for potential sources of funding and that kind of research. In fact, I found this course at Winchester because I asked ChatGPT. It knows a lot about me because I chat with it all the time. I was talking about hitting 50 and these are the things I'm really interested in and what courses might interest me. Then it found it for me. That was quite amazing in itself. I'd encourage people to consider using it for part of the research process. But then all the papers it cites or whatever—then you have to go download those, go read them, do that work yourself. MELISSA: Yes, because that's when you bring your viewpoint to something. You and I could read the exact same paper and choose very different parts of it to write about and think about, because we're coming at it from different points of view and different journeys that we're trying to explore. That's where you need the individual to come in. It wouldn't be good enough to just have a generic overview from AI that we both try and slot into our work, because we would want something different from it. JOANNA: I kind of laugh when people say, “Oh, I can tell when it's AI.” I'm like, you might be able to tell when it's AI writing if nobody has taken that personal spin, but that's not the way we use it. If you're using it that way, that's not how those of us who are independent thinkers are using it. We're strong enough in our thoughts that we're using it as a tool. You're a confident person—intellectually and creatively confident—but I feel like some people maybe don't have that. Some people are not strong enough to resist what an AI might suggest. Any thoughts on that? MELISSA: Yes. When I first tried using AI with very little guidance from anyone, it just felt easy but very wooden and not very related to me. Then I've done webinars with you, and that was really useful—to watch somebody actually live doing the batting back and forth. That became a lot more interesting because I really like bouncing ideas and messing around with things and brainstorming, essentially, but with somebody else involved that's batting stuff back to you. “What does that look like?” “No, I didn't mean that at all.” “How about what does this look like?” “Oh no, no, not like that.” “Oh yes, a bit like that, but a bit more like whatever.” I remember doing that and talking to someone about it, going, “Oh, that's really quite an interesting use of it.” And they said, “Why don't you use a person?” I said, “Well, because who am I going to call at 8:30 in the morning on a Thursday and go, ‘Look, I want to spend two hours batting back and forth ideas, but I don't want you to talk about your stuff at all. Just my stuff. And you have to only think about my stuff for two hours. And you have to be very well versed in my stuff as well. Could you just do that?'” Who's going to do that for you? JOANNA: I totally agree with you. Before Christmas, I was doing a paper. It was an art history thing. We had to pick a piece of art or writing and talk about Christian ideas of hell and how it emerged. I was writing this essay and going back and forth with Claude at the time. My husband came in and saw the fresco I was writing about. He said, “No one's going to talk to you about this. Nobody.” MELISSA: Yes, exactly. JOANNA: Nobody cares. MELISSA: Exactly. Nobody cares as much as you. And they're not prepared to do that at 8:30 on a Thursday morning. They've got other stuff to do. JOANNA: It's great to hear because I feel like we're now at the point where these tools are genuinely super useful for independent work. I hope that more people might try that. JOANNA: Okay, we're almost out of time. Where can people find you and your books online? Also, tell us a bit about the types of books you have. MELISSA: I mostly write historical fiction. As I say, I've wandered my way through history—I'm a travelling minstrel. I've done ancient Rome, medieval Morocco, 18th century China, and I'm into Regency England now. So that's a bit closer to home for once. I'm at MelissaAddey.com and you can go and have a bit of a browse and download a free novel if you want. Try me out. JOANNA: Brilliant. Well, thanks so much for your time, Melissa. MELISSA: That was great. Thank you. It was fun. The post Research Like An Academic, Write Like an Indie With Melissa Addey first appeared on The Creative Penn.

Figure skating is one of the most popular sports at the Winter Olympics as it combines world-class athleticism with dance, choreography and music. Jackie Wong is one of the world's leading experts on figure skating and takes us behind the scenes of what it takes to be among the best in the world. From blade sharpening to music choice (the Back Street Boys will be the most popular band in Milan 2026!), figure skaters are defined by their ability to pull off daring manoeuvres with grace against the backdrop of judges watching for the smallest mistake. Wong shares some of his favourite stories from the ice, the routines and stars that have defined the sport and who, and what, to watch for in 2026. Wong is a figure skating analyst and blogs and tweets as Rocker Skating on both his website and podcast. He was a novice skater but has worked as both a judge and coach before covering the sport as an analyst and blogger from 2009.SHOW NOTESJackie's website Jackie's Podcast with co-hosts Michelle Ellis and Tara Nichols Jackie Wong (born April 11, 1982) is a figure skating analyst.[1][2] He blogs, tweets and sells merchandise as Rocker Skating as well as hosting the Ice Talk podcast at Ice Network.[3] He is based in New York.[4]Wong has worked for architectural firm Skidmore, Owings & Merrill, and is currently an associate consultant at McKinsey & Company.[5] A former novice skater who has passed the U.S. Figure Skating juvenile tests and worked as a coach and a judge, he began covering figure skating for Examiner.com in 2009.[6]He created Rocker Skating as a graduate business school project at the University of Pennsylvania in 2015 and began attracting sponsorships.[7] His commentary ranges from offering technical play-by-plays[8] to sharing his opinions on a skater's choice of costumes and music.[9]Wong has a bachelor's degree in economics and urban studies from Stanford University, a Master of Architecture degree from the University of Pennsylvania School of Design and an MBA from Penn's Wharton School.[6] He contributed to the University of Pennsylvania's biomedical research department by analyzing the movement and positions of the arms, legs and head of ice skaters and presenting them as 3D models.[10] He was selected to compete in Season 36 of "Jeopardy!"[11] and came in second place on the episode that aired May 19, 2020.[12] Hosted on Acast. See acast.com/privacy for more information.

We're just poppin in to your earbuds to talk about horse welfare and behavior from a birdseye view. Why is it important, how science has delivered important knowledge about behavior to the equine industry, and Helena's notes from her graduate studies at Penn. Listen in!

This was a strenuous Saturday workout, no doubt, with more misdirection then you'd see at a Penn & Teller performance. Consider 15D, "Science is ___ that works": Kurt Vonnegut, MAGIC (what a fabulous quip!); 31A, Dice rolls from Jail to Free Parking, in Monopoly, TENS (easy if you'd memorized the board!);  and 8D, Part of a great deal?, ACE (what an ACE clue!

