Podcasts about Pilgrimage

There are at least three wrong ways to write about heaven, and Brian Zahnd spent his new book carefully avoiding all of them — too sentimental, too sensational, too escapist to bother caring about the world right in front of us.In this conversation, Brian and Michael talk about why heaven isn't a far-off destination but a realm woven through the space between every atom of this one, and why love and wonder might be the most reliable hints we get of its nearness. Brian shares the mystical moment in Rocky Mountain National Park that reshaped his understanding of the incarnation and makes the case that a faith stripped of transcendence eventually collapses into mere politics — however well-intentioned.They also talk about pilgrimage, the discipline of praying written prayers, and why so many people are having real spiritual experiences with no idea where it's safe to talk about them.Brian Zahnd is a pastor of forty-four years and author of Unseen Existences: Of Heaven, Earth, and the Divine Mystery in All Things.Find Brian Zahnd online here.Support the showENGAGE THE RESTORING THE SOUL PODCAST:- Follow us on YouTube - Tweet us at @michaeljcusick and @PodcastRTS- Like us on Facebook- Follow us on Instagram & Twitter- Follow Michael on Twitter- Email us at info@restoringthesoul.com Thanks for listening!

Many people have missed a lot of the deeper ideas that Pope Leo XIV's encyclical Magnifica Humanitas on AI is built on. Matthew Leonard and Michael Matheson Miller expose not only those deeper currents, but some of the darker forces which the Holy Father is addressing.

Hour 1 for 6/23/26 Drew and attorney Eric Kniffin discuss the recent suit brought by Dominican Sisters of Hawthorne against New York State (12:21). Then, perpetual pilgrim Raymond Martinez discuses the National Eucharistic Pilgrimage (28:06). Finally, Drew finishes with an exhortation on the Eucharist (41:43). Links: https://eppc.org/author/eric_kniffin/ https://x.com/ekniffin https://www.justice.gov/opa/pr/justice-department-sues-state-new-york-requiring-catholic-nursing-facilities-house-men-women https://www.eucharisticpilgrimage.org/

