Podcasts about pitchfest

Jordan Sollof is joined by representatives of the two Digital Health Rewired 2025 Pitchfest winners, Asclepius MedTech Limited and Daysix. Michael Morgan-Curran, chief executive of Asclepius, winner in the pre-revenue generating category and Ben Beaumont, chief technology officer at Daysix, the revenue generating Pitchfest champion, explain what their solutions are and how their companies were formed. The pair pick out some key highlights and achievements since the start-ups were founded before discussing why they applied for this year's Pitchfest and what their experience of the process was like. They speak about how winning the competition has already and will continue to help them moving forward, before laying out their goals and ambitions for the coming months and years. Lastly, Morgan-Curran and Beaumont give their expert advice to health tech start-ups considering applying for Pitchfest 2026. Guests: Michael Morgan-Curran, chief executive of Asclepius MedTech Limited Ben Beaumont, chief technology officer at Daysix  

The one and only Kelli Jones joins host Christian Rawles to talk about how she's grown Noso Patches from creating a patch to repair her beloved puffy jacket to a thriving business on a mission to keep outdoor apparel out of the landfill. Kelli has been instrumental in creating the Title 9 Pitch Fest and has worked hard to support and advocate for other female founders in the outdoor industry.This conversation covers how Kelli puts the 'show' in trade show, how she decided to go all-in on Noso, growing a business in a mountain town like Jackson & the work Noso is doing to keep outdoor apparel going for longer.Show Notes:Learn more about KORE OutdoorsNoso Patches websiteNoso Patches on InstagramGoggleSocTraction book & the EOS SystemRocky the RocketConnect with Kelli on LinkedInConnect with Christian on LinkedIn

On this episode of The Founder's Sandbox, Brenda speaks with Shivani Honwad – founder of her own law firm, who specializes in immigration and business law for the creative industries.  Shivani is a business and immigration lawyer, and trailblazer in supporting the Freelance and Free Act, as well as a professor at NYU LA campus teaching Entrepreneurship for creatives.  “I could not keep hearing it and not do anything about it” Shivani says, speaking about immigration as a major issue for freelance fashion workers.  Shivani set out to get smarter. Ten 10 years later, The Law Firm of Shivani Honwad, LLC, focuses primarily on immigration and business law for companies in the fashion, tech, beauty and entertainment realms. You can find out more about Shivani at: https://www.linkedin.com/in/shivani-honwad- http://www.shivanilaw.com Find some of my guest's content here : Laws “the freelance and free act” https://www.nyc.gov/site/dca/about/freelance-isnt-free-act.page     Transcript: 00:04 Hi, I'm pleased to announce something very special to me, a new subscription-based service through Next Act Advisors that allows members exclusive access to personal industry insights and bespoke 00:32 corporate governance knowledge. This