Brian Brushwood has been on my radar for the podcast almost since i first began 15 years ago. Since he lives in the Austin area, I always felt I would have time to chat and feature him on an episode. As we approach 1,000 episodes, I'm beginning to shift some guests from the back burner to the front. My son Nick, interned with Brian when he was in the thick of the college circuit in the early 2000's. That was the genesis of many of the future endeavors taken on by Brian like Scam School, Modern Rogue, and even the World's Greatest Con which define Brian's current trajectory.Brian has been and continues to be a trailblazer in our magic community having begun his his own magic career in 1993. He has since garnered the support and admiration of some of magic's biggest names including Jeff McBride, and Teller, one half of the Penn and Teller duo, and even David Copperfield.Since beginning his career in magic, Brushwood has authored six books, including Cheats, Cons, Swindles & Tricks: 57 Ways to Scam a Free Drink; Pack the House: The Ultimate, Ever-Growing Guide to Increasing Attendance to YOUR Campus Events(co-authored with C.J. Johnson); and the Professionals Guide to Fire Eating.Brushwood has made several TV and radio appearances, including appearances on NBC's The Tonight Show with Jay Leno, The Roseanne Show, E! Entertainment Television's Talk Soup, the WB's Steve Harveys Big Time, Tech TVs Unscrewed with Martin Sargent, CMTs Most Wanted Live, BBCs The Paul Coyte Show, Westwood One's “Don and Mike Show,” ABC-TV's “The Debra Duncan Show, “The Shannon Burke Show” on KJFK-FM, Dudley and Bob” on KLBJ-FM, “The Morning Zoo” on KASE-FM, as well as news affiliates for ABC, FOX, CBS and Time-Warner. View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize Brian Brushwood is a magician, podcaster, author, lecturer and comedian. Brushwood is known for the series Scam School, a show where he teaches the audience entertaining tricks at bars so they can "scam" a free drink from their friends. In addition to Scam School, Brushwood hosts Hacking the System on National Geographic Channel and also hosts the podcasts Weird Things, Cordkillers, and Night Attack. Brushwood has been a regular guest on This Week in Tech and previously hosted Game On! with Veronica Belmont on TWiT.Among the many suggestions and links for you to follow, I heartily suggest you follow The World's Greatest Con by Clicking Here. Download this podcast in an MP3 file by Clicking Here and then right click to save the file. You can also subscribe to the RSS feed by Clicking Here. You can download or listen to the podcast through Pandora and SiriusXM (formerly Stitcher) by Clicking Here or through FeedPress by Clicking Here or through Tunein.com by Clicking Here or through iHeart Radio by Clicking Here. If you have a Spotify account, then you can also hear us through that app, too. You can also listen through your Amazon Alexa and Google Home devices. Remember, you can download it through the iTunes store, too. See the preview page by Clicking Here.

Message us!In this episode of A Crude Bit of Humor, Buffie and Coby sit down with attorney Melissa Gardner to explore how major legal decisions, title opinions, and real‑world mineral ownership challenges shape today's oil & gas landscape. From Oklahoma and Texas jurisdiction questions to surprising situations that land on a title attorney's desk, this conversation highlights the unique risks and realities faced across the industry.In this episode you will hear: How a major Supreme Court decision reshaped jurisdiction and risk in Oklahoma's oil & gas industryWhat title attorneys really look for, and why affidavits of heirship can create major surprisesA real‑life mineral ownership story that takes an unexpected turnFill out this form to have new episodes sent right to your inbox! Follow Whitley Penn on LinkedIn, Instagram, Facebook, and X for more industry insights and thought leadership!

Penn is recording from bed while he recovers from his broken ankle and Matt is snowed in dealing with weather cancellations on tour. But none of that can stop the Preaching Love! Penn’s unprecedented new pain relief, somehow managing to listen to even more Dylan, crazy audience volunteers on the Jokers of Magic Tour, and more.

This week, the effortlessly talented actor Meghann Fahy stops by for a candid look at her journey from shy, gap-toothed singer to Emmy-nominated star. Meghann reflects on her "two-line" Gossip Girl debut, her whirlwind days on Broadway, and subverting expectations as Daphne on the smash series The White Lotus. Plus, Penn and Meghann discuss their upcoming rom-com, You Deserve Each Other, and the social media feud that nearly broke the internet. To learn more about therapy with NOCD, go to https://www.nocd.com and schedule a free 15-minute call with their team.

In this episode, Dan is joined by Anna Kaplan to discuss her journey in lacrosse and overcoming ACL injury. Anna Kaplan is a senior midfielder for the Loyola University Maryland women's lacrosse team in the Patriot League. A constant presence in the midfield, she posted four goals and four assists across 18 games in her junior season and scored against top-ranked opponents including Boston College, Penn, and Syracuse. After missing her sophomore season due to injury, Anna's journey has been defined by perseverance, commitment to her team, and growth through the game both on and off the field. A product of Twin Valley High School in Elverson, PA, she brings competitive grit and leadership to every draw and ride. Follow her lacrosse journey on Instagram: @annakaplan.Season 7 of the Braun Performance & Rehab Podcast is proudly supported by Pura Health, bringing ultrasound into every clinician's hands. Learn more at purahealth.net and @pura.health_ultrasound.Additional support provided by Firefly Recovery, the official recovery partner of Braun Performance & Rehab (recoveryfirefly.com), and Dr. Ray Gorman of Engage Movement. Learn how to grow your income beyond sessions—follow @raygormandpt on Instagram and DM “Dan” for a free breakdown of the blended practice model.Episode Affiliates: Isophit (BRAUNPR25%), MoboBoard (BRAWNBODY10), AliRx (DBraunRx), MedBridge (BRAWN), CTM Band (BRAWN10), Ice Shaker (affiliate link).If you enjoyed this episode, share it with someone who would benefit and leave a 5-star review.Explore more from Dan at linktr.ee/braun_pr.