What if the real secret to a lasting writing career isn't talent or luck, but learning to thrive in the mess? Why are in-person events worthwhile even if the maths doesn't add up? How do you protect your creativity when the machines never sleep and the community is at one another's throats? With Mark Leslie Lefebvre In the intro, Has AI Already Killed Non-Fiction [Tim Ferriss]; 9 ways that AI would disrupt authors and the publishing industry over the next decade; Pivoting towards The Transformation Economy; and Who do you serve? This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Mark Leslie Lefebvre is the author of horror and paranormal fiction, as well as non-fiction travel and books for authors. He's also an editor, professional speaker, and the Director of Business Development at Draft2Digital. His latest book is Stark Realities: Stacked Up Lessons Every Writer Needs to Know About the Business of Writing and Publishing. 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 print and in-person events are making a comeback for indie authors The case for (and against) licensing your voice clone through ElevenLabs Why we keep selling books in person when the numbers rarely add up Measuring success by creative satisfaction rather than money Being honest about author earnings and the fear of being truly seen Managing stress, divisiveness, and the noise around AI You can find Mark at MarkLeslie.ca. Transcript of the interview with Mark Leslie Lefebvre Jo: Mark Leslie Lefebvre is the author of horror and paranormal fiction, as well as non-fiction travel and books for authors. He's also an editor, professional speaker, and the Director of Business Development at Draft2Digital. His latest book is Stark Realities: Stacked Up Lessons Every Writer Needs to Know About the Business of Writing and Publishing. Welcome back to the show, Mark. Mark: Oh, hey, Jo. It's always an awesome time chatting with you. Jo: You've been on the show lots of times over the years, but the last time was in September 2024, when we talked about selling books in person. So give us a bit of an update. What does your writing and publishing business look like at the moment? How do you manage it alongside the day job and everything else you do? Mark: Oh my God. Well, sleep is—no rest for the wicked, maybe. I'll sleep when I'm dead. It's so funny, it was just this last weekend in Waterloo. I was at Waterloo Book Fest, and somebody came up to my table—another author from one of the other tables—and said, “I heard you on the The Creative Penn Podcast. And then when you mentioned something about Waterloo, I said, ‘He can't be from Waterloo.' And then when you mentioned the skeleton, I said, ‘I know where he lives.'” Jo: That's scary. Mark: So I love the fact that there are so many of your listeners all over the world, and that's usually how people know me. No matter what else I've done, it's like, “Oh, you've been on Joanna Penn's podcast.” I'll say, “Yes, I have.” You know what's really funny? The last time I was on the podcast, we were talking about A Book in Hand, which I was supposed to release that year. Jo: Yes. Mark: I just added another 5,000 words to it this morning. Jo: Wait, it's still not published? Mark: No, and it's so funny. I actually have the first 60,000 words of it with an editor right now, and I told her I'd get her the rest of it, which I thought would be another 20,000 words, by the end of June. But I think it's going to hit 100,000. Here's the weird thing that happened with this. This is trying to accumulate my life of book selling, as well as doubling down on doing in-person events in the last several years. I thought I was going to have the book done in 2024. I ran into some issues where I didn't back it up properly. It was an old version, and I accidentally overwrote the only version I had. Jo: So, for everyone listening, Mark—how many decades have you been an author and a publisher? How come you're still missing deadlines and still not backing up your work properly? Mark: Yes, this is a lesson: no matter how long you've been doing something, you can still make boneheaded errors. So if you, dear listener, have made mistakes, just know that this old guy who's been doing this since the mid-'80s still makes mistakes like that. Don't beat yourself up. I probably did something worse. Anyway, that book I thought was going to be maybe 40, 45,000 words, it's going to be bigger than Wide for the Win—close to 100,000 words. Here's a really important lesson I learned in that, Jo. I thought the book would be something. It became something else. Through my own experiences of doing more in-person events, book signings, and library event. Also in talking to awesome folks like Johnny B. Truant, Katie Cross, Todd Fahnestock, and so many other authors I know, and seeing what Ben Wolf is up to, and a whole bunch of different people who are doing in-person events. In creating case studies for how they interact specifically with a bookstore or library, or how they do in-person selling—I really think the book wasn't ready then. It's like the recipe wasn't ready. I still needed to play with some things. I do sincerely have faith, since I got it into the editorial process, that this will be the year the book actually gets released. Jo: As you said, there are some really good lessons there around sometimes the book not being quite ready. I'd bought an early version from the StoryBundle, which is how I got this book as well, actually. Mark: Yes. Jo: That's another tip for people—storybundle.com. You can go and find some great bundles there. I was also thinking, as you were talking, that maybe one of the reasons this book about in-person events has got so big is because that's a real trend in the community. It feels like indies, we've moved… Back in the day, I said, “I'm not doing print. No way.” This was the early days of digital, because print was really hard back then. So I was like, “Oh, and we've got all the advantages doing digital, so I'm just going to focus on that.” It feels like the pendulum has swung, perhaps even more with the ease of mass production of digital with AI. The focus on print and in person is getting stronger and stronger. Do you think that's happening? Mark: Oh, yes, 100%. I did print in 2004. It was really hard back then, so that's gotten easier. I think there are a few reasons. One of the reasons is, yes, digital made it so much easier for indie authors to get out there and break into the community. But the reality is that print books still outsell e-books in general—overall—despite the fact that indie authors can make six and seven figures a year from selling e-books alone on a single platform. So print has never really gone away. It was just never something indie authors attended to. They were in a different business than traditional publishers were in. And second, obviously I've got these gorgeous books that you've created on Kickstarter, because I like the beautiful books. I've never stopped buying print books. I actually buy more print books. I read more because of audiobooks and e-books, but I buy more print books, especially when I can get a nice signed copy. Then the other reason comes back, again, to your advice—something I've been following for the longest time, and you've long been saying. I do repeat this, and I try my best to offer attribution to you every time I use it: to double down on your humanity, particularly in this age of digital generation and the ability for even non-writers to leverage tools to create content. I think it's so much more important for me, as a creative who will never be able to catch up with the machines, to exploit my humanity. I mean, we both have digital voices of ourselves, right? There's a digital Mark Leslie Lefebvre voice that people can use, and I'm making money off it because people are able to license it through ElevenLabs. But when I'm there in person, so far the holograms aren't good enough to fool people. I think I'm not just selling a book to somebody; I want to create an experience where, “Oh, I'm talking to the author, and we're signing a book together, and we're taking a selfie together.” For me, there's that tactile experience that's really enriching. And it may not be something that lines my pockets as easily, because the investment is more significant. For every $10 I make, it costs me six or seven dollars, as opposed to an e-book, where the cost is amortised in the most beautiful way over millions of copies. Jo: There are a few things there. First of all, let's talk about that ElevenLabs voice licensing, because, as you say, I also have a voice clone. Bones of the Deep, the latest book, that's my voice clone. I haven't gone with the licensing, partly because you don't have control over what someone can do with it. So, for example, someone could create Nazi content, or content that I might not agree with, in my voice. So how have you got over that? Because part of me really does want to license my voice, and the other part doesn't. Mark: This is a great question, Jo, and I'm glad you asked it. It's the same reason I don't worry about people stealing my books—adding DRM onto my e-books and things like that. I may as well make some money off it, because let's be honest: you and I, our voices are out there. Thousands of hours of our voices, right? In your podcast, my podcast, in various interviews we've done over the years. The technology exists for someone to make a copy of my voice themselves anyway. The tools exist. They can do it easily, so why not do it myself and at least make money? I'm actually getting money deposited into my account. Not a lot—maybe $30, $18, something like that every week. Again, I've taken a lot of my non-fiction books that I haven't had the time to record myself, as I like to do, and I can at least load those to ElevenLabs and make my voice the default voice. But wouldn't it be great to be able to listen to my book in your voice? It would sound so much better. Because you can do that. When you listen to a book on that platform, you can choose my voice if you'd rather hear it in my voice, or you can choose Burt Reynolds' voice, or some other folks who've licensed theirs. Again, for me, the whole concept of wide publishing has always been important. It's another small revenue stream that's adding to my numerous revenue streams. So I guess that's how I've justified just licensing the voice. If someone's going to do something with my voice that I can't control, they can do it regardless of whether or not I put it out there myself. Jo: I agree with you. That could happen, and neither of us is famous enough that it's likely to happen anyway. I do quite like the idea of people using our voices, say, for other books for authors, because that would make sense—that's where we fit in the niche. I will rethink that, because I think it's interesting. I wanted to come back to print books. You said sometimes there are easier ways to line your pockets, and I think that's funny. So, getting into the book, this leapt out at me quite near the beginning: Why do we keep doing this when the maths almost never adds up? Mark: Oh, I have a perfect example of that from an event I did a couple of weekends ago in Burlington, Ontario. I think it was a $60 table fee. It was a new event. I believe I made $90 or $95 in sales. So even after the costs of printing and all that stuff, I really didn't make money. I made my table back, which is always a good thing. There were a few encounters I had with people who were really excited to find my Canadian Werewolf series of books, and just so thrilled to get started. Among the four of them, they bought one copy, but they were going to pass it amongst each other. You know what? Okay, they bought a single copy, and I was like, “Well, the e-book is permanently free online. You don't even have to buy a copy”—which is anti-selling. I just want them to read the book and enjoy it. But if they read it and pass it along and start talking about it, they could become readers for a long time. It's an eight-book series, with the ninth book coming out later this year. There was another encounter I had that day. A woman and her teenage daughter came in, and they were looking at my traditionally published books that I buy at a reduced price from a local bookstore and resell. They were looking at these true ghost story books I had, and they were pointing: “Do you have that one?” “Yes, I have this one, I have that one.” And the mother's like, “Well, she collects all your books, and she wants to make sure she has them.” We had this conversation, and she was so excited to meet me in person and to get a signed copy of the book. That experience was such a vanity moment for me as an author. We're lonely. I'm a big loser. Nobody's buying my books. We're always down on ourselves. So that investment of time and energy, in order to get that little pat on the back or that feeling of, “Wow, I really connected with someone who likes my stuff”—those moments are really precious. They're difficult to explain if you only look at the world in a financial way. I guess I'm fortunate enough that I do have enough income from numerous streams, including the consulting I do part-time, that it's okay if not every bookish endeavour leads to more money in my pocket at the end of the day. I can still have these authentic connections with people, which I think is one of the reasons I'm a storyteller. Yes, it's the stories I have to tell, but it's also putting the story into somebody else's hands and eyes and heart and mind. Jo: You're very giving like that. You have that sense about you, whereas I'm just a curmudgeon in the corner. Mark: That is not true. Jo: It is, generally. I don't do events like you do for readers. Mark: But that's because it takes a lot out of you. Jo: Yes, but that doesn't matter. Why do I write? I write for me. Mark: Ah, very good. Jo: At the end of the day—just being entirely selfish about this—when people say, “Oh, if you won the lottery, what would you do?” I'm like, “Well, I'd do pretty much what I'm doing now.” Mark: Yes, I'd just do the same. Of course, I'd write more books. Jo: I'd write more books. So this is where I'm trying to get to for people as well: measuring success in a different way. You were talking about measuring success by how that girl loved your books, and how you feel when someone says they love your books. With Bones of the Deep, this thriller I've just done, I feel like I had the benefit of that book before anyone even read it. As soon as it was finished, I made a nice proof copy from BookVault, and I held it in my hand and said, “I made this. I'm proud of the story, I wrote the story, and it's outside my head now.” I feel like I'm creatively satisfied in that moment. Then, of course, the Kickstarter was great, and I love that the books are going out around the world, but— I think the happiest I felt was that moment of finishing—that creative satisfaction of holding the book in my hand. You know what I mean? Mark: 100%, Jo. I cannot agree with you enough. I love so many aspects of writing. Yes, the connection with people is amazing. But I often say this when I'm doing my one-on-one consulting with authors: focus on the projects that mean the most to you, those passion projects. The process of writing, and the painful rewriting and editing and all the things you go through—when you finish that book, like you said, you hold it in your hands and it is a thing of beauty. It's a huge achievement. You've won. Whether or not you sell a single copy, you've won by doing it. Everything else is gravy: the sales, the money in your pocket or not, the reviews, positive or not, the people who say, “Oh my God, Bones of the Deep, thank you for writing this book. I'm so glad you introduced this into the world and into my life.” Anything beyond the creation itself, which is a pure joy—I love it so much. It's just why I get up at 5:30 every morning and write for hours before the rest of my day begins. I try to get stuff done before the rest of the world wakes up. I want to get the writing done first, when I have the most energy to give myself to the page. Then the rest of the day is kind of gravy for me too. Jo: You talk there about giving yourself to the page, but in Stark Realities— You talk about the fear of truly being seen. What do you mean by that, and how do you manage that feeling? Mark: For anyone who has written anything—fiction, non-fiction, memoir in particular, since it's a bit more closely tied to reality—it's exposing yourself to the world. I'll never forget an interview I did with Canadian science fiction author Julie E. Czerneda, who, before being a fiction writer, was writing biology textbooks, but her real passion was science fiction and fiction. When her first novel came out, she said, “It's like standing naked on the front lawn.” When you release a book, even a novel, people look at it and they're going to judge you and rate you. I remember early on, Jo—we knew each other through Twitter, I think, where we initially met, and then interacted with and finally met in person at London Book Fair. I think you and I have a very similar reaction. When people know us as positive and upbeat and out there helping authors in the community, and then they read our fiction, they go, “Well, Jo, you burned a nun alive on page one.” Or, “Mark, what kind of… they're drinking from the skulls of dead people? What the heck is going on with you two?” We are exposing parts of ourselves in our fiction and non-fiction. That's a fear I embrace, but also never get over, if that makes any sense. I write scary stories because I'm a big chicken. So maybe the entire process is just cheap therapy for me. Or not cheap, because it's an expensive pastime, isn't it? Jo: It certainly can be, but I agree. I struggle with fear of judgment still. I think it's also because we do this in public, which comes back to the financial side of things. We do a lot of this in public, and then people judge us on our author businesses too. You could look at Bones of the Deep, which was just on Kickstarter, and compare my Kickstarter to another author's Kickstarter for a fiction book, and judge one or the other person based on numbers. I feel like this is because you and I have done so much in public—for me, almost 20 years, and for you, like 40 years or whatever. Maybe 30 years. You look that old. Mark: Listen there, dearie. Get off my lawn. Jo: Yes, get off my lawn—with those skeletons you have on your lawn. Mark: Yes. They're no longer in my closet. Jo: They're not in your closet. I wonder if that also plays a part of it—the pros and cons of doing this business in public. Mark: Yes, that is a part of it. One thing I try to be very clear about, because there's so much FOMO and so much out there about people thinking that everyone else is making a million dollars from their books and “I'm the only loser who's not”—I try to be clear that I have never made more than a mid-five figures as an author from my author earnings, ever. I haven't yet hit six figures. One of the reasons I try to be transparent in sharing that is I don't want people to think that everyone else is a six- and seven-figure success story, and they're the only one who's only made $100 last year on their books. The reality is, 90 to 99% of the people who are writing and publishing are not going to earn a significant amount of money. I realise I'm also very, very lucky that I've earned this much, and it's taken a long time. I just shared this in a Substack post I posted yesterday: it was 10 years of rejections before I got $5 for my first short story that was published in '92. It wasn't until 2001 that I finally made pro rate, six cents US a word, for a short story that, ironically, Julie Czerneda bought from me back in the day. For me, I've been lucky that it's always been a long, slow slog. It's been a marathon, and I've never instantly sprinted across any dramatic finish line. I've had some really phenomenal moments—doing a book signing in a Costco, walking into Walmart and seeing my books there. Even last night at the Burlington Public Library, going, “Wow, they have eight of my books here—four of my self-published books and four of my traditionally published books, in two different sections.” I was like, “That's kind of cool.” So I've had these amazing moments as a writer, but I've never had the blockbuster—the Brandon Sanderson, or even the Dungeon Crawler Carl, Matt Dinniman, kind of moments. I still think I've had a very fortunate and lucky journey. Even if I wasn't making the money I'm making, I'd still be writing, and I'm sure you would be too. Jo: Oh, yes, for sure. I actually think the thing most of us would probably let go is the marketing. If we won the lottery, we'd carry on with all the creative stuff, the writing, the community stuff, and we'd just literally do no marketing at all. Mark: Well, yes, of course. Or potentially say, “Oh, here, ad agency, here's some money. You just run it, whatever. Let me know if it works or not. I don't care.” Jo: That's a much better idea. Mark: At least I've got the extra disposable income, so I may as well, because I'm helping the world when my books are out there. I know my books will help people. I really honestly think that as storytellers—whether it's fiction or non-fiction, we're still storytellers—what we do in writing and podcasting and all the things we do, the re-sharing on social media, is really helping connect people. I think that is one of the most profound things we can do as writers. And I mean that the writing, in and of itself, is a reward. Jo: Like you said, we met on Twitter when Twitter was what it was back in the day. I do very, very little social media now. But you just mentioned your Substack, and you also have your podcast, Stark Reflections. So how are you balancing what you put on each? I only do this podcast now. I don't even blog. I write books, obviously, and then I do the podcast. So what are you doing differently on Substack to the podcast, and what part do they play in income and marketing? Mark: Great question. I realise most people have never heard of me, or read or listened to the things I put out into the world. And I've been a longtime fan of “reduce, reuse, recycle my IP.” My podcast is not as long-running as yours, but I'm in my ninth year, and I've not missed a single Friday in the full eight years, or eight and a half by now, that I've been doing this. Every week I reflect on what I learned from an interview, or I'll reflect on something you've posted and say, “This episode is not an interview, but Jo said this last week, and I'm going to talk about it.” The podcast itself takes a lot of work. I still do all of it myself, and I know I probably shouldn't, but I like doing it, so it's one of those tasks I enjoy. I also have reflections that aren't going to come out vocally but might come out in writing. Sometimes in the morning I'm not in the mood to write the novel or the non-fiction book I'm writing, but I'm writing some tangent. I just let the creative monster go. I find that re-sharing… I might have reflected on something for a couple of minutes at the end of an interview, but I really want to expand upon it, so I write the Substack article. I try to reuse some of that content. Someone's going to enjoy seeing it on a short video clip I share on YouTube, or whatever the platform is. Someone else is going to listen to it on a podcast, wherever they listen to podcasts, and someone else is going to want to read it. It could be the same information, just shared in a slightly different way, to potentially get it out to other people. So for me, it's part of that wide publishing mentality. I'm trying not to completely duplicate the work, although I am duplicating some of it. I'll give you an example. Hey, Canadian listeners—if you have not registered for Public Lending Right in Canada, please put something in your calendar for February 2027, because the deadline's over. It was May 1st of 2026. Put it in your calendar for next year. I even had somebody at this writers' event I was at this last weekend say, “You mentioned something in a presentation you did for the Canadian Authors Association about Public Lending Right, and thank you, because now I get thousands of dollars a year from this.” So just look up Public Lending Right. I've been saying stuff about Public Lending Right for at least 10 years now. Every time I get my beautiful multi-four-figure cheque from them in February every year, I post on social media and remind authors to check it out. I know it exists in the UK, and it exists in 36 countries in the world—just not the US. Jo: Not the US. Mark: They don't have a programme like this, probably because the big publishers—and probably one of the authors' associations—think that libraries are cannibalising book sales, which is not true. It's been proven time and time again, and that lobbying has prevented it from happening. Whereas here in Canada, the Canada Council for the Arts and the Writers' Union of Canada worked hard to make this happen. Anyway, I talk about something like Public Lending Right and I feel like I must have said this so much that people are sick of it, but every single time I mention it, someone goes, “Oh my God, thanks for saying that. I never heard it.” That's a good reminder, especially for folks like you and me. We know the basics. We know what an ISBN is. We know KDP Select means you can't put the e-book on any other retailer, or even sell it on your own website. We know all these things, but it's hard for us to remember that there are folks coming to this for the very first time who've never heard it, even though we feel like, “Oh my God, I've said this till I'm blue in the face.” I think I got that from retail. When I worked in retail, I recognised that somebody's going to come in and ask for “that blue book that Reese Witherspoon was talking about,” or Oprah was talking about, or whatever. And you do your darn best to help them figure it out rather than mock them. I try to take the same approach when people ask me those questions, because I'm trying to remember what it was like when I honestly did not know the answer, and having someone take the time to help me. I've been very, very lucky that I've had a lot of people take the time to help me. I'll never forget—God rest her soul—Nancy Kilpatrick, a horror writer here from Canada who passed away a few years ago. She gave me a blurb for my very first book in 2004 because she'd acquired one of my short stories for an anthology she'd edited. I was trying to call my short story collection an anthology, and she very kindly took me aside and said, “It's not an anthology if it's a single author. An anthology is a…” Jo: I didn't know that until, like, last year. I got that wrong as well. There are lots of words like that. I want to circle back, because you didn't really answer earlier about the time management. You just mentioned YouTube, on top of Substack and all the things you do. You also have a day job at Draft2Digital—it's part-time, right? You also do part-time at the university, teaching publishing, right? You do all kinds of things. How do you manage your time with all of that? Mark: Well, I mismanage my time more than I manage it, Jo. That's the God's honest truth. Fortunately, most of the things I have that aren't scheduled—like, scheduled to do this lecture at this time, or scheduled to have this meeting at this particular time with Draft2Digital—most of my work is very flexible. I do not work a regular 9:00 to 5:00, Monday to Friday. Well, I never did. I always worked way more. But I have a very flexible schedule. Every single day is a work day, and every single day is a play day for me. So I'm very, very lucky. I do schedule in the very important things, particularly where somebody else is reliant upon me—meetings and connections and stuff like that. Then I make the time first thing in the morning to get the writing done. Everything else is not as important, and it's part of… I guess it's part of playing. You know, like the social media sharing. I don't look at social media as marketing. I just look at it as another way to connect with people, with other creatives, and with readers potentially, all six people who read my stuff. I probably could do a better job of managing my time. I've tried several times over the years to adapt processes to make it better, but I consistently default back to what I do, and so far I guess I've been getting away with it. So I was like, “Do I want to waste more time trying to come up with a process, or do I just want to roll with it?” Because so far I haven't killed myself doing it, and I've been enjoying the journey. So, if it ain't broke… Jo: I think that's the point, if it doesn't feel like it's broken. Having known you for a long time now, and we work together—obviously we co-wrote The Relaxed Author—you do work very, very differently to me. You definitely are a little bit more chaotic. I'm chaotic in some ways too. Mark: Oh, you're very generous. “A little bit chaotic.” Thanks. That was generous, Jo. Jo: You're chaotic in your work practices and scheduling and all that, which I couldn't cope with very well. Even though I feel like a part of my brain is very chaotic—the creative side, I guess, can be quite chaotic—I think I'm actually quite controlling and very scheduled in my work practices. As you say, for someone else on the outside, it might feel to me like you have too many balls in the air. But if you don't feel that, then that's the way of working that works for you. So this is another important thing, isn't it? You can't adapt to what other people say your life should look like. It's what feels good to you. Mark: Oh, for sure. One thing I know about my procrastination tendency is that panic and fear motivate me. So, a deadline—”I have to get this into a publisher by this date, I have to get this manuscript to an editor by that date”—I'm motivated by fear. And I'm afraid of everything, so I guess I'm always motivated. Jo: But I also know that when you hear the word “deadline”—and I know a lot of people who do this—the deadline means you get it in on the deadline, or the day before the deadline. To me, a deadline means I have it ready a month earlier. Mark: I love that. I've done that a few times and shocked myself. I actually had a pre-order up—with the audiobook, the print, and the e-book—a month in advance, and I didn't know what to do with myself. I was like, “Well, what am I going to do now in the next month?” Jo: Work on the next thing. Mark: But I'm so used to working on it up to the last second that I was kind of like, “What do I do?” That actually caught me by surprise, and I honestly felt weird. I was like, “I've never felt this before.” I'm really lucky. I know you have a very supportive and amazing partner, and so do I. My partner, scarily enough, is maybe a bigger procrastinator than me, so she never gives me a hard time. She supports me, and I do the same thing with her own work. I'm up all night with her at the last minute so we can get something turned in. So, fortunately, we really understand one another, and we don't give each other a hard time. We just go, “Well, got away with it again. I guess I'm not going to change my ways.” Jo: We made it. And again, that's the point. You and I could stand up in front of people, both hold up the last book we wrote, and say, “We made this,” and our processes are completely different. Our brains are completely different. We come from different countries. There are lots of things that are different, and yet we both made a book. So hopefully that encourages people. You don't have to do anything that we're telling you, or anyone else tells you. But if you want to be an author, at some point you have to produce a book. Mark: Exactly. As Brian in the classic Monty Python film gets them to say: “Yes, we are all different.” Embrace that difference. I think that's such a powerful reminder that there is no one process for getting anything done. Jo: Given that we co-wrote The Relaxed Author back in 2021—and we did that because we had another show, and we were talking, and we said, “Oh, everyone's stressed and the anxiety levels are really high, and we think there's a better path”—we co-wrote that book, which I think is still a very good book. Definitely people should get it. Interestingly, I think the stress and anxiety might actually be higher now than it was. So what do you think the main stresses are in the community now? You also see a lot with Draft2Digital, I guess, as well. Mark: Oh, for sure. Honestly, Jo, I'm so glad we wrote that book, because I actually pick it up every once in a while to remind myself of the things we tried to help others with. Again, it's therapy for me as well, so I'm so glad we did it. I think we're 10, if not 100, times more stressed. The world events and things going on, the divisiveness—not just in the world in general, in politics and everything else, but the divisiveness in the author community. The witch-hunting that happens, people trying to tear down other authors either because they're successful, or because, “Oh my God, you dared use a new technology.” All of these things are happening, and everyone's at one another's throats. I need to pick that book up and reread it. I'm a lot more stressed than I was. I'm just getting over shingles, which is… Jo: Oh. Which is actually related to stress as well, isn't it? Mark: It is, yes. I was in LA for Writers of the Future—I'm a judge for that science fiction and fantasy conference. I went right from LA, like a week in LA, which was a phenomenal experience getting to mentor the winners. And I mean, come on, it's a free trip to Hollywood, hanging out with Kevin Anderson, having beers and stuff like that. Then I came back to the Toronto Indie Author Conference, run by Tao Wong, here in Toronto. I went right from the airport—didn't even go home—straight to the hotel, because I kicked into another conference. We did a display on how to set up an in-person booth, so I ended up having to hand-bomb boxes, blocks down the street from where I was parked. My chest was really sore when I got home on the Monday, and I thought it was because I hadn't used these muscles, because I'm not in the best shape. Then I took my shirt off and went, “Oh, there's a rash there.” Liz goes, “You have shingles.” Because the pain in my chest, which I thought was the muscle, was actually underneath. I'm one of those lucky people that it's taken the full five weeks, and I'm still in pain even afterwards. So, again, public notice: if you're an older person like me, and there's a vaccine available for shingles, you may want to consider it. Jo: Yep, get it. Mark: Oh my God, it hurts. But, yes, the stress, I think, is higher—even though I didn't know I was feeling it. It was happy stress, right? I was stressed out because I'm there in Hollywood, helping people and doing some good things, and then I'm doing the same thing, interacting with some amazing authors at the Toronto Indie Author Conference. I didn't feel anxious stress. I was happy stress. Is that a thing? Jo: I think possibly… your physical body masks stress, physical stress, because you enjoy all of that stuff. Whereas someone like me, I'll feel it quicker and withdraw. Although I say that, back probably a decade ago, Jonathan would say to me, “You're going too fast, and you're going to hit the wall. And when you hit the wall, it's not going to be fun.” And I did hit the wall. Then, probably in 2021—I mean, that was when I just started going into menopause, and obviously we had the pandemic, and I wrote Pilgrimage, and I was doing all those walks, which I think really helped me. I learned a lot about maybe stopping that before it happened. Becca Syme obviously talks a lot about this too. But I find it interesting with you, because I think you're so positively happy with these events you do that it might mask your physical symptoms in a different way. That's really hard to watch out for. I'll give a tip to you and everyone else listening: schedule the calendar, and look at your calendar and go, “I can't go back-to-back-to-back. I have to put in some rest days.” Mark: Well, thank you. You know, Jo, you and Becca Syme are two of my best unpaid therapists. I appreciate that. Jo: You just don't listen, Mark. Mark: Or sometimes I do. Jo: Just coming back to the community, and the divisiveness there is primarily over AI at the moment, I think that's one of the biggest things. And the arbitrary lines as to what you're allowed to use it for and what you're not allowed to use it for, which is just kind of crazy. Obviously, you know I've opted out of that whole discussion now. How do you think we can move through this [divisiveness over AI], move on? We remember when it was trad versus indie, and then it was wide versus KU. So this will pass—it's just hard, when you're in it, to know when it might pass. Mark: Yes. I think the more generic advice—for whatever may come, whatever has come—is: why are you doing this? Why are you a writer? Heads down, focus on what gives you pleasure, and do that, because everything else is noise. All the marketing tactics and strategies, and all the people yelling at one another. Write your books. Do the things that motivate you. Do the things that give you that intrinsic reward. It's hard to ignore. I get it, it is hard to ignore. I have difficulty ignoring the haters and the yelling and the screaming that happens, but I do my best. Like this morning, when I was in the throes of my manuscript and I looked up and went, “Oh my God, I've got to shower. I'm going to be talking to Jo soon, I should comb my hair”—which I have none of. Because I was so in my book that everything else melted away. That, for me as a storyteller, as a writer, is one of the most beautiful places to be. Jo: I think you're absolutely right. I have a little thing that pops up in my calendar sometimes which says, “If you're feeling all of these things, just go create something.” The moment you refocus on creation—whatever that means to you—things change. It changes the energy. That, or go for a walk. That's my other tip. Mark: Outside. And I have to say, Jo, Pilgrimage is still one of the most profound and powerful books you've written, and you've written a lot of amazing ones. Jo: Oh, you're very sweet. Mark: That one really resonates, not just for me, but with Liz. Because one of the things we often do when we get stressed is go for a walk, ideally in nature. The vitamin N. I think there's something really profound in that, and it really helps me a lot. And again, sometimes going for a walk listening to your podcast, or an audiobook, or sometimes just attending to the environment. A tip I picked up years ago from Brooklyn author Denis Hamill was: go for a walk with your character. Listen to what they see. What do they comment on? How do they approach this environment that you've seen a million times? How do they see it? What do they notice that you don't notice? That's such an incredible experience of creativity—when you're not writing, but writing. That really helps me a lot. Jo: Oh, nice one. Okay, so your latest book is Stark Realities, but you have so many more. Where can people find you and your books and your podcast online? Mark: Jo, you can find everything you want to know about me—and stuff you don't want to know about me—over at MarkLeslie.ca. It links to all the other places from there. Jo: Brilliant. Thanks again for your time, Mark. That was great. Mark: Thanks so much, Jo. Bye-bye. The post Creative Satisfaction, In Person Print Book Sales, And Author Mindset With Mark Leslie Lefebvre first appeared on The Creative Penn.