Brynleigh and Cyrus are trapped within Magnus's icy walls while Penn opens the barrier between worlds.Do you want to buy the script? ⁠https://tinyurl.com/sixminutesscript⁠Want to listen to music from the show? ⁠https://tinyurl.com/sixminutestheme⁠Looking for official Six Minutes merch? ⁠https://tinyurl.com/sixminutesmerch⁠For more great shows and to listen early and ad-free, visit ⁠GZMshows.com⁠.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week calls for a hug and cookie cake that says “Happy Birthday” (even though it's nobody's birthday... more on this in the show.) If you're feeling worn down, overwhelmed, or just need a break from everything feeling so heavy, this episode is for you. We're talking about the little things that make us laugh when the world feels like too much.Snow day chaos. January being the longest Monday of the year. Dogs in slow motion. Buying dessert for no reason. Letting your spouse be a dancing bear whose only job is to cheer you up (even when said spouse has shingles... also more on this in the show.)We don't ignore what's hard, but we also believe laughter is a survival skill. So this episode is a reminder that you're not alone if you're craving a moment of relief right now. We love to hear from you! Leave us a message at 323-364-3929 or write the show at podcast@theholdernessfamily.com. You can also watch our podcast on YouTube.Visit Our ShopJoin Our NewsletterFind us on SubstackFollow us on InstagramFollow us on TikTok Follow us on FacebookLaugh Lines with Kim & Penn Holderness is an evolution of The Holderness Family Podcast, which began in 2018. Kim and Penn Holderness are award-winning online content creators known for their original music, song parodies, comedy sketches, and weekly podcasts. Their videos have resulted in over three billion views and over nine million followers since 2013. Penn and Kim are also authors of the New York Times Bestselling Books, ADHD Is Awesome: A Guide To (Mostly) Thriving With ADHD and All You Can Be With ADHD. They were also winners on The Amazing Race (Season 33) on CBS. Laugh Lines is hosted and executive produced by Kim Holderness and Penn Holderness, with original music by Penn Holderness. Laugh Lines is also written and produced by Ann Marie Taepke, and edited and produced by Sam Allen. It is hosted by Acast. Thanks for listening! Hosted on Acast. See acast.com/privacy for more information.

In this second episode of Sustaining Your Journey, we're exploring what it means to take a nonlinear path — to start differently, not over. Tommy Bergstrom serves as Senior Associate Director of Leadership Annual Gifts with The Penn Fund, where he's building new pipelines for engagement andphilanthropy. His career began in admissions, and his transition into development offers a look at how growth often means shifting your sphere of influence — and learning new cultural norms along the way.Tommy shares the challenges and wins of his career pivot, what it means to build something new from the inside, and how leadership can look different at every stage.Previously, he served as Director of Visit Experience with Penn Admissions. He holds a B.A. from Franklin & Marshall College and an M.S. in Nonprofit Leadership from Penn's School of Social Policy and Practice. Tommy volunteers with both his undergraduate and graduate schools, as well as with HeightsPhiladelphia.

Could live selling be the next big opportunity for indie authors? Adam Beswick shares how organic marketing, live streaming, and direct sales are transforming his author career—and how other writers can do the same. In the intro, book marketing principles [Self-Publishing with ALLi]; Interview with Tobi Lutke, the CEO and co-founder of Shopify [David Senra]; The Writer's Mind Survey; Bones of the Deep – J.F. Penn; Alliance of Independent Authors Indie Author Lab. 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 Adam Beswick is a bestselling fantasy author and an expert in TikTok marketing for authors, as well as a former NHS mental health nurse. Adam went full-time as an indie author in 2023 and now runs AP Beswick Publications. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How Adam scaled from garden office to warehouse, with his wife leaving her engineering career to join the business Why organic marketing (free video content) beats paid ads for testing what resonates with readers The power of live selling: earning £3,500 in one Christmas live stream through TikTok shop Mystery book bags: a gamified approach to selling that keeps customers coming back Building an email list of actual buyers through direct sales versus relying on platform algorithms Why human connection matters more than ever in the age of AI-generated content You can find Adam at APBeswickPublications.com and on TikTok as @a.p_beswick_publications. Transcript of interview with Adam Beswick Jo: Adam Beswick is a bestselling fantasy author and an expert in TikTok marketing for authors, as well as a former NHS mental health nurse. Adam went full-time as an indie author in 2023 and now runs AP Beswick Publications. Welcome back to the show, Adam. Adam: Hi there, and thank you for having me back. Jo: Oh, I'm super excited to talk to you today. Now, you were last on the show in May 2024, so just under two years, and you had gone full-time as an author the year before that. So just tell us— What's changed for you in the last couple of years? What does your author business look like now? Adam: That is terrifying to hear that it was that long ago, because it genuinely feels like it was a couple of months ago. Things have certainly been turbocharged since we last spoke. Last time we spoke I had a big focus on going into direct sales, and I think if I recall correctly, we were just about to release a book by Alexis Brooke, which was the first book in a series that we had worked with another author on, which was the first time we were doing that. Since then, we now have six authors on our books, with a range of full agreements or print-only deals. With that focus of direct selling, we have expanded our TikTok shop. In 2024, I stepped back from TikTok shop just because of constraints around my own time. We took TikTok shop seriously again in 2025 and scaled up to a six-figure revenue stream throughout 2025, effectively starting from scratch. That means we have had to go from having an office pod in the garden, to my wife now has left her career as a structural engineer to join the business because there was too much for me to manage. We went from this small office space, to now we have the biggest office space in our office block because we organise our own print runs and do all our distribution worldwide from what we call “AP HQ.” Jo: And you don't print books, but you have a warehouse. Adam: Yes, we have a warehouse. We work with different printers to order books in. We print quite large scale—well, large scale to me—volumes of books. Then we have them ordered to here, and then we will sign them all and distribute everything from here. Jo: Sarah, your wife, being a structural engineer—it seems like she would be a real help in organising a business of warehousing and all of that. Has that been great [working with your wife]? Because I worked with my husband for a while and we decided to stop doing that. Adam: Well, we're still married, so I'm taking that as a win! And funnily enough, we don't actually fall out so much at work. When we do, it's more about me being quite chaotic with how I work, but also I can at times be quite inflexible about how I want things to be done. But what Sarah's fantastic at is the organisation, the analytics. She runs all the logistical side of things. When we moved into the bigger office space, she insisted on us having different offices. She's literally shoved me on the other side of the building. So I'm out the way—I can just come in and write, come and do my bit to sign the books, and then she can just get on with organising the orders and getting those packed and sent out to readers. She manages all the tracking, the customs—all the stuff that would really bog me down. I wouldn't say she necessarily enjoys it when she's getting some cranky emails from people whose books might have gone missing or have been held up at customs, but she's really good at that side. She's really helped bring systems in place to make sure the fulfilment side is as smooth as possible. Jo: I think this is so important, and I want everyone to hear you on this. Because at heart, you are the creative, you are a writer, and sure you are building this business, but I feel like one of the biggest mistakes that creative-first authors make is not getting somebody else to help them. It doesn't have to be a spouse, right? It can also be another professional person. Sacha Black's got various people working for her. I think you just can't do it alone, right? Adam: Absolutely not. I would have drowned long before now. When Sarah joined the team, I was at a position where I'd said to her, “Look, I need to look at bringing someone in because I'm drowning.” It was only then she took a look at where her career was, and she'd done everything she wanted to do. She was a senior engineer. She'd completed all the big projects. I mean, this is a woman who's designed football stands across the UK and some of the biggest barn conversions and school conversions and things like that. She'd done everything professionally that she'd wanted to and was perhaps losing that passion that she once had. So she said she was interested, and we said, “Look, why don't you come and spend a bit of time working with me within the business, see whether it works for you, see if we can find an area that works for you—not you working for the business, the business working for you—that we maintain that work-life balance.” And then if it didn't work, we were in a position where we could set her up to start working for herself as an engineer again, but under her own terms. Then we just went from strength to strength. We made it through the first year. I think we made it through the first year without any arguments, and she's now been full-time in the business for two years. Jo: I think that's great. Really good to hear that. Because when I met you, probably in Seville I think it was, I was like, “You are going to hit some difficulty,” because I could see that if you were going to scale as fast as you were aiming to— There are problems of scale, right? There's a reason why lots of us don't want a bloomin' warehouse. Adam: Yes, absolutely. I think it's twofold. I am an author at heart—that's my passion—but I'm also a businessman and a creative from a marketing point of view. I always see writing as the passion. The business side and the creating of content—that's the work. So I never see writing as work. When I was a nurse, I was the nurse that was always put on the wards where no one else wanted to work because that's where I thrived. I thrive in the chaos. Put me with people who had really challenging behaviour or were really unwell and needed that really intense support, displayed quite often problematic behaviours, and I would thrive in those environments because I'd always like to prove that you can get the best out of anyone. I very much work in that manner now. The more chaotic, the more pressure-charged the situation is, the better I thrive in that. If I was just sat writing a book and that was it, I'd probably get less done because I'd get bored and I wouldn't feel like I was challenging myself. As you said, the flip side of that is that risk of burnout is very, very real, and I have come very, very close. But as a former mental health nurse, I am very good at spotting my own signs of when I'm not taking good care of myself. And if I don't, Sarah sure as hell does. Jo: I think that's great. Really good to hear. Okay, so you talked there about creating the content as work, and— You have driven your success, I would say, almost entirely with TikTok. Would that be right? Adam: Well, no, I'd come back and touch on that just to say it isn't just TikTok. I would say definitely organic marketing, but not just TikTok. I'm always quick to pivot if something isn't working or if there's a dip in sales. I'm always looking at how we can—not necessarily keep growing—but it's about sustaining what you've built so that we can carry on doing this. If the business stops earning money, I can't keep doing what I love doing, and me and my wife can't keep supporting our family with a stable income, which is what we have now. I would say TikTok is what started it all, but I did the same as having all my books on Amazon, which is why I switched to doing wide and direct sales: I didn't want all my eggs in one basket. I was always exploring what platforms I can use to best utilise organic marketing, to the point where my author TikTok channel is probably my third lowest avenue for directing traffic to my store at the moment. I have a separate channel for my TikTok shop, which generates great traffic, but that's a separate thing because I treat my TikTok shop as a separate audience. That only goes out to a UK audience, whereas my main TikTok channel goes out to a worldwide audience. Jo: Okay. So we are going to get into TikTok, and I do want to talk about that, but you said TikTok Shop UK and— Then you mentioned organic marketing. What do you mean by that? Adam: When I say organic marketing, I mean marketing your books in a way that is not a detriment to your bank balance. To break that down further: you can be paying for, say for example, you set up a Facebook ad and you are paying five pounds a day just for a testing phase for an ad that potentially isn't going to work. You potentially have to run 5, 6, 7, 8, 9, 10 ads at five pounds a day to find one ad that works, that will make your book profitable. There's a lot of testing, a lot of money that goes into that. With organic marketing, it's using video marketing or slideshows or carousels on TikTok, Instagram, YouTube, Facebook—wherever you want to put it—to find the content that does resonate with your readers, that generates sales, and it doesn't cost you anything. I can create a video on TikTok, put it out there, and it reaches three, four hundred people. That hasn't cost me any money at all. Those three, four hundred people have seen my content. That's not TikTok's job for that to generate sales. That's my job to convert those views into sales. If it doesn't, I just need to look at the content and say, “Well, that hasn't hit my audience, or if it has, it hasn't resonated. What do I need to do with my content to make it resonate and then transition into sales?” Once you find something that works, it's just a case of rinse and repeat. Keep tweaking it, keep changing or using variants of that content that's working to generate sales. If you manage to do that consistently, you've already got content that you know works. So when you've built up consistent sales and you are perhaps earning a few thousand pounds a month—it could be five figures a month—you've then got a pool of money that you've generated. You can use that then to invest into paid ads, using the content you've already created organically and tested organically for what your audience is going to interact with. Jo: Okay. I think because I'm old school from the old days, we would've called that content marketing. But I feel like the difference of what you are doing and what TikTok—I think the type of behaviour TikTok has driven is the actual sales, the conversion into sales. So for example, this interview, right? My podcast is content marketing. It puts our words out in the world and some people find us, and some people buy stuff from us. So it's content marketing, but it's not the way you are analysing content that actually drives sales. Based on that content, there's no way of tracking any sales that come from this interview. We are just never going to know. I think that's the big difference between what you are doing with content versus what I and many other, I guess, older creators have done, which is— We put stuff out there for free, hope that some people might find us, and some of those people might buy. It's quite different. Adam: I would still argue that it is organic marketing, because you've got a podcast that people don't have to pay to listen to, that they get enjoyment from, and the byproduct of that is you generate some income passively through that. If you think of your podcast as one product and your video content is the same—these social