The Knight, the Horse, and the Black Hound A Pilgrimage to Jerusalem and the Legacy of the Keepers The story is set in Crusader Jerusalem It follows Sir Gawain, a weary knight on pilgrimage He is accompanied by his horse and the black hound Shadow Along the way he encounters monks, guardians, hidden places, fragments of memory, and a mystery that reaches beneath Jerusalem's stones The story moves through pilgrimage, danger, sacred memory, and the legacy of the Keepers https://www.twinsbiblicalacademy.com/shop

We've got a very special episode of the PC Pilgrims podcast this week as Greg and Ryan welcome Sandy Brown, the man who literally wrote the book, the guidebook that is, for many pilgrim trails around the world. Hear Sandy discuss the modern day rise of pilgrimage and what it means for the future of faith. Are you going on pilgrimage this summer? Let us know where you're off to at poppingcollarspodcast@gmail.com or send us your itinerary on socials Check out Sandy's pilgrim reflections Find us on the web at poppingcollarspodcast.com Don't forget to pick up some awesome merch Check out our Youtube offerings Read Greg's ramblings about movies at Letterboxd

☀️⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Summer Sanctuary⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is now open! Join me June 24-Aug 14 in a protected wildlife preserve for your Natural Self.For much of human history, Summer was a season of pilgrimage.The weather was right for journeying, and people would leave their homes to walk toward places of meaning, healing, prayer, and transformation.But pilgrimage isn't only about traveling long distances.It's about crossing a threshold.It's about stepping out of ordinary life long enough to remember what matters most.Press play to hear:Why pilgrimage was traditionally associated with SummerThe difference between a vacation and a pilgrimageWhy some of the most important pilgrimages happen close to homeHow Nature helps us remember who we areWhy many people are secretly longing for a threshold experienceHow to create a meaningful pilgrimage in your own lifeWhat if your real life isn't standing in the way of your pilgrimage?What if your real life is the path?Wherever your feet take you this Summer, may your path feel sacred and lead you closer to what really matters.How we can walk together:Join the next women's circle, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Summer Sanctuary⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, June 24-Aug 14.More of a one-on-one person? I love that too! Learn more ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Let's connect on⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!Grab any of my Free Resources ⁠⁠⁠⁠⁠⁠⁠⁠here.⁠⁠⁠Sign up for a free curiosity call ⁠⁠here.⁠

"I stood up and I was in shock. It was the first time in 15 months, since breaking my back, I was completely pain-free." ---------- We revisit one of the most unforgettable stories in Touched by Heaven history, Rich shares what happened after fifteen months of pain from a crushed vertebra left him wondering if this was simply life now. A former naval aviator and anesthesiologist, Rich never expected healing to come through a relic of Saint Jude--the apostle often called the saint of impossible causes. After attending Mass and venerating a fragment of Saint Jude's forearm, everything changed. But this story isn't just about physical healing. It's about intercession, faith, unexpected encounters with God, and the fruit that follows. ---------- Join Us for a Pilgrimage to Medjugorje We invite you to embark with us this October 10th to 17th on a pilgrimage to Medjugorje--one of the most grace-filled and spiritually uplifting places we've ever encountered. Register now, tickets are selling fast. Click below to see all the details:  https://padrepiopilgrimages.com/trapperjack/ ---------- Share Your Story If you have a Touched by Heaven moment that you would like to share with Trapper, please leave us a note at https://touchedbyheaven.net/contact Our listeners look forward to hearing about life-changing encounters and miraculous stories every week. Stay Informed Trapper sends out a weekly email. If you're not receiving it, and would like to stay in touch to get the bonus stories and other interesting content that will further fortify your faith. Join our email family by subscribing on https://trapperjackspeaks.com  Become a Patron We pray that our listeners and followers benefit from our podcasts and programs and develop a deeper personal relationship with God. We thank you for your prayers and for supporting our efforts by helping to cover the costs. Become a Patron and getting lots of fun extras. Please go to https://patreon.com/bfl to check out the details. More About Trapper Jack Visit Our Website: https://TrapperJackSpeaks.com Patreon Donation Link: https://www.patreon.com/bfl Purchase our Products ·       Talk Downloads: https://www.patreon.com/bfl/shop ·       CD Sales: https://trapperjackspeaks.com/cds/  Join us on Facebook:  https://www.facebook.com/TouchedByHeaven.TrapperJack Follow us on LinkedIn: https://www.linkedin.com/in/trapperjack/ Join us on X/Twitter: https://x.com/TrapperJack1

Join us today for our online service from Bradwell Chapel in the Dengie Peninsula.The service is led by the Bishop of Bradwell, Adam Atkinson and the Dean of Chelmsford, Jessica Martin alongside local clergy. Bishop Adam also takes us on a journey around the local churches in his classic Morris Traveller."Bradwell Chapel is a living place of worship, lovingly cared for locally and visited by pilgrims from all over the world. We hope you'll catch a glimpse of God's glory here as we worship together today."This summer, the Everyday Faith app offers a series of reflections centred around pilgrimage – places and stories that help us feel part of something bigger on our journey towards God. Find out more at cofe.io/Pilgrimage.Join us to worship with our growing online community across England and beyond.

What happens when a society possesses extraordinary technological power but lacks a shared sense of what that power is for? John Vervaeke, Jordan Hall, Guy Sengstock, and Christopher Mastropietro reunite for a sustained inquiry into normativity: the structures by which human beings perceive direction, value, responsibility, and the difference between better and worse action. The question becomes urgent in the context of artificial intelligence, where increasingly consequential decisions are being made inside a culture that struggles to articulate a coherent basis for judgment. The conversation begins with Guy's encounters with the AI community and the fear that humanity may soon make decisions it cannot reverse. From there, the group investigates modernity's technological understanding of being, the reduction of creation to artifacts, and the modern self's attachment to sole authorship. John and Jordan propose that meaning is participatory: intelligibility is not manufactured by isolated selves but emerges through shared authorship with other people, traditions, practices, and reality itself. The dialogue then turns toward virtue. If the problem is not simply ignorance but malformed attention and desire, knowing what should be done is insufficient. The deeper difficulty is how people become capable of wanting, perceiving, and participating in what is good. Socratic aporia, vulnerability, kenosis, embodied practice, pilgrimage, and dialogue are explored as ways of undergoing reorientation rather than merely acquiring information. In the final movement, the speakers discuss bad-faith dialogue, leisure, lingering, tourism, linguistic lostness, and doomscrolling. These apparently different subjects converge on one insight: when people remain sealed inside environments engineered around their existing capacities and preferences, they lose access to the forms of friction, surprise, and participation that can transform them. Key Insights Normativity is the directional structure through which actions appear better, worse, appropriate, or necessary. The AI crisis exposes a deeper cultural inability to answer what technology should serve. Modernity often confuses participation in creation with ownership of the resulting artifact. Meaning and intelligibility require shared authorship rather than sovereign individual control. Virtue cannot be transmitted as information alone; it requires transformed attention and participation. Embodied practices can reorganize abstractions because higher cognition remains rooted in sensorimotor life. Pilgrimage, leisure, and dialogos help people cross boundaries between worlds rather than consuming only familiar inputs. Doomscrolling is an efficient example of technology feeding hypertrophied capacities while narrowing participation in reality. Timestamps 00:00 - The group reunites 01:10 - Normativity as the central concern 02:40 - Guy's San Francisco radio work 05:20 - Inside an AI thought-leader conference 08:30 - The danger of irreversible technological decisions 13:50 - Intrinsic normativity and attention 16:00 - Liminal navigation and the limits of simulation 20:30 - Art, creation, and artifacts 23:00 - Heidegger's technological understanding of being 25:40 - Participation and shared authorship 28:30 - Modernity's reinforcing attractor 31:00 - Socratic aporia 33:20 - Finding the right orientation 37:50 - Exposure, vulnerability, and displacement 40:10 - Sole authorship and identity 42:20 - Kenosis and the emptying of privilege 44:20 - Reconstitution and commitment to truth 49:10 - Virtue and its opposites 51:40 - AI and humanity's final decision 54:10 - Knowing what to do versus becoming able to do it 56:10 - Can virtue be taught? 58:20 - Remediating participation in ordinary life 01:00:20 - Pilgrimage and unfamiliar worlds 01:02:30 - Embodied cognition and reorientation 01:04:30 - Rilke and self-emptying 01:09:20 - Sacred directionality 01:11:20 - Crossing the threshold into action 01:13:50 - Bad faith and dialogical boundaries 01:18:40 - Leisure and time 01:21:20 - Lingering beneath atomized time 01:23:30 - Tourist and pilgrim 01:25:50 - Modernization and tourism 01:30:10 - Being linguistically lost 01:33:00 - Situation and participation 01:35:10 - Doomscrolling as narrowed reality 01:37:30 - Returning from pilgrimage Resources Plato and Socratic aporia Charles Taylor Martin Heidegger Rainer Maria Rilke Christian concepts of kenosis, theosis, and synergy Embodied cognitive science Pilgrimage Dialogos Follow Lectern for more conversations about wisdom, meaning, philosophy, technology, spirituality, and cultural renewal.