media platforms—you don't just post your podcast on one platform. You will utilise as many platforms as you can, unless you have a brand agreement where a platform is paying you to solely use their platform because you or yourself are the driver for the audience there. I would say a podcast is a form of organic marketing. I could start a podcast about video marketing. I could start a podcast about reading. The idea being you build up an audience and then when you drop in those releases, that audience then goes and buys that product. For example, if you've got a self-help book coming out, if you drop that into your podcast, chances are you're going to get a lot more sales from your audience that are here to listen to you as the inspirational storyteller that you are from a business point of view than what you would if you announced that you had a new crime novel coming out or a horror story you've written. Your audience within here is generally an author audience who are looking to refine their craft—whether that be the writing or the selling of the books or living the dream of being a full-time author. I think it's more a terminology thing. Jo: Well, let's talk about why I wanted to talk to you. A friend of ours told me that you are doing really well with live sales. This was just before Christmas, I think. And I was like, “Live sales? What does that even mean?” Then I saw that Kim Kardashian was doing live sales on TikTok and did this “Kim's Must Have” thing, and Snoop Dogg was there, and it was this massive event where they were selling. I was like, “Oh, it's like TV sales—the TV sales channel where you show things and then people buy immediately.” And I was like, “Wait, is Adam like the Kim Kardashian of the indie author?” So tell us about this live sale thing. Adam: Well, I've not got that far to say that I have the Kim Kardashian status! What it is, is that I'm passionate about learning, but also sharing what's working for me so that other authors can succeed—without what I'm sharing being stuck behind a paywall. It is a big gripe of mine that you get all these courses and all these things you can do and everything has to be behind a paywall. If I've got the time, I'll just share. Hence why we were in Vegas doing the presentations for Indie Author Nation, which I think had you been in my talk, Jo, you would've heard me talking about the live selling. Jo: Oh, I missed it. I'll have to get the replay. Adam: I only covered a short section of it, but what I actually said within that talk is, for me, live selling is going to be the next big thing. If you are not live selling your books at the moment, and you are not paying attention to it, start paying attention to it. I started paying attention about six months ago, and I have seen constant growth to a point where I've had to post less content because doing one live stream a week was making more money than me posting content and burning myself out every single day for the TikTok shop. I did a live stream at the beginning of Christmas, for example. A bit of prep work went into it. We had a whole Christmas set, and within that one live stream we generated three and a half thousand pounds of organic book sales. Jo: Wow. Adam: Obviously that isn't something that happened overnight. That took me doing a regular Friday stream from September all the way through to December to build up to that moment. In fact, I think that was Black Friday, sorry, where we did that. But what I looked at was, “Right, I haven't got the bandwidth because of all the plates I was spinning to go live five days a week. However, I can commit to a Friday morning.” I can commit to a Friday morning because that is the day when Sarah isn't in the office, and it's my day to pack the orders. So I've already got the orders to pack, so I thought I'll go live whilst I'm packing the orders and just hang out and chat. I slowly started to find that on average I was earning between three to four hundred pounds doing that, packing orders that I already had to pack. I've just found a way to monetise it and engage with a new audience whilst doing that. The thing that's key is it is a new audience. You have people who like to consume their content through short-form content or long-form content. Then you have people who like to consume content with human interaction on a live, and it's a completely different ballgame. What TikTok is enabling us to do—on other platforms I am looking at other platforms for live selling—you can engage with an audience, but because on TikTok you can upload your products, people can buy the products direct whilst you are live on that platform. For that, you will pay a small fee to TikTok, which is absolutely worth it. That's part of the reason we've been able to scale to having a six-figure business within TikTok shop itself as one revenue stream. Jo: Okay. So a few things. You mentioned there the integration with TikTok shop. As I've said many times, I'm not on TikTok—I am on Instagram—and on Instagram you can incorporate your Meta catalogue to Shopify. Do you think the same principle applies to Instagram or YouTube as well? I think YouTube has an integration with Shopify. Do you think the same thing would work that way? Adam: I think it's possible. Yes, absolutely. As long as people can click and buy that product from whatever content they are watching—but usually what it will have to do is redirect them to your store, and you've still got all the conversion metrics that have to kick in. They have to be happy with the shipping, they have to be happy with the product description and stuff like that. With TikTok shop, it's very much a one-stop shop. People click on the product, they can still be watching the video, click to buy something, and not leave the stream. Jo: So the stream's on, and then let's say you are packing one of your books— Does that product link just pop up and then people can buy that book as you are packing it? Adam: So we've got lots and lots of products on our store now. I always have a product link that has all our products listed, and I always keep all of the bundles towards the top because they generate more income than a single book sale. What will happen is I can showcase a book, I'll tap the screen to show what product it is that I'm packing, and then I'll just talk about it. If people want it, they just click that product link and they can buy it straight away. What people get a lot of enjoyment from—which I never expected in a million years—is watching people pack their order there and then. As an author, we're not just selling a generic product. We're selling a book that we have written, that we have put our heart and soul into. People love that. It's a way of letting them into a bit of you, giving them a bit of information, talking to them, showing them how human you are. If you're on that live stream being an absolute arse and not very nice, people aren't going to buy your books. But if you're being welcoming, you're chatting, you're talking to everyone, you're interacting, you're showcasing books they probably will. What we do is if someone orders on the live stream, we throw some extra stuff in, so they don't just get the books, they'll get some art prints included, they'll get some bookmarks thrown in, and we've got merch that we'll throw in as a little thank you. Now it's all stuff that is low cost to us, because actually we're acquiring a customer in that moment. I've got people who come onto every single Friday live stream that I do now. They have bought every single product in our catalogue and they are harassing me for when the next release is out because they want more, before they even know what that is. They want it because it's being produced by us—because of our brand. With the lives, what I found is the branding has become really important. We're at a stage where we're being asked—because I'm quite well known for wearing beanie hats on live streams or video content—people are like, “When are you going to release some beanie hats?” Now and again, Sarah will drop some AP branded merch. It'll be beer coasters with the AP logo on, or a tote bag with the AP logo on. It's not stuff that we sell at this stage—we give them away. The more money people spend, the more stuff we put in. And people are like, “No, no, you need to add these to the store because we want to buy them.” The brand itself is growing, not just the book sales. It's becoming better known. We've got Pacificon in April, and there's so many people on that live stream that have bought tickets to meet us in person at this conference in April, which is amazing. There's so much going on. With TikTok shop, it only works in the country where you are based, so it only goes out to a UK audience, which is why I keep it separate from my main channel. That means we're tapping into a completely new audience, because up until last year, I'd always targeted America—that's where my biggest readership was. Jo: Wow. There's so much to this. Okay. First of all, most people are not going to have their own warehouse. Most people are not going to be packing live. So for authors who are selling on, let's just say Amazon, can live sales still work for them? Could they still go live at a regular time every week and talk about a book and see if that drives sales, even if it's at Amazon? Adam: Yes, absolutely. I would test that because ultimately you're creating a brand, you're putting yourself out there, and you're consistently showing up. You can have people that have never heard of you just stumble across your live and think, “What are they doing there?” They're a bit curious, so they might ask some questions, they might not. They might see some other interactions. There's a million and one things you can do on that live to generate conversation. I've done it where I've had 150 books to sign, so I've just lined up the books, stood in front of the camera, switched the camera on while I'm signing the books, and just chatted away to people without any product links. People will come back and be like, “Oh, I've just been to your store and bought through your series,” and stuff like that. So absolutely that can work. The key is putting in the work and setting it up. I started out by getting five copies of one book, signing them, and selling them on TikTok shop. I sold them in a day, and then that built up to effectively what we have now. That got my eyes open for direct selling. When I was working with BookVault and they were integrated with my store, orders came to me, but then they went to BookVault—they printed and distributed. Then we got to a point scaling-wise where we thought, “If we want to take this to the next level, we need to take on distribution ourselves,” because the profit lines are better, the margins are bigger. That's why we started doing it ourselves, but only once we'd had a proven track record of sales spanning 18 months to two years and had the confidence. It was actually with myself and Sacha that we set up at the same time and egged each other on. I think I was just a tiny bit ahead of her with setting up a warehouse. And then as you've seen, Sacha's gone from strength to strength. It doesn't come without its trigger warnings in the sense of it isn't an easy thing to do. I think you have to have a certain skill set for live selling. You have to have a certain mindset for the physicality that comes with it. When we've had a delivery of two and a half thousand books and we've got to bring them up to the first floor where the office is—I don't have a massive team of people. It's myself and Sarah, and every now and again we get my dad in to help us because he's retired now. We'll give him a bottle of wine as a thank you. Jo: You need to give him some more wine, I think! Adam: Yes! But you've gotta be able to roll your sleeves up and do the work. I think if you've got the work ethic and that drive to succeed, then absolutely anyone can do it. There's nothing special about my books in that sense. I've got a group called Novel Gains where I've actually started a monthly challenge yesterday, and we've got nearly two and a half thousand people in the group now. The group has never been more active because it's really energised and charged. People have seen the success stories, and people are going on lives who never thought it would work for them. Lee Mountford put a post up yesterday on the first day of this challenge just to say, “Look, a year ago I was where you were when Adam did the last challenge. I thought I can't do organic marketing, I can't get myself on camera.” Organic marketing and live selling is now equating to 50% of his income. Jo: And he doesn't have a warehouse. Adam: Well, he scaled up to it now, so he's got two lockups because he scaled up. He started off small, then he thought, “Right, I'm going to go for it.” He ordered a print run of a few of his books—I think 300 copies of three books. Bundled them up, sold them out within a few months. Then he's just scaled from there because he's seen by creating the content, by doing the lives, that it's just creating a revenue stream that he wasn't tapping into. Last January when we did the challenge, he was really engaged throughout the process. He was really analytical with the results he was getting. But he didn't stop after 30 days when that challenge finished. He went away behind the scenes for the next 11 months and has continued to grow. He is absolutely thriving now. Him and his wife—a husband and wife team—his wife is also an author, and they've now added her spicy books to their TikTok shop. They're just selling straight away because he's built up the audience. He's built up that connection. Jo: I think that's great. And I love hearing this because I built my business on what I've called content marketing—you're calling it organic marketing. So I think it's really good to know that it's still possible; it's just a different kind. Now I just wanna get some specifics. One— Where can people find your Novel Gains stuff? Adam: So Novel Gains is an online community on Facebook. As I said, there's no website, there's no fancy website, there's no paid course or anything. It is just people holding themselves accountable and listening to my ramblings every now and again when I try and share pills of wisdom to try and motivate and inspire. I also ask other successful authors to drop their story about organic marketing on there, to again get people fired up and show what can be achieved. Jo: Okay. That's on Facebook. So then let's talk about the setup. I think a lot of the time I get concerned about video because I think everything has to be on my phone. How are you setting this up technically so you can get filmed and also see comments and all of this kind of stuff? Adam: Just with my phone. Jo: It is just on your phone? Adam: Yes. I don't use any fancy camera tricks or anything. I literally just settle my phone and hit record when I'm doing it. Jo: But you set it up on a tripod or something? Adam: Yes. So I'll have a tripod. I don't do any fancy lighting or anything like that because I want the content to seem as real as possible. I'll set up the camera at an angle that shows whatever task I'm doing. For example, if I'm packing orders, I can see the screen so I can see the comments as they're coming up. It's close enough to me to interact. At Christmas, we did have a bit of a setup—it did look like a QVC channel, I'm not going to lie! I was at the back. There was a table in front of me with products on. We had mystery book bags. We had a Christmas tree. We had a big banner behind me. The camera was on the other side of the room, but I just had my laptop next to me that was logged into TikTok, so I was watching the live stream so I could see any comments coming up. Jo: Yes, that's the thing. So you can have a different screen with the comments. Because that's what I'm concerned about—it might just be the eyesight thing, but I'm like, I just can't literally do everything on the phone. Adam: TikTok has a studio—TikTok Studio—that you can download, and you can get all your data and analytics in there for your live streams. At the moment, I'll just tap the screen to add a new product or pin a new product. You can do all that from your computer on this studio where you can say, “Right, I'm showcasing this product now,” click on it and it'll come up onto the live stream. You just have to link the two together. Jo: I'm really thinking about this. Partly this is great because my other concern with TikTok and all these video channels