Anisha visits Gore for a slice of the Tussock Country Music Festival - boots, utes, mullets and all!You can find photos and read more about the stories in this episode on our webpage, here.With thanks to:Annabel Roy, Jaydin Shingleton, The Rusty Pickups, Sandra Campbell, and Laura KootGo to this episode on rnz.co.nz for more details

We discuss some of the recent events covered in The Catholic Messenger such as Father Alfonso Pizano's ordination. We also talk about an upcoming profile of Marlene Franz, an employee of Regina High School who is retiring after almost 58 years. We then cover the pilgrimage The Messenger is sponsoring to the Fulton Sheen Museum and St. Mary Cathedral in Peoria, where the famous archbishop is buried. The Messenger pilgrimage is set for July 24 and Archbishop Sheen is scheduled to be beatified on September 24. We discuss a recent article in The Messenger which featured Msgr. Jason Gray, a priest of the Peoria Diocese who was one of the investigators of Sheen's cause for sainthood. Music for this podcast is "Funky Delight, Version 1," courtesy of udio.com, inspired by David Baker, 2026. You can hear all our podcasts on your favorite podcast platform including Apple podcasts, iHeartmedia, TuneIn and more. This segment was produced and recorded at KALA Radio Studios, St. Ambrose University, Davenport, Iowa, USA.

Good morning, There's much discussion over flags and marches and what it means to be British at the moment. This has meant the legitimate concerns of some have led to my own legitimate concerns for my family's safety. As an immigrant and a visible ethnic minority in the town in which I live, I can feel a sense of dis-ease and fear about whether or not I'm welcome in the nation which I have called home my whole life. It's within this climate of hyper-vigilance that I boarded a local bus and braced myself for some racist words from one particular man – someone I had judged based on the colour of his skin. To me, he looked like the type of person who might not like me. I thought he might shout some abuse, or tell me to go back to where I came from. Instead he showed me kindness. He held my son's buggy for me as I struggled with mine and my kids' belongings, giving up his seat so we could sit down. I could have wept at the simple humanity of it. And the shame of me pre-emptively judging another based on a perceived difference. All around us we see evidence that our society is fractured and fragmented and polarised. The horror of the scenes in Northern Ireland, and the sadness as we remember MP Jo Cox's murder 10 years ago this week. We're told time and again that we have more in common than what divides us. But I wonder whether this suggests we need to find our commonality before feeling a shared humanity. Maybe it's recognising our difference and choosing decency, kindness, and even love despite those differences that we should value. The Christian tradition can help us here in the example of the early Church – people from many different backgrounds and cultural and religious traditions – came together, sharing everything they had, not because they were the same, but because of a commonality found outside their individual circumstances and characteristics. Their differences were the point. This week, I attended the Sandford St Martin awards honouring the best in religious broadcasting, where a special award went to the BBC's Pilgrimage. The show takes well-known figures in British life with different beliefs – the devoutly religious, the agnostic, and the vehemently atheist – on a journey towards sacred sites including Santiago de Compostela, Holy Island and the Vatican. Perhaps the show's beauty lies not in the pilgrims' sameness, but in their difference. The commonality is not in their beliefs, but in their shared purpose, getting through a gruelling journey; spiritual and personal transformation taking place along the way. I find this a beautiful metaphor for this moment in which we find ourselves - One which might help us to meet the challenges ahead of us, where we might see our differences, and choose kindness and togetherness, anyway.

6/18/26 (Host – Buz Eisenberg) Dr. Kathy Bullock Singer & Professor Emerita of Music Berea College: Songs of Slavery and Emancipation Tour” a multi-state concert tour and musical pilgrimage retracing the paths of the Underground Railroad At Bombyx Sun June 21 Concert: 4:00pm Extra Extra with DHG & Gfld Recorder Executive Editor Dan Crowley: Neal cancels debate appearance, no to data centers in Holyoke, & man not found not guilty after 28 years in prison. Guitarist, Singer, Songwriter, and Rocker June Millington on her upcoming performance at The Green River Festival Friday at 545 & Saturday at 430 All That Jazz w/ Ruth Griggs, Pres of the Northampton Jazz Festival, & Jennifer Schantz, Exec Dir of The Eric Carle Museum Of Picture Book Art & Brian Pinkney, Illustrator of children's books: Jerry Pinkney exhibit opening; Sunset Thursdays, and jazz and art collaboration at The Eric Carle Museum in Amherst.

Hour 1 for 6/17/26 Drew and Andrew Harding from Heritage discuss the Iranian memo of understanding (1:00). Then, Mary Carmen Zakrajsek discusses her journey on the National Eucharistic Pilgrimage (21:09). Finally, Drew invites the callers to share their testimonies about the Eucharist (37:12). Calls: adoration (38:27), food for the journey (40:21), sign from God (42:09), the Holy Spirit (43:14), and God's presence (48:39). Links: https://www.eucharisticpilgrimage.org/ https://www.heritage.org/staff/andrew-harding

Fr. Peter George Flynn joins us from the Radio Maria Pilgrimage in Lough Derg and talks to Pilgrims who are present at the retreat as well as Luke McKann, a representative from Human Life International. The other group that was on the pilgrimage. Listen to the Experiences and Witness of Pilgrims as they talk about […] L'articolo The Radio Maria Pilgrimage in Lough Derg – Fr. Peter George Flynn proviene da Radio Maria.

Today Fr. Wade Menezes springboards into the topic of "Make Your Vacation A Pilgrimage, Too!" and asnwers your questions about your Catholic faith.

Whether it's your family, your team at work, your friend group, or fourteen pilgrims walking the coast of Portugal — every group goes through the same stages: form, norm, storm, reform, and break apart. This week Amy and Karla get specific about what that looked like on the Camino, and more importantly, what it revealed about each of them. Amy discovers she is almost always either at the front or the back of the pack — and never in the middle. Karla learns something powerful about leadership, louder voices, and the cost of avoiding conflict in the moment. And somewhere between a swamp detour, instant Nescafé, and the fastest pilgrim in the group, there is a genuinely useful framework for understanding why groups are hard, why they are worth it, and what you can learn about yourself when you are asked to move at someone else's pace. If you have ever struggled with being part of a group, leading one, or just surviving one — this episode is your people.   To learn more about group pilgrimages and spiritual direction, contact Karla Woggon, Director of Soul Sauntering:

"I had never heard of Fatima, Lourdes, or Guadalupe. And then I saw her. She was heavenly, and beautiful." ---------- Gina had never heard of Marian apparitions--Fatima, Lourdes, Guadalupe--none of them. And then suddenly, she began having visions she couldn't explain. She discovered that this kind of experience could change where you go to church on Sunday. In this episode, Gina shares her experiences, including an end-times Marian vision and a powerful encounter with her mother in heaven that brought unexpected healing and closure. --------- Join Us for a Pilgrimage to Medjugorje We invite you to embark with us this October 10th to 17th on a pilgrimage to Medjugorje--one of the most grace-filled and spiritually uplifting places we've ever encountered. Register now, tickets are selling fast. Click below to see all the details:  https://padrepiopilgrimages.com/trapperjack/ ---------- Share Your Story If you have a Touched by Heaven moment that you would like to share with Trapper, please leave us a note at https://touchedbyheaven.net/contact Our listeners look forward to hearing about life-changing encounters and miraculous stories every week. Stay Informed Trapper sends out a weekly email. If you're not receiving it, and would like to stay in touch to get the bonus stories and other interesting content that will further fortify your faith. Join our email family by subscribing on https://trapperjackspeaks.com  Become a Patron We pray that our listeners and followers benefit from our podcasts and programs and develop a deeper personal relationship with God. We thank you for your prayers and for supporting our efforts by helping to cover the costs. Become a Patron and getting lots of fun extras. Please go to https://patreon.com/bfl to check out the details. More About Trapper Jack Visit Our Website: https://TrapperJackSpeaks.com Patreon Donation Link: https://www.patreon.com/bfl Purchase our Products ·       Talk Downloads: https://www.patreon.com/bfl/shop ·       CD Sales: https://trapperjackspeaks.com/cds/  Join us on Facebook:  https://www.facebook.com/TouchedByHeaven.TrapperJack Follow us on LinkedIn: https://www.linkedin.com/in/trapperjack/ Join us on X/Twitter: https://x.com/TrapperJack1

Hear Stephen Wood preach from Psalm 122 continuing our sermon series on the Psalms of Ascent. Stephen gave this sermon at Liberti River Wards church on June 7, 2026.

Synchronicity is a funny thing. When the "on-air" light flickered to life for Episode 333, none of us realized the clock had struck exactly 3:33 PM EST. Was it a fluke, or was the universe leaning into the microphone?In this landmark episode, Beans and Gaz are joined by the insightful Evan Gray for a deep dive into the cosmic connective tissue that binds us all. We start at the beginning—literally—by deconstructing the Tarot's "Fool's Journey." We explore how every one of us is currently walking that path, tumbling through the Arcana as we navigate the leap of faith into the unknown.The Ego vs. The Infinite: We get honest about what spirituality actually means in the modern world. The trio discusses the constant battle to keep the ego from "backseat driving" our spiritual growth, whether you're practicing Christianity, occultism, or anything in between.The Shared Human Experience: From personal revelations to the moments that shattered our old worldviews, we share the experiences that shaped our individual faiths. It turns out, no matter the label, the core search for meaning is universal.From Dust to Stars: We pivot from the internal to the external, looking at humanity's place in the cosmos. We discuss the implications of man in space and look back at the Ancient Egyptians—the original masters of aligning the earthly with the divine.A Pilgrimage to the Pillars: Beans and Gaz reflect on their separate journeys to Stonehenge. They share the raw, unfiltered feeling of standing amongst the megaliths and what that ancient site whispered to them about time, heritage, and the energy of the land."Spirituality isn't about being 'right'—it's about being open. The moment the ego decides it has all the answers, the journey of the Fool stops."Whether you're a seasoned practitioner or just someone looking for a bit of signal in the noise, this episode is a reminder that we are all wandering, all learning, and all tied together by a thread that started long before the pyramids were built.Grab your headphones and join us for the journey.Find Evan onlineThe Fools Reading – Evan Gray Tarot and Psychic Readingstallboyradio.com

Have you ever felt a longing you could not explain?In this episode of The Sacred Travel Podcast, Julia speaks with presbyterian pastor, author, traveler, and lifelong pilgrim Douglas Brouwer about the deeper longing that calls us beyond the familiar.Together they explore pilgrimage, vulnerability, peacemaking, sacred encounters, indigenous wisdom, and the unnoticed moments that quietly transform our lives.What begins as a conversation about travel unfolds into a reflection on curiosity, humanity, faith, and the art of truly seeing one another.