is how much can be done by AI now. TikTok has its own AI generation stuff. A lot of it's amazing. I'm not saying it's bad quality, I'm saying it's amazing quality, but— What AI can't do is the live stuff. You just can't—I mean, I imagine you can fake it, but you can't fake it. Adam: Well, you'd be surprised. I've seen live streams where it's like an avatar on the screen and there is someone talking and then the avatar moving in live as that person's talking. Jo: Right? Adam: I've seen that where it's animals, I've seen it where it's like a 3D person. There's a really popular stream at the minute that is just a cartoon cat on the stream. Whenever you send a gift, it starts singing whoever sent it—it gets a name—and that's a system that someone has somehow set up. I have no idea how they've set it up, but they're literally not doing it. That can run 24 hours a day. There's always hundreds and hundreds of people on it sending gifts to hear this cat sing with an AI voice their name. Yes, AI will work and it will work for different things. But I think with us and with our books, people want that human connection more than ever because of AI. Use that to your advantage. Jo: Okay. So the other thing I like about this idea is you are doing these live sales and then you are looking at the amount you've sold. But are you making changes to it? Or are you only tweaking the content on your prerecorded stuff? Your live is so natural. How are you going to change it up, I guess? Adam: I am always testing what is working, what's not working. For example, I'm a big nerd at heart and I collect Pokémon cards. Now that I'm older, I can afford some of the more rare stuff, and me and my daughter have a lot of enjoyment collecting Pokémon cards together. We follow channels, we watch stuff on YouTube, and I was looking at what streamers do with Pokémon cards and how they sell like mystery products on an app or whatnot. I was like, “How can I apply this to books?” And I came up with the idea of doing mystery book bags. People pay 20 pounds, they get some goodies—some carefully curated goodies, as we say, that “Mrs. B” has put together. On stream, I never give the audience Sarah's name. It's always “Mrs. B.” So Mrs. B has built up her own brand within the stream—they go feral when she comes on camera to say hi! Then there's some goodies in there. That could be some tote socks, a tote bag, cup holders, page holders, metal pins, things like that. Then inside that, I'll pull out a thing that will say what book they're getting from our product catalogue. What I make clear is that could be anything from our product catalogue. So that could be a single book, it could be six books, it could be a three-book bundle. There's all sorts that people can get. It could be a deluxe special edition. People love that, and they tend to buy it because there's so much choice and they might be struggling with, “Right, I don't know what to get.” So they think, “You know what? I'll buy one of them mystery book bags.” I only do them when I'm live. I've done streams where the camera's on me. I've done top-down streams where you can only see my hands and these mystery book bags. Every time someone orders one, I'm just opening it live and showcasing what product they get from the stream. People love it to the point where every stream I do, they're like, “When are you doing the next mystery book bags? When are you doing the next ones?” Jo: So if we were on live now and I click to buy, you see the order with my name and you just write “Jo” on it, and then you put it in a pile? Adam: So you print labels there and then, which I'll do. Exactly. If I'm live packing them—I'm not going to lie—when I'm set up properly, I don't have time to pack them because the orders are coming in that thick and fast. All I do is have a Post-it note next to me, and I'll write down their username, then I'll stick that onto their order. I'll collect everything, showcase what they're getting, the extra goodies that they're getting with their order, and then I'll stick the Post-it on and put that to one side. To put that into context as something that works through testing different things: we started off doing 60 book bags—30 of them were spicy book bags, 30 were general fantasy which had my books and a couple of our authors that haven't got spice in their books—and the aim was to sell them within a month. We sold them within one stream. 60 book bags at 20 pounds a pop. What that also generated is people then buying other products while we're doing it. It also meant that I'd do it all on a Friday, and we'd come in on a Monday and start the week with 40, 50, 60 orders to pack regardless of what's coming from the Shopify store. The level of orders is honestly obscene, but we've continuously learned how best to manage this. We learned that actually, if you showcase the orders, stick a Post-it on, when we print the shipping labels, it takes us five minutes to just put all the shipping labels with everyone's orders. Then we can just fire through packing everything up because everything's already bundled together. It literally just needs putting in a box. Jo: Okay. So there's so much we could talk about, but hopefully people will look into this more. So I went to go watch a video—I thought, “Oh, well, I'll just go watch Adam do this. I'm sure there's a recording”—and then I couldn't find one. So tell me about that. Does [the live recording] just disappear or what? Adam: Yes, it does. It's live for a reason. You can download it afterwards if you want, and then you've got content to repurpose. In fact, you're giving me an idea. I've done a live today—I could download that clip that's an hour and 20 minutes long. Some of it, I'm just rambling, but some of it's got some content that I could absolutely use because I'm engaging with people. I've showcased books throughout it because I've been packing orders. I had an hour window before this podcast and I had a handful of orders to pack. So I just jumped on a live and I made like 250 pounds while doing a job that I would already be having to do. I could download that video, put it in OpusClip, and that will then generate short-form content for me of the meaningful interaction through that, based on the parameters that I give it. So that's absolutely something you could do. In fact, I'm probably going to do it now that you've given me the idea. Jo: Because even if it was on another channel, like you could put that one on YouTube. Adam: Yes. Wherever you want. It doesn't have a watermark on it. Jo: And what did you say? OpusClip? Adam: OpusClip, yes. If you do long-form content of any kind, you can put that in and then it'll pull out meaningful content. Loads of like 20, 30 short-form content video clips that you can use. It's a brilliant piece of software if you use it the right way. Jo: Okay. Well I want you to repurpose that because I want to watch you in action, but I'm not going to turn up for your live—although now I'm like, “Oh, I really must.” So does that also mean—you said it's UK only because the TikTok shop is linked to the UK— So people in America can't even see it? Adam: So sometimes they do pop in, but again, that's why I have a separate channel for my main author account. When I go live on that, anyone from around the world can come in. But if I've got shoppable links in, chances are the algorithm is just going to put that out to a UK audience because that's where TikTok will then make money. If I want to hit my US audience, I'll jump on Instagram because that's where I've got my biggest following. So I'll jump on Instagram and go live over there at a time that I know will be appropriate for Americans. Jo: Okay. We could talk forever, but I do have just a question about TikTok itself. All of these platforms seem to follow a way of things where at the beginning it's much easier to get reach. It is truly organic. It's really amazing. Then they start putting on various brakes—like Facebook added groups, and then you couldn't reach people in your groups. And then you had to pay to play. Then in the US of course, we've got a sale that has been signed. Who knows what will happen there. What are your thoughts on how TikTok has changed? What might go on this year, and how are you