Eight hundred years ago, St Francis walked the roads of central Italy with nothing — and today, those same roads are waiting for you to explore. Katy sits down with Sara Zanni, Bologna-based archaeologist and hiking guide, to explore the Via di Francesco. Thirteen trails through Umbria, Tuscany, and Lazio, all converging on Assisi, through ancient forests, olive groves, and small towns home to art treasures you will never find on a standard itinerary.Show notes with links and resources here > untolditaly.com/328Want someone who really knows Italy to help plan your trip? Our Italy experts love answering your tricky questions and designing trips that take you to the Italy you imagined - start planning hereNot sure where to start? Get the Untold Italy podcast guide with 315 epsiodes organized by topic.The premium Untold Italy app has ad-free access to our complete archive of 300+ episodes searchable by place and topicFOLLOW: Instagram • Facebook • YouTube GET OUR NEWS: Subscribe hereTRIP PLANNING SERVICES: Learn more hereJOIN US ON TOUR: Upcoming departuresThe Untold Italy travel podcast is an independent production. Podcast editing and audio production by Mark Hatter. Production assistance by the other

Stephanie and Gregory share with Cari about their recent pilgrimage to Italy.  From what it was like to sing in the Churches throughout Italy, to various stories and graces from the incredible pilgrimage.    Come, follow us: Parish Website  |  Facebook  |  Instagram  |  YouTube  |  Spotify Music

Hello to you listening in Bridgeport, Connecticut! Coming to you from Whidbey Island, Washington this is Stories from Women Who Walk with 60 Seconds for Wednesdays on Whidbey and your host, Diane Wyzga. On my Camino pilgrimage I received a small paper star  from someone I did not know to carry with me as a blessing, to remember that someone was watching over me as I walked. In turn, I'm sharing some blessings with you as you walk in your day: BLESSING FOR YOU May you eat an unfamiliar dessert in a foreign land at least once in your life. May you wake up to salsa music one summer morning, and start your day dancing. May you mix stripes with plaids, floral patterns with checks,  mismatch your socks, and add a floppy hat. May you be greeted by 20 flowers, 15 trees, 10 clouds and at least 1 extra-solar planet. If you bury your face in your tear-stained pillow and beg the Universe to please send you your soul mate, make sure you haven't slurred your teary words so they sound like "cell mate." May you dream of taking a trip to the moon in a gondola powered by firecrackers and wild swans. May you actually kneel and kiss the earth now and again. Attribution: Pronoia Is the Antidote for Paranoia: How the Whole World is Conspiring to Shower You with Blessings.  Available at Amazon: https://bit.ly/Pronoia.  A free preview of the book is available here: https://tinyurl.com/PronoiaPreview You're always welcome: "Come for the stories - Stay for the magic!" Speaking of magic, I hope you'll subscribe, share a 5-star rating and nice review on your social media or podcast channel of choice, bring your friends and rellies, and join us! You will have wonderful company as we continue to walk our lives together. AND!  Stop by my Quarter Moon Story Arts website during reconstruction, email me [info@quartermoonstoryarts.net] to arrange a no-obligation Discovery Call, and stay current with me as Quarter Moon Story Arts on Substack. Stories From Women Who Walk Production Team Podcaster: Diane F Wyzga & Quarter Moon Story Arts Music: Mer's Waltz from Crossing the Waters by Steve Schuch & Night Heron Music ALL content and image © 2019 to Present Quarter Moon Story Arts. All rights reserved.  If you found this podcast episode helpful, please consider sharing and attributing it to Diane Wyzga of Stories From Women Who Walk podcast with a link back to the original source.

On this episode of Catholic Forum, Raymond Martinez II joins the show to discuss his role as a Perpetual Pilgrim on the National Eucharistic Pilgrimage "One Nation Under God" route that is bringing the Blessed Sacrament to many east coast dioceses this Summer, including the Diocese of Wilmington on June 11th and 12th. To learn more about Raymond and his fellow perpetual pilgrims visit eucharisticpilgrimage.org. To learn more about the National Eucharistic Pilgrimage events in the Diocese of Wilmington visit cdow.org/cabriniroute or thedialog.org! We hope you'll join us on the route to glorify our Eucharistic Lord, the Source and Summit of our faith! Each week you can listen to The Catholic Forum podcast on Apple, Spotify, iHeartRadio, Amazon Music podcasts and youtube.com/dioceseofwilm every Wednesday; and on Relevant Radio 640 every Saturday afternoon at 1:30 for those in the Delmarva/South Jersey region. More information is available at cdow.org/CatholicForum and Facebook.com/CatholicForum. Catholic Forum is a production of the Office of Communication of the Diocese of Wilmington (supported by the Faith and Charity Appeal!) Please like, subscribe and share.

Our guest is Gary Paul Nabhan, celebrated ethnobotanist and biocultural conservationist. In his new book "Water in the Desert," he traces the fascinating story of his life.

Mary-Carmen Zakrajsek visits with an update on her experience with the National Eucharistic Pilgrimage. David Jurcak of the Grand Hotel in Mackinac Island joins to talk about the 2026 Grand Hotel Getaway. Stephen Auth highlights EWTN's mini-series Visions of the Divine on the Eucharist in Art. Plus, T's Two Sense looks at report about the well-being of children…and Kelly Salomon with Newman Guide News discuss the Pope's message about the mission of Catholic education.

Today's message is week 1 in our summer series through the Psalms. Thank you for listening. Take a look at the sermon notes of this message on the church website: https://www.gatewayfranklin.com/sermonsTo find out more about Gateway Franklin Church, visit us at gatewayfranklin.com or join us online each week at gatewayfranklin.online.

"Live your life with arms wide open, today is where your book begins." ---------- There is one day each year that seems to echo across history. Fatima in 1917. Akita in 1973. A mysterious moment during adoration in San Francisco in 2023. Different places. Same invitation: return to God. In this episode, I revisit one of the most talked-about episodes of Touched by Heaven and ask a simpler question than before--not what every sign means, but what they're asking of us. Along the way come unexpected clues through songs like Unwritten and Anything Goes, and a surprising realization: perhaps the ending isn't fixed. Perhaps, even now, the story is still being written. ---------- Join Us for a Pilgrimage to Medjugorje We invite you to embark with us this October 10th to 17th on a pilgrimage to Medjugorje--one of the most grace-filled and spiritually uplifting places we've ever encountered. Register now, tickets are selling fast. Click below to see all the details:  https://padrepiopilgrimages.com/trapperjack/ ---------- Share Your Story If you have a Touched by Heaven moment that you would like to share with Trapper, please leave us a note at https://touchedbyheaven.net/contact Our listeners look forward to hearing about life-changing encounters and miraculous stories every week. Stay Informed Trapper sends out a weekly email. If you're not receiving it, and would like to stay in touch to get the bonus stories and other interesting content that will further fortify your faith. Join our email family by subscribing on https://trapperjackspeaks.com  Become a Patron We pray that our listeners and followers benefit from our podcasts and programs and develop a deeper personal relationship with God. We thank you for your prayers and for supporting our efforts by helping to cover the costs. Become a Patron and getting lots of fun extras. Please go to https://patreon.com/bfl to check out the details. More About Trapper Jack Visit Our Website: https://TrapperJackSpeaks.com Patreon Donation Link: https://www.patreon.com/bfl Purchase our Products ·       Talk Downloads: https://www.patreon.com/bfl/shop ·       CD Sales: https://trapperjackspeaks.com/cds/  Join us on Facebook:  https://www.facebook.com/TouchedByHeaven.TrapperJack Follow us on LinkedIn: https://www.linkedin.com/in/trapperjack/ Join us on X/Twitter: https://x.com/TrapperJack1

This week, we share a lecture offered by Rev. Bill Haley back in 2019 to culminate an ecumenical retreat coordinated by Truro Anglican Church. He makes the case that Protestant Christians have much to learn from the Benedictine tradition of contemplation as the wellspring for a stronger movement toward God and into the world.Explore Coracle's Expression of Monastic Life, "A Common Way"View Our Complete Archive of “Space for God” Prayer PracticesLearn More About Spiritual Direction through CoracleView Our Full Archive of Soundings SeminarsExplore the Full Archive of Bill's Sermonsinthecoracle.org  |  @inthecoracleSupport the showFor the Journey is a resource of the Coracle Center of Formation for Action and is made possible through the generous support of men and women across the globe.

What if pilgrimage is not primarily about reaching a destination, but about learning how to be addressed by reality again? In this episode of Lectern Dialogues, John Vervaeke speaks with Ish Peregrino, a practitioner, facilitator, and pilgrim whose very chosen name carries the meaning of pilgrimage. John met Ish during his own pilgrimage in Spain, and their conversation returns to the question of what pilgrimage makes possible: spiritually, psychologically, relationally, and culturally. Ish begins by describing his background in contemplative practice, community work, Latin American and Asian contexts, and his long apprenticeship under a teacher who exposed him to Hindu, Buddhist, Zen, ecological, and indigenous traditions. This opens into a discussion of the "beyond human": the sacred, the more-than-human world, distributed intelligence in community, and the goodness that calls a person toward transformation. The heart of the conversation is pilgrimage. John proposes pilgrimage as a meta-practice: a living practice that places one's whole ecology of practices under a kind of positive stress test. Ish extends this by describing how pilgrimage changes one's environment, identity, pace, attention, and relationship to grief. It is not merely a practice added to life, but a passage that can reshape the life to which one returns. The conversation then contrasts the pilgrim with the tourist and the explorer. Tourism seeks experience and pleasure; exploration seeks conquest, achievement, and control. Pilgrimage, by contrast, is marked by participation, willingness, availability, receptivity, reverence, and deep listening. It is not just movement through space, but a transformation in the way the world is allowed to speak. Toward the end, John and Ish explore pilgrimage's relationship to God, sacredness, memory, dreams, community, and integration. Ish offers one of the conversation's most memorable images: after pilgrimage, the path was still walking him in his dreams. The episode closes with the claim that pilgrimage is not only for the Camino or other famous routes. It is a way of relating differently to what is already around us: with attention, reverence, openness, and love. Key Insights Pilgrimage can function as a meta-practice that renews and tests an ecology of practices. Transformative experiences require humility, discernment, grounding, community, and integration. Tourism, exploration, and pilgrimage represent different forms of attention and agency. The pilgrim is moved less by will than by willingness, availability, and receptivity. Pilgrimage can awaken a deeper relationship to God, sacredness, land, grief, and community. The return from pilgrimage is not an afterthought; integration is central to whether revelation becomes transformation. Pilgrimage can be practiced locally through reverence, attention, threshold-crossing, and renewed relationship. Timestamps 00:00 - John introduces Ish Peregrino 03:20 - Ish's chosen name and the meaning of "pilgrim" 06:30 - The beyond-human, sacredness, and mystery 10:00 - The danger of trying to grasp sacred experience 13:50 - Why pivotal experiences need grounding 18:50 - Pilgrimage as a meta-practice 21:10 - Hearing the call and entering a new environment 25:10 - The pilgrim, the tourist, and the explorer 29:00 - Curiosity versus wonder 33:00 - The explorer, conquest, and modernity 38:20 - Participation beyond pleasure and power 39:30 - Willingness, availability, and receptivity 44:10 - Metanoia and voluntary self-emptying 49:10 - Archetypes encountered on pilgrimage 54:20 - Pilgrimage and the relationship to God 56:50 - Seeing one face of God 01:03:50 - Dreams, memory, and the path walking the pilgrim 01:05:20 - Hospicing modernity and the crisis of relationship 01:09:40 - Loving wisely and calibrating care 01:12:10 - Courtesy, ceremony, and reverence 01:13:20 - Encounters with strangers on the path 01:15:00 - Revelation, integration, and covenant 01:17:50 - Making the near world sacred again Resources Camino de Santiago Shikoku pilgrimage David Abram Francis Weller, The Wild Edge of Sorrow David Whyte, "Everything Is Waiting for You" Christos Yannaras Vanessa Machado de Oliveira, Hospicing Modernity Thich Nhat Hanh Hartmut Rosa, Why Democracy Needs Religion Iain McGilchrist William Desmond About Ish Peregrino Ish Peregrino, also known as Mauricio-Ishwara González G., is the creator of Modo Peregrino, a living space of inquiry, accompaniment, and public reflection where the inner journey and the outer crisis of meaning meet. His work accompanies leaders, organizations, and communities through cultural transformation and regeneration, weaving applied complexity, transformative learning, deep dialogue, and contemplative practice into long-term, context-rooted processes. He is co-founder and Academic Director of DeUmbrales: Experiencias de Transición and a tutor-facilitator in Ronald Sistek's international Organizational Regeneration program. For more than 22 years, he has worked across Latin America, the United States, Spain, and Greece in universities, executive programs, organizations, and liminal spaces where real transformation tends to happen. Ish's links: Modo Peregrino: https://ishperegrino.com/ DeUmbrales: https://deumbrales.com/ Letters: https://nosuneelmedio.substack.com/ YouTube: https://www.youtube.com/@ModoPeregrino Instagram: https://www.instagram.com/ish_peregrino/ LinkedIn: https://www.linkedin.com/in/ish-peregrino/ Follow Lectern for more conversations on wisdom, meaning, spirituality, philosophy, and the renewal of culture.

Fresh off a pilgrimage to Italy, John Stephens and Josef Klam reflect on the spiritual, historical, and personal impact of traveling through some of Christianity's most significant sites.From Rome, Assisi, Siena, Florence, and Venice, they explore why pilgrimages continue to shape faith today. The conversation dives into sacred spaces, Christian history, the power of community, and how stepping away from everyday routines can open us to transformation.Along the way, they share memorable moments from the trip, discuss the importance of experiencing biblical history firsthand, and even recount a few encounters with Roman pickpockets and unforgettable Italian meals.Whether you've been on a pilgrimage before or have always wondered what makes these journeys meaningful, this episode offers a glimpse into how travel, faith, and shared experiences can deepen our understanding of God and one another.

Fr. Mitch Pacwa discusses aliens and the Catholic Church. Fr. Peter John Cameron, OP, previews the upcoming 4th annual Dominican Rosary Pilgrimage. Plus, Carrie Gress is in studio to talk about a guide for theology of home in anticipation of the United States Semiquincentennial!

Maria Morera Johnson and guest Angela Sealana talk about living life as pilgrims. Angela Sealana is a Missionary of Hope on the staff of Pilgrim Center of Hope, a Catholic evangelization apostolate founded in 1993 in San Antonio, Texas. Since 2010, Angela has coordinated media and communications for the Center, and she serves on their Speaker Team. Links for this Episode: MotherOfHopeConference.com

Hour 2 for 6/2/26 Drew and Elizabeth pray the Chaplet of Divine Mercy (1:00). Then, His Eminence Cardinal Burke joins Drew about his Five Years of Mary campaign (27:40) and Marian Dogmas (42:22). Link: https://guadalupeshrine.org/

How do you write when your heart is broken? How do you go back into the publishing business after years away, knowing it's a very different industry to the one you left? With Jami Albright. In the intro, InAudio is now distributing audiobooks to BookShop.org; The Feedback Loop that Makes Better Writers [Author Nation Podcast]; Bones of the Deep on Goodreads. 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 Jami Albright is the bestselling author of the Brides on the Run romances and the co-host of the Wish I'd Known Then Podcast. Today we're talking about her new novel, The Summer That Changed Us. 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 Jami started writing fiction at 47 and waited a year before publishing her first book Why she fictionalised her sister's terminal cancer story rather than writing a memoir The difference between writing as therapy and writing for the reader Reactivating an email newsletter after almost two years of silence Going wide with a standalone women's fiction novel after years in KU and rom-com Letting go of the frantic hustle of indie publishing and redefining what success looks like You can find Jami at JamiAlbright.com. Transcript of the interview with Jami Albright Jo: Jami Albright is the bestselling author of the Brides on the Run romances and the co-host of the Wish I'd Known Then Podcast. Today we're talking about her new novel, The Summer That Changed Us. So, welcome to the show, Jami. Jami: Thank you, Joanna. I've made it. This is my first time on The Creative Penn, so I can retire tomorrow. Jo: And we were saying before the show, I really thought you had been on the show before, because over the years we've connected a lot. We met over a decade ago, didn't we? At the Smarter Artist Summit. I was like, “I'm sure you've been on the show,” and you haven't. So, yes, welcome. Jami: Thank you. You've been on our show, though. We did an interview with you a few years ago. Jo: Yes. Well, anyway, for anyone who doesn't follow your show— Tell us a bit more about you and how you got into writing and publishing. Jami: Okay. So I am the co-host of the Wish I'd Known Then Podcast for Writers. Sara Rosett and I have been doing that podcast since January 2020. Little did we know what was coming, and it really saved me, just mentally, being able to talk to people every week. I never wrote a word of fiction until I was 47. I'd never really written anything. I have really bad grammar. I tell a lot of stories, and I would make up stories, but I'd never write them down because of the grammar thing. But my reading buddy had her birthday coming up in about three months, and I thought, “You know what? I'm going to write Jennifer a book for her birthday. She doesn't care if I have bad grammar.” I just thought it would be on brand. It was so hard. I wrote myself into a corner very fast. When I told her, she said, “Well, now you have to.” So I got Writing a Romance Novel for Dummies, I read that, and I started writing what is now Running from a Rock Star. But then my computer crashed and I lost it, and I was like, “Well, I'm not a writer.” So that was fine. Then I turned 50, and I told my family, “I think the only thing I regret is not finishing that book.” Of course they were like, “Well, you need to just do it again.” I was like, “No, I had 30,000 words.” A few weeks later my daughter came in and said, “Mom, I found this flash drive in my car. I think it has your book on it.” And it was 20,000 of the 30,000 words. So I was like, “Well, it's now or never.” So I joined Romance Writers of America and got involved in a critique group, and they absolutely kicked my butt for a good six months. I think every week they were surprised I came back, because it was so brutal. I knew I didn't know anything, and they taught me to write. Six months after I joined that first critique group, I won my first contest with the first 10 pages of that book. Then I just continued on. Three years later, I published Rock Star. I was going to publish it two years later, but I went to the Smarter Artist Summit, where I met you. I was advised by Julia Cant and Sean Platt and some other people to wait—preferably to have more books written. I had the second book written when the first one came out, but it still needed to be edited. So I waited a year, learned this business, and sold plasma to pay for my edits because I was poor. It was the best decision I ever made. Going to that conference, first of all, was the best $500 I've ever spent, and waiting that year really helped me learn this business. When I published the book, I had an email list of 1,200 people before the book ever came out. None of those things would have been set up had I published right after the Smarter Artist Summit, which is what I'd thought I would do, in the summer. So waiting gave me time to get everything set up so that when I published that book, it really took off from day one. I had 1,200 people on that newsletter list who wanted that book, because I had done a preview promo. Instead of putting out the whole book, I think I put out four chapters, and then people signed up. I don't know that that works anymore. Jo: I was going to say that. We should say to people, what was that, around 2016? Jami: 2017. Things have changed. Jo: Yes, things have changed, and I think this is so important. I had a question about this, and what they were implying was things that, like you said, we learned a decade ago. Things have changed. We'll come back to how you're doing it now, but just in terms of finishing off how you got started—those books did really well, didn't they? You had a couple of years there. How many books did you do? How did that go? Because you did have real success. Jami: Yes. From 2017 until really the beginning of 2021, if you look at my sales graph and my income, it just increased, increased, increased. 2019 was my very best year, but 2020 was only slightly lower as far as book sales and income. I only put out a book a year after the second book. The second book came out about six months after the first one, and after that it was about every nine months to a year that I put a book out. Everyone said you can't make money doing that, but I did. I think those books are very tropey. They're very hooky. That helped. I also think the timing of those books was really good. Rom-com was really coming up, and my rom-com is pretty wacky, but it's also really emotional too. If I get any critiques about them it's usually that “this book was way more emotional than I expected, and I was looking for something a little lighter.” They're just really wacky. They're rom-coms. Wacky circumstances. Small town, so there's all these small-town people. I just think it was a good time to release those. Those were good years. I miss those years. Jo: It's a good lesson, because it's not always up and to the right, is it? We're going to come back and revisit that. So then the pandemic hit, and on a more personal level, over the last few years, you've had a deeply difficult time that has led to The Summer That Changed Us, your latest book. So talk a bit about what's happened, why this book, and also why fictionalise it rather than write a memoir? I had that question. Jami: Okay. So 2021, my income was dropping, but it was still okay. I was still making more than enough that—thank God I don't have to make all the money in our household—but there was a level that I wanted to. At the end of 2021, my sister, who was the fourth of five sisters, had lived with cancer—non-smoker's lung cancer—for 10 years. She had the kind that, if you had a certain mutation, there were medications that worked amazingly well. Until they didn't, and then they put you on another class of that medication. So for 10 years, that's what she did. She missed work maybe three times in 10 years. People who met her never knew she had cancer unless they knew us. She just never acted like she had cancer. We would have to say, “Remember, you have cancer.” At the end of 2021, they ran out of that class of drugs. There were some being tested, but none had been approved. When she was diagnosed, she was diagnosed with stage four lung cancer. You don't survive very long having stage four lung cancer with no medication. So I saw the writing on the wall pretty much at the end of 2021, but of course I was very hopeful that they could do something. By May of 2022, it was clear things were not going well. In July of 2022, she got a six-to-twelve-week diagnosis. She just went in one day thinking she was about to get radiation, not knowing anything, and they were like, “No, we can't do radiation, and you should get your affairs in order because you have six to twelve weeks to live.” Jo: Oh. Jami: People who've been through it know this feeling. It's like being hit by a wrecking ball. It just knocks everything off your axis. Your whole world implodes into this one moment, this person that you love. I live four hours away from my family. They all still live in the same small town. I was in Dallas at my daughter's at the time, and they live about 30 miles outside of Dallas. So I went to my mom's, and I stayed there. I was there for almost six months, if you count the time I was back and forth, because she was not doing great but she was still okay. She had always rallied and come back. But once she got the diagnosis, I stayed. She would go home, but she would come back to my mom's during the day, because her husband worked. She was a teacher, so she was off during the summer. I was just there, and we all just took care of her. When she decided to go on hospice, she wanted to be at my mom's. She didn't want to be at home—they lived out in the country. She wanted to be at my mom's, so we set her up in the living room. We're redneck country people. We bring our crazy people in, our sick people, just out for everybody to see. She was just in the middle of the living room in her hospital bed, and the world just revolved around that hospital bed. Once that happened, once I knew at the end of 2021 that things were not going to go well—I really did not believe she would die. But she died a month after she went on hospice in October of 2022. That whole year, I was useless. I could not write. I couldn't think of anything to write. I write funny. How do you write funny when your heart's broken? I couldn't do it. After she died, I knew it would take a while. I knew it would maybe even be a year. But as the weeks turned into months and the months turned into years, I haven't written—except for her obituary—I've not written a word since she died until I started writing this book a year ago. I started it on April 19th. Jo: I mean, the stories of grief—there seems to be no way of escaping whatever it ends up being. You didn't choose your response. Your deep grief was just there, and you couldn't write. I feel like sometimes people just try and force it. It sounds like that's what you needed, and you have done that. So what then gave you the impetus to finally write—and to choose fiction? Jami: I didn't write memoir. I did think about doing a memoir, but I don't read memoir, and I don't know how to write it. I was already behind the eight ball, trying to write a book at all because it had been forever. I don't need to learn how to write something completely different. Plus, it just felt too close to write the memoir. I had been in Mexico City with my daughter, who has an event planning company, and we were there scouting locations for one of her events. Janet Margot lives in Mexico City, so I reached out, and we had dinner. We were talking, and she had had two big losses about the same time that my sister passed away. So we were talking about how difficult it is afterwards, just getting your head back into a space of being creative at all. She said, “You really should write this book. You should tell this story. It hits everything: middle-aged women dealing with middle-age things. You've got your parents that you were dealing with, and then your sister. You should write this story.” I said, “No, thank you. I lived it. I don't want to write it.” But it just wouldn't go away. I couldn't figure out how I would tell it. Whose point of view? I couldn't do it from the dying sister's point of view because I didn't think I could be authentic. I was afraid to tell it from multiple POVs because the book has a lot of characters in it. My family is gigantic—my immediate family, my sisters, husbands, nieces and nephews, my kids, my mom and dad—there are 35 of us. Almost all of those are in and out of my mom's house all the time. So I knew I couldn't do multiple point of view. One day, I was driving home to my mom's house, and it just hit me. The whole story laid out in front of me, and that's what I did. The first draft was pretty much just a retelling of what happened to us. I added some fictional elements, but I just wanted to get the story out. It was hard. I started Adderall on April 19th of 2025—I know that, because that's the day I started this book. I do call this the book that Adderall wrote, because I could sit and focus for three or four hours, which I'd never really been able to do. I would come to Starbucks and I would sit and write this book, and I would cry sitting in Starbucks, like a crazy person. People would walk by and slide a napkin onto the table and just keep walking, because I'm sitting there crying like crazy. I was so superstitious, and things were working so well, that I was afraid not to come and write at Starbucks. Staying at home, I think, would have been really hard. I would maybe have sunk into a depression had I done this at home. So I just wrote the whole book at Starbucks. After I wrote the first draft, I went back in and made it more fictional. But a lot of the book—especially her stuff—is a lot of what happened. She was just crazy. I tell a story in the book that, this is the absolute truth, this happened. She was in college, and she had convinced my younger sister to go to a honky-tonk club because they were having a Miss Honky-Tonk contest. Before she could get up on stage to compete as Miss Honky-Tonk, she got in a fight with some girl, and the girl hit her in the head with a bottle and split her head open. She was bleeding. My youngest sister was like, “We've got to go to the ER.” And she just refused, because there was a $300 cash prize for winning, and she needed it to make rent. So she borrowed a towel from the bartender, wrapped it around her head, competed with that bloody towel on her head, and won that stupid contest. That story in and of itself was my sister. Everything about her is in that story. So a lot of the stories in there happened to her in one way or another. What happens to June in the book happened to my sister. Jo: This is interesting, because the same thing memoir writers face is something perhaps you face: how much of the writing is therapy and how much is for the reader? You said you sat there crying. Absolutely, writing for therapy is very important—but when you come to edit, there might be things that your therapy side of you is like, “That's so important to me.” How do you kill your darlings when you're editing your sister's life? Jami: That was hard. I had to take out a lot of what was in the first draft, mostly the stories. Once she came home on hospice, it was just a steady stream of people coming in, and everybody had a story about her. What I found in editing was that Hope, the main character, was mostly a spectator in those scenes instead of being actively part of them. So I had to take those out, because they didn't serve the purpose of the book. I committed early on to: while I wanted to tell the story, I did not want it to be self-indulgent. I did not want it to be a therapy session that I sold to people as a story. Because of that, I think that really helped. I really did think about that as I was revising. I sent it to a developmental editor, and I don't know how great she was, but she gave me some really good advice about a couple of things. One was, “There's just not enough conflict in this book. You say that Hope and the father have this really contentious relationship, yet we don't see it. There's a little bit of it here and there, but you're not really digging into that.” It's hard, because while the rest of the world doesn't know, my family knows that this is a lot of our story. I just had to let that go and not worry about what my family thought. They had all given me permission. I'd sort of said, “I want to do this. Are you guys okay with that?” I talked to her husband, and everybody was okay with me doing it. But I couldn't worry about what they were going to think. I would repeat to myself: if they want to tell this story, they can write their own book. I'm writing what I saw and telling a fictionalised story that will hopefully honour her, but also help other people feel like they're being seen, and also be entertaining. If you're going to write a book, it needs to be somewhat entertaining. Jo: I don't think you can help yourself. You're funny. Jami: Yes. The book is really funny. I tell people that and they're like, “Hmm, really?” And I'm like, “It is really funny.” But it's also really sad. Jo: Well, I think that's the truth—to defend myself. There is a lot of humour in grief. There is death and dying, and it's a human condition. Jami: It is a human condition, yep. Jo: There's comedy in all of the human condition. That's just the way it is, right? I heard you mention on an interview, I can't remember where it was, that you feel very connected to this book, and you're worried that people judging it or giving it a bad review might feel like an insult to your sister. How are you dealing with these kinds of fears about how to separate ourselves from our books? Jami: I've been in therapy—like, literal therapy—for that, because I felt like that would be hard. So far, I've only gotten a few reviews back. They've all been good reviews. I haven't had anyone say they hate it. I just have had to separate myself. It's not personal. Reviews are never personal. People not liking your book is never personal. That's just a mindset. I've had to change my mind about that. Knowing that's a pitfall I could fall into, I really keep it top of mind. My family knows that's an issue, so they know they have to pull me out of that hole if I drop in. So that's really how I've handled it so far. We'll see. Jo: Maybe it's time as well. You're almost back to the “book is your baby” situation. As the years pass, the book almost becomes separate, doesn't it? How you feel about your first bride book is probably like, “It's not even me anymore.” Jami: Right. I learned early that your book isn't really your baby. Once you publish it, it's your product. So that has never been very hard for me. I still hate bad reviews, and I take them personally like everybody else does, if I let myself. But ultimately, this is a book that I'm putting out for entertainment. Yes, it's very personal. Yes, it means a lot to me. But if people don't like it, it isn't because they don't like my dead sister. They just don't like my writing. Jo: It's tough, but it's good to talk about, because this is something many people feel. My memoir Pilgrimage—it's not the same at all—but I was just so scared of judgment. The fear of judgment. What people would think of me. That's kind of different, but— It's this question of how it'll land. The reality is, not many people read these books anyway. Jami: Well, I have worried about how it would land, but mostly I worry about how it would land with the people I love. My mom read it last week. I was there while she was reading it. That was no fun. She laughed, but it was devastating to her. She's like, “It's great, and I hate it.” Because it is so raw and real to her still—well, to all of us. That's where I worry, how it's going to land with them. But again, I've had to let that go. I had to let it go during the writing, because if I worried about that, then I would not have told an honest story. That was another thing—I didn't want it to be self-indulgent, and I wanted it to be honest. As honest as I could make it, even to the point of making people uncomfortable. There's a line. Once you cross it, there's no getting you back after that. So I walked that line really carefully, because I did want it to be honest about how I felt, how other people I know who've been through something like this feel. Also, just relationships. Because when you're in a big family like my sisters and I—we adore each other, but we can also go toe-to-toe real fast. It can get ugly, because we know each other really well. We're also a little bit redneck, so we don't pull any punches. Your sisters are always the most honest people in your life. I wanted that to be true in this book too—both sides of that story. Jo: Let's circle back to the business stuff and some of the things we talked about, because obviously this has been a really difficult time. There was no way to deal with it in any other way, but your business has changed. You had these great few years, good sales, and then you had other priorities. So how are you rebooting the business? Lots of people end up taking a few years out for whatever reason. How are you rebooting the business to try and sell some books? Jami: To be honest, I have the remnants of a business. I have tried over the last four years to run some ads to get the Bride's books going, but here's something that's very interesting, and if somebody can tell me why this happened, I would love to hear it. These books that have sold so many books—I mean, so many books—I could not give them away. It didn't matter what I did. I changed covers, I changed blurbs, I put them on sale, I took them off sale, I ran ads. Ads wouldn't really move the needle. I know that at a certain point, when you haven't published and your books get pushed down in the algorithm, that is an uphill battle. But it was almost like, one day they just fell off, and once they started falling, I could not get them back. I just couldn't. So that I didn't make myself crazy—because also during this time, I was just trying to keep my head above water—when I would deal with my books or go into my dashboard, I would feel horrible. I was already feeling horrible, so I didn't need to feel more horrible. So I just sort of let them go after a certain point. I've now started running some Facebook ads. I have one Facebook ad that's working really well, knock on wood, right now for my first Bride's book. The problem is, this book and my Bride's books are different. The voice and the tone are the same, but they're really different in a lot of ways. They're the same in a lot of ways. This book doesn't have any sex; the other books don't have anybody dying. But some of the things are really similar. So I may have some crossover. For whatever reason, this ad is working. My book one is ranked better than it's been ranked in forever—really good. I'm not spending a ton of money to do it. So I don't know what changed. I don't know if I'll ever know. I've revised my newsletter, and that's worked well. I still have around a 35 to 40% open rate on a newsletter that I didn't send out for almost two years. I was sending it out, but then I kind of stopped, and then I started again. Jo: I was going to ask you about that, because I often get people emailing me. They're like, “I have a really old newsletter from several years ago. I haven't emailed them for years.” So what did you say in that first email? Like, “Hey, I'm back”? Jami: I mean, I'm just like, “Remember me?” It really was kind of like that. Just, “I'm back. You guys know life has happened. I'm sure you understand. If you're still here, thank you so much. I have been writing. I have this book that I think some of you will really love.” That's really how it was. From the first email, even that first email had a higher open rate. I think it was close to 45%. I had not sent out a newsletter in two years literally. Jo: People were like, “What happened?” Jami: They're like, “Oh, she didn't die. That was her sister, not her.” But I've just been really fortunate. They've been really encouraging. Every time I send one out, I get really encouraging emails back. So I've sent out about the book. The majority of my readers are KU readers because my books are in KU. But this book is going wide. One of the things I'm doing because I have been a little concerned about… Janet Margot does a lot of Amazon ads stuff and she knows a lot about Amazon. We've talked a lot about whether I should use my real name, my pen name, or come up with another name. Should I worry about my readers buying the book and messing up my Also Boughts? All of those things, because my readers are romance readers. Some of them read women's fiction, but for the most part, they're romance readers. I've decided to stick with Jami Albright and not worry about it. There are just things you can't control, so I've had to hold everything with a really open hand with this book. I am offering the book on my website. I'm selling it at $7.99—I chose a high price point, because I just feel like, to sit with the other books that I want it to sit with, I need that price point. So I'm offering it on my website, starting at the end of this week, for $5. If they're KU readers and they don't buy books, but they want the book, they can get it for $5 on my website, which I think is reasonable. Jo: Mm. Absolutely. Jami: If that's too much for them, I understand and I get it. Time, things are hard right now, and if they can't do that, it's going to be in libraries, so they can request it at their library. But right now that's the plan. Hopefully that helps with the Also Boughts a little bit too. Even though, again, I just can't worry about those things. As a gift to my readers, I want to do this for them as well—give them a discount. Jo: And obviously this is a standalone, right? This is not— Jami: Yes, it is. Jo: Again, a bit like memoir, all the book marketing we talk about in fiction is “write a series.” It's much easier. So it is difficult to market a standalone in general. And this is something that happened, so it is a standalone situation. So do you feel like you're back in terms of writing? Have you got plans for more books, or is this a business for you going forward? Do you feel like you want to re-enter this whole world? Jami: I do. I have an idea for a book similar to this one—not in the same kind of genre, I mean, of women's fiction, kind of midlife fiction stuff. I have an idea. I had nothing for months and months and months, and a couple of months ago, this idea kind of came to me. I was like, “Oh, that's not bad.” So I'm mulling it over—I do a lot of mulling—and that's the next book I think I will write. I don't know that I'll write rom-coms again. Not because I don't love them. I do, and I love my rom-coms. But I'm just different. You do not go through something like this and come out on the other side the same. I don't know that I could carry an entire rom-com through without it being even more emotional than mine are now. So for right now, I'm going to write another one of these kinds of books where it's got a lot of emotion, family dynamic, tension and dynamics. Jo: That's great. I do feel like once you've written the book that was waiting—your sister's book—then more things arrive, and it's great to hear that that is arriving for you. And of course, we change. One of the nice things about writing for the long term and building more of a name brand is that you change, and your readers either follow you or they don't, but it's your life. So I think that's a good reason to have one pen name. I obviously have two, but my fiction pen name I've written all kinds of genres under. Why else would we keep doing this? I don't want to write the same book over and over again. Jami: Right. Believe me, I've had to eat a lot of crow over the last four years, and it's tasty with ketchup. I have decided that a lot of the stuff I said is true: about you write in one genre, you give the people exactly what they want, and you give it to them over and over again. I believe all of that. I still believe those things. It's just that I don't know that I'm capable of doing that right now. Also, I'm older. I am about doing the things that bring me joy and are not a drudgery. I want to say this, because I miss the success. I miss who I thought I was during that time. I miss the recognition. I'll freely admit it. I miss being the person doing the thing that everybody said couldn't be done. “You can't make money with one book a year.” Well, watch me. And I did. I miss that. What I don't miss, and I've had to be really, really honest with myself, which has been difficult—I don't miss the anxiety that came with that. There was a lot of franticness. I think that if you are in a lot of groups, you see that franticness. I've had to step back, like I've had to step back, and then go back into these groups, you hear authors and see authors, and there's just this frantic sense that we're losing everything, and we have to hold on so tight to everything. I was like that. I checked my ads constantly. I checked my dashboard constantly. My mom used to say, “This should be fun.” I'm like, “Mom, it's a business. It's not fun.” But I recognise that I loved that so much that I held onto it so tight. I don't want to go back to that. I don't have the energy for that. Since this all happened, I've gained four more grandchildren than I had. I have six grandchildren now. I want to spend time with them. I want to spend time with my adult children. I want to spend time with my mom and dad. So I can't be frantic about my sales—are they going up, are they dropping?—and give emotionally to the people I love in my life. If the last four years have taught me anything, it is that the one thing you can never get back is time. You can never get it back, and that is so important to me right now. With this book—and one of the reasons I wanted to talk to you when we were talking about when I would do it—I wanted to do it before it came out, because I've already won. Writing this book, writing a book that honours the bravest person I've ever known and doing the second-hardest thing that I've ever had to do, is the win. That's the win. Whatever happens with this book afterwards is just what happens with this book afterwards. It doesn't change who I am, and you told me that when we were in Vegas two years ago. That conversation really changed a lot for me, because you said, “You are a successful author.” I was still trying to come up with a plan to be a successful author again, and you were like, “You are a successful author. You've had success. That makes you a successful author. You don't have to chase that.” That changed so much of my thinking. If I could leave listeners with anything, it is that we need to recognise the things we can't control and just deal with the things we can control. That's kind of how my sister lived. She could not control her cancer, but she could control how she responded to it and how she went forward. I think a lot of times, when bad things happen, we want to make sense of them. We want a reason for them. And a lot of times there's just no reason. There's no reason my sister died. There's no reason she left two kids and a husband devastated and a family that just has a giant hole in it. There's no reason for that. What defines us is not figuring out why that happened. It's what we do with that going forward. I think that's important for me to remember when I start getting caught up in all the franticness of this business. Jo: Yes. Or not, as the case may be. You can just let the book be what it is. And I do feel like these deeper books, they're more slow burn. You wrote books that ran, ran like the bride. Now we're not running like the bride. Jami: I'm tired. I don't run unless a wild animal's chasing me. Jo: Exactly. Look, we're out of time, but just tell people, if they haven't listened, a bit about your podcast, Wish I'd Known Then with Sara Rosett. Tell people what they can find over on that podcast and why you're still doing it. You've been doing it throughout the whole time. While not writing, you've still been podcasting. Jami: It absolutely saved my life. It's kept me in this business. While I haven't been publishing, I still know what's going on. I know about direct sales, I know about what's happening behind the scenes, with Facebook ads. I've kept in touch with those things because of our podcast. It's an interview podcast like yours, but we talk to people about what they wish they'd known about indie publishing. Most people have some certain thing that they've been working on or doing, and we talk to them a little bit about that too. We ask the same questions every week to every guest, and it's so interesting how different the answers are, and yet how similar they are. I think that helps when you're going through it and you're like, “God, I must be the only one feeling this way.” But you tune into a podcast, and you hear week after week, “Oh, no, there are other people feeling the same way I'm feeling, or struggling with the same things I'm struggling with.” Hopefully we give people things to shoot for and to aspire to. We have some amazing guests. They've all been really gracious and really honest. I don't know if it's the questions, or just because Sara and I are our style, but they're really honest with us when they answer the questions. Jo: It's a great show. I recommend it a lot. Jami: Thank you. Jo: Where can people find you and your books online? Jami: You can find me at JamiAlbright.com—that's J-A-M-I-Albright.com. I'm on all the socials as Jami Albright Author. My books are on Amazon right now, but this book is actually now on all the retailers. So that's where you can find me. Jo: Brilliant. Well, thanks so much for your time, Jami. That was great. Jami: It was an honour. Thank you so much.The post Writing Through Grief And Rebooting an Indie Author Business With Jami Albright first appeared on The Creative Penn.