preparing? Adam: So, I think as a businessman and an author who wants to reach readers, I use the platforms for what I can get out of them without having to spend a stupid amount of money. If those platforms stop working for me, I'll stop using them and find one that does. With organic reach on TikTok, I think you'll always have a level of that. Is it harder now? Yes. Does that mean it's not achievable? Absolutely not. If your content isn't reaching people, or you're not getting the engagement that you want, or you find fulfilling, you need to look at yourself and the content you are putting out. You are in control of that. There's elements of this takeover in America—again, I've got zero control over that, so I'm not going to lose any sleep over it. I'll focus on areas that are making a difference. As I said, TikTok isn't the biggest earner for my business. My author channel's been absolutely dead for a good six months or so. But that means I get stagnant with the content I'm creating. So the challenge I'm doing at the minute, I'm taking part to create fresh content every day to recharge myself. I've got Instagram and Facebook that generate high volumes of traffic every single day. And usually if they stop, TikTok starts to work. Any algorithm changes—things will change when it changes hands in America—but primarily it still wants to make money. It's a business. If anything, it might make it harder for us to reach America because it will want to focus on reaching an American audience for the people that are buying TikTok shop. But they want it because they want the TikTok shop because of the amount of money that it is generating. It's gone from a small amount of people making money to large volumes of businesses across the entire USA—like over here now—that are reaching an audience that previously you had to have deep pockets to reach, to get your business set up. Now you've got all these businesses popping up that are starting from scratch because they're reaching people. They've got a product that's marketable, that people want to enjoy. They want to be part of that growth. I think that will still happen. It might just be a few of the parameters change, like Facebook does all the time. Jo: Things will always change. That is key. We should also say by selling direct, you've built presumably a very big email list of buyers as well. Adam: Yes. I've actually got a trophy that Shopify sent me because we hit 10,000 sales—10,000 customers. I think we're nearing 16,000 sales on there now. We've got all that customer data. We don't get that on TikTok. We haven't got the customer data. Jo: Ah, that's interesting. Okay. How do you not though? Oh, because—did they ship it? Adam: So if you link it with your Shopify and you do all your shipping direct, the customer data has to come to your Shopify, otherwise you can't ship. When TikTok ship it for you—so I print the shipping labels, but they organise the couriers—all the customer data's blotted out. It's like redacted, so you don't see it. Jo: Ah, see that is in itself a cheeky move. Adam: Yes. But if it's linked to your Shopify, you get all that data and your Shopify is your store. So your Shopify will keep that data. They kept affecting how I extracted the shipping labels and stuff like that, and just kept making life really difficult. So I've just switched it back. I think Sarah has found an app that works really well for correlating the two. Jo: Yes, but this is a really big deal. We carp on about it all the time, but— If you sell direct and you do get the customer data, you are building an email list of actual buyers as opposed to freebie seekers. Which a lot of people have. Adam: Absolutely, and that's the same for you. If you send poor products out or your customer has a poor experience, they're not going to come back and order from you again. If your customer has a really good experience and opens the products and sees all this extra care that's gone in and all the books are signed, then they've not had to pay extra. There was a Kickstarter—I'm not going to name which author it was—but it was an author whose book I was quite excited to back. They had these special editions they'd done, but you had to buy a special edition for an extra 30 quid if you wanted it signed. I was like, “Absolutely not.” If these people are putting their hands in their pockets for these deluxe special editions, and if you're a big name author, it's certainly not them that have anything to do with it. They just have other companies do it all for them. Whereas with us, you are creating everything. Our way of saying thank you to everyone is by signing the book. Jo: I love that you're still so enthusiastic about it and that it seems to be going really well. So we're almost out of time, but just quickly— Tell people a bit more about the books that they can find in your stores and where people can find them. Adam: Yes. So we publish predominantly fantasy, and we have moved into the spicy fantasy world. We have a few series there. You can check out APBeswickPublications.com where you will see our full product catalogue and all of my books. On TikTok shop, we are under a.p_beswick_publications. That's the best place to see where I go live—short-form content. I'll post spicy books on there, but on lives, I showcase everything. I also have fantasy.books.uk, where that's where you'll see the videos or product links for the non-spicy fantasy books. Jo: And what time do you go live in the UK? Adam: So I go live 8:00 AM every Friday morning. Jo: Wow. Okay. I might even have to check that out. This has been so great, Adam. Thanks so much for your time. Adam: Well, thank you for having me.The post Selling Books Live On Social Media With Adam Beswick first appeared on The Creative Penn.

What do collagen powders, weighted vests, parasite cleanses, and protein bars all have in common? (According to our favorite no-nonsense doctor, probably a lot less science than TikTok would like you to believe.) This week on Laugh Lines, we're welcoming back the wonderfully persnickety Dr. Eric Topol to help us debunk the health trends that keep popping up in our feeds (and in our shopping carts.)After our last conversation, we were flooded with listener emails, voicemails, and questions, so this time he is answering all YOUR questions! We cover big topics like brain health, Alzheimer's prevention, and new blood tests like the “brain clock.” (We also cover cortisol panic, brain booster supplements, and over the top health challenges.)If you are overwhelmed by health advice, tired of feeling like you are doing everything wrong, or just want to laugh while learning what actually matters, this episode will leave you feeling smarter, calmer, and far less tempted to buy supplements while doomscrolling. We love to hear from you! Leave us a message at 323-364-3929 or write the show at podcast@theholdernessfamily.com. You can also watch our podcast on YouTube.You can learn more about Dr. Eric Topol here: https://drerictopol.com/Visit Our ShopJoin Our NewsletterFind us on SubstackFollow us on InstagramFollow us on TikTok Follow us on FacebookLaugh Lines with Kim & Penn Holderness is an evolution of The Holderness Family Podcast, which began in 2018. Kim and Penn Holderness are award-winning online content creators known for their original music, song parodies, comedy sketches, and weekly podcasts. Their videos have resulted in over three billion views and over nine million followers since 2013. Penn and Kim are also authors of the New York Times Bestselling Books, ADHD Is Awesome: A Guide To (Mostly) Thriving With ADHD and All You Can Be With ADHD. They were also winners on The Amazing Race (Season 33) on CBS. Laugh Lines is hosted and executive produced by Kim Holderness and Penn Holderness, with original music by Penn Holderness. Laugh Lines is also written and produced by Ann Marie Taepke, and edited and produced by Sam Allen. It is hosted by Acast. Thanks for listening! Hosted on Acast. See acast.com/privacy for more information.

Penn flew to Los Angeles for cataract surgery and is now glasses-free! Matt discovers The Language of the Dead, Reddi Rich vs. The Caveman, a New Year's Eve challenge from Spain, and lots more.

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