Summer is here and with that comes vacations. In today's episode we revisit Alec's travel stories. How does he approach it compared to his wife? Talking lessons learned a long the way, Bible in a year, trips to Ireland, and more. Listen back - Welcome to the Forged Ingold Podcast!If you like the show please subscribe and leave a 5 star rating - that and texting it to a friend are the easiest ways you can help us grow. Follow the podcast on Instagram: @ForgedIngold and email the show at forgedingoldpodcast@gmail.comAlec Ingold is an author, speaker, philanthropist, and professional football player. Learn more at alecingold.com

June is here and so is a very special guest — Karla Woggon, retired Episcopal priest, spiritual director, and pilgrimage leader. Amy and Karla just returned from walking the Camino de Santiago in Portugal, and this month they are unpacking all of it — the walking, the transformation, the unexpected, and the mess in between. In this first episode, Karla shares what a pilgrimage actually is, why you don't have to be religious to go on one, and how taking or leading dozen pilgrimages across the world — from the John Muir Trail to the Holy Land to the coast of Portugal — changed the way she sees everything. Spoiler: she now sees all of life as a pilgrimage, and after this episode, you might too. Amy also opens up about why she signed up a year before she left, what she was running from, and what she was quietly hoping to find. If you've ever felt like life has been dragging you through something you didn't sign up for, this episode will reframe that in a way that might just change everything.   Want to go on a pilgrimage of your own? Connect with Karla Woggon, Director of Soul Sauntering:

Dr. Ilyasah Shabazz On Malcolm X Legacy, Trauma, Pilgrimage, Betty Shabazz, Today’s America + MoreSee omnystudio.com/listener for privacy information.

Dr. Ilyasah Shabazz On Malcolm X Legacy, Trauma, Pilgrimage, Betty Shabazz, Today’s America + More The robots are coming! To clean your homeSee omnystudio.com/listener for privacy information.

Hour 1 for 5/28/26 Drew and Zach Dotson discuss the National Eucharistic Pilgrimage (4:55). Then, Daniel O'Connor joins Drew to discuss UAPs and if there are demonic (19:54). Topics: are UFOs spiritual? (23:05), discernment (27:46), the problem of trust (42:11), more on discernment (47:04), and The Blessed Mother (48:52). Links: Daniel's Book National Eucharistic Pilgrimage

Podcast Notes — CAP 519 with Rey Spadoni In this episode, Rey Spadoni and I explore the Camino de Santiago and the deeper human longing for pilgrimage, meaning, and transformation. Rey shares insights from his experiences walking the Camino and reflects on why ancient spiritual practices continue to resonate in modern life. We discuss: What draws people to the Camino de Santiago Pilgrimage as both an external and internal journey The role of uncertainty, solitude, and reflection in transformation How walking changes the pace of thinking and awareness The connection between coaching, spirituality, and personal growth Why meaningful conversations emerge differently on the road Ancient practices that still speak to modern challenges The difference between achievement and deeper fulfillment Community, vulnerability, and shared humanity along the Camino This conversation is reflective, practical, and deeply human — whether you've walked the Camino yourself or are simply searching for greater clarity and meaning in your own journey. #CaminoDeSantiago #Pilgrimage #PersonalGrowth #Coaching #Transformation #Spirituality #Meaning #Podcast #ReySpadoni #ConversationsThatMatter

Can transcendence still make philosophical sense after modernity? John Vervaeke speaks with philosopher William Desmond about Platonism as a living tradition, the meaning of strong transcendence, and Desmond's philosophy of the metaxu: the between. The conversation builds from John's proposal that relevance realization and transjectivity are philosophically grounded in Desmond's ontological account of the between. John begins by distinguishing modern psychological accounts of transcendence from the ancient and Platonic sense of strong transcendence. In this stronger sense, transcendence is not merely a better state of mind. It discloses truths that are otherwise unavailable and changes the knower's relation to reality. That claim challenges modern assumptions about flat ontology, the buffered self, representational cognition, and the fact-value split. Desmond responds through Plato. He presents Plato not as a dry theorist of two worlds, but as a philosophical artist of the between: a thinker of mimesis, eros, mania, dialogue, singularity, and participatory transformation. Plato's dialogues are not ornamental containers for arguments; their drama, characters, and dialogical movement are part of the philosophy itself. The later conversation opens into deep memory, imagination, eternity, possibility, God, Daoism, intercultural philosophy, pilgrimage, and the life-world. Desmond and Vervaeke converge on the need to move beyond the view from nowhere and return philosophy to transformative practice, embodied dwelling, and a richer contact with the sources of intelligibility. Key Insights Strong transcendence has epistemological and ontological significance, not only psychological benefit. The metaxu, or between, names a porous relation before, beneath, between, and beyond modern dichotomies. Modernity's fact-value split risks producing default atheism or default nihilism. Participatory knowing offers an alternative to treating cognition as internal representation of an external world. Plato's dialogical form is integral to his philosophy; the drama cannot simply be stripped away to extract arguments. Mimesis involves relation between image and original without collapsing their difference. Eros and mania point to two directions of transcendence: from below upward and from above downward. Deep memory is a source of imagination and ontological depth, not merely storage of past facts. Possibility should not be reduced to logical possibility; living possibility points toward enabling power. Pilgrimage and theoria are linked: philosophical transformation requires being on the way, not merely observing from nowhere. Timestamps 00:00 Welcome and setup 01:00 Relevance realization and the philosophy of the between 02:00 Platonism as living tradition 02:40 The need for strong transcendence 03:50 Transcendence after modernity 04:40 William Desmond introduces his work 05:00 Between system and poetics 06:00 The Western tradition as conversation partner 08:00 John's paper on strong transcendence 09:20 Psychological transcendence in modern thought 10:00 Truths disclosed through transcendence 11:00 Flat ontology and layered reality 12:30 The buffered self 14:00 Fact-value dichotomy and default atheism 15:10 Contact epistemology and participatory relation 17:20 Being realized as you realize 18:20 Anagoge and the cave 18:40 Interior, exterior, and superior transcendence 20:10 Autonomy, heteronomy, theonomy, and theosis 21:30 Desmond responds 22:00 Plato's philosophical art and the Sophist 22:30 Art, origins, and otherness 23:40 Originality, creativity, and modern art 25:20 Mimesis and the difference between image and original 28:20 Plato as thinker of the metaxu 29:00 Eros and self-transcendence 30:00 Mania and divine inspiration 31:30 Inspiration as transmission 33:20 Metaxology and Hegel 34:40 The Sophist and participatory knowing 36:40 The who of the sophist 38:10 Periagoge and the turning of the soul 39:40 Philosophy as a way of life 40:30 Exiting modernity's frame 43:20 The dialogue form is not ornamental 45:30 Socrates as an image of courage 46:20 Dialogos and method 48:00 Diaphanous logos 49:00 Singular incarnation and witness 51:10 Theoria as contemplation and pilgrimage 52:00 John's dialectic-in-dialogos practice 53:20 Anamnesis in practice 54:20 The logos beyond the participants 55:20 Deep memory and imagination 57:00 Muses, memory, and hidden springs 58:20 AI and outsourced memory 59:00 Memory as ontological depth 01:00:30 Eternity and the other to time 01:02:40 Inward otherness and ultimate otherness 01:04:50 Plato's sun and enabling light 01:06:20 Porosity and the buffered self 01:07:00 Living possibility 01:09:00 Possibility, transcendence, and God 01:10:40 What makes intelligibility intelligible? 01:11:40 Eastern and Western approaches to possibility 01:13:30 Coming to be and becoming 01:15:40 Nicholas of Cusa 01:17:00 Wu wei and giving way 01:18:20 Daoist practice and Socratic midwifery 01:20:20 Philosophical Silk Road 01:22:10 The intimate universal 01:23:20 Against philosophical tourism 01:25:30 Elemental porosity 01:26:00 Pilgrimage and practice 01:27:40 Being underway 01:29:30 Theoria as metanoetic passage 01:30:10 Symphonic language 01:34:00 The life-world 01:35:40 Rejecting the view from nowhere 01:36:20 Closing Resources William Desmond, Being and the Between William Desmond, Ethics and the Between William Desmond, God and the Between William Desmond, Art, Origins, Otherness: Between Philosophy and Art Plato, Symposium, Ion, Sophist, Republic, and Laches Plotinus and Proclus Hegel Charles Taylor Catherine Pickstock, Aspects of Truth Paul Tillich Thomas Aquinas Nicholas of Cusa Pierre Hadot Henry Corbin Frank, Gleiser, and Thompson, The Blind Spot Follow John Vervaeke: Website: https://johnvervaeke.com/ YouTube: https://www.youtube.com/@johnvervaeke/videos X: https://x.com/DrJohnVervaeke Patreon: https://www.patreon.com/johnvervaeke

Elyrea sells a kind of tour no traveler would think to search for, and Jean-Vladimir Deniau built the whole company around that fact.Jean-Vladimir Deniau is the founder of Elyrea, a French company that builds character-based immersive performances for the tourism market. The format is specific: a professional actor embodies a historical figure, Coco Chanel near Place Vendôme, Hemingway around Montparnasse, a GI on Omaha Beach, and walks a small group through that figure's neighborhood telling the story of their life. Deniau does not call himself a tour operator. He calls Elyrea a "Lego brick" that DMCs and tour operators build into the experiences they sell. The company has 15 of these performances running, almost all in France, and there is a structural problem at the center of it: nobody knows to ask for a tour with Coco Chanel, so the business cannot wait for B2C search demand. That one fact shapes how Elyrea picks its characters, how it sells, and how it funds itself.Mitch and Deniau cover the business behind the tours. Why Elyrea sells to the trade first and keeps its strongest tours off OTAs entirely. The capital-light model that built 15 tours with no outside investor. The four design rules behind a 90-minute performance, starting with the claim that you win or lose the audience in the first minute. And the recruitment problem of training an actor who learns the whole show, performs twice, and quits because the street is not the theater. Deniau also names the advice he would give any operator building an emotional experience: stay true to the place, do not overplay it, and keep the technology out of the way.Resources:Elyrea: elyrea.comLive actor booking for trade partners: elyrea.com/booking"The Colossus of Marousi" by Henry Miller, the travel book Deniau cites as the original spark

"He looked at me, and said, "Go ahead and get up and walk towards the door." I got up and started to walk. I didn't even need to reach the door. All the pain was gone. I busted out crying. I knew that I was healed." ---------- Aaron reaching out during Pentecost week feels fitting somehow. Pentecost marks the birth of the Church and the outpouring of the Holy Spirit into the world -- an outpouring still seen today through miraculous healings, answered prayers, prophetic gifts, and lives transformed in unexpected ways. Aaron's story includes the healing of his sciatica after prayers from Dr. Issam Nemeh, whose ministry was also central to my very first podcast, Blind Faith Live. Though Aaron admits he has wrestled with skepticism over the years, he now says the evidence is becoming impossible to ignore -- not only through his own experience, but through the many stories shared on Touched by Heaven and Blind Faith Live. Dr. Nemeh: https://www.pathtofaith.com/ Click below to learn more about joining our Pilgrimage to Medjugorge October 2026. Medjugorje Pilgrimage:  https://padrepiopilgrimages.com/trapperjack/ ---------- Share Your Story If you have a Touched by Heaven moment that you would like to share with Trapper, please leave us a note at https://touchedbyheaven.net/contact Our listeners look forward to hearing about life-changing encounters and miraculous stories every week. Stay Informed Trapper sends out a weekly email. If you're not receiving it, and would like to stay in touch to get the bonus stories and other interesting content that will further fortify your faith. Join our email family by subscribing on https://trapperjackspeaks.com  Become a Patron We pray that our listeners and followers benefit from our podcasts and programs and develop a deeper personal relationship with God. We thank you for your prayers and for supporting our efforts by helping to cover the costs. Become a Patron and getting lots of fun extras. Please go to https://patreon.com/bfl to check out the details. More About Trapper Jack Visit Our Website: https://TrapperJackSpeaks.com Patreon Donation Link: https://www.patreon.com/bfl Purchase our Products ·       Talk Downloads: https://www.patreon.com/bfl/shop ·       CD Sales: https://trapperjackspeaks.com/cds/  Join us on Facebook:  https://www.facebook.com/TouchedByHeaven.TrapperJack Follow us on LinkedIn: https://www.linkedin.com/in/trapperjack/ Join us on X/Twitter: https://x.com/TrapperJack1

Crystal makes a pilgrimage to Alaska for some D! Who's on your NO THIGH LIST? Why is Dave wearing blue shorts like Tammy?! Tammy, Dave, and Crystal will remain friends no matter what! #ChelcieLynn #JeremiahWatkins #Podcast #LibbieHiggins CRYSTAL'S GO FUND ME: Donate at https://www.crystalscreationsllc.com GET YOUR NEW TRAILER TALES MERCH HERE!: https://thecomedyoutlet.com/collections/trailer-tales New episodes every Friday on this channel. Subscribe! New Trailer Tales merch is here!: https://thecomedyoutlet.com/collections/trailer-tales Jeremiah's Patreon is LIVE: https://www.patreon.com/jeremiahwatkins NEW MERCH IS HERE!: https://www.jeremiahwatkins.com FOLLOW us on Instagram: https://www.instagram.com/trailertalespod See Tammy LIVE on tour: https://www.eatmytrash.com  @ChelcieLynn   @TheViralPodcast  See Jeremiah LIVE on tour: https://www.jeremiahwatkins.com  @jeremiahwatkins   @standupots  See Crystal LIVE on tour: https://www.libbiehiggins.com  @LibbieHiggins   @SlopCity  Want to send some mail into the show? P.O. BOX JEREMIAH WATKINS/TT P.O. BOX # 78375 LOS ANGELES, CA 90016 (Sending packages does not guarantee they will be opened on camera) (Some packages may end up on Ms. Crystal's eBay store) Sponsored by: Factor Meals New customers can use code trailer50off to get 50% off and free daily greens per box at http://FactorMeals.com/trailer50off Sponsored by: Hims ED Support the show & get simple, online access to personalized, affordable care with HIMS @ http://hims.com/TRAILER Edited by Ryan Armendariz & Jeremiah Watkins Intro Music: Produced by https://www.instagram.com/professorcmusic Intro Vocals: Jeremiah Watkins

Three Renovaré staff members—Carolyn Arends, Monty Harrington, and Brandan Spencer—joined Nathan on Life with God to describe the team's pilgrimage to Montgomery to give sustained attention to injustice against Black people in the United States and celebrate the legacy of God-empowered resistance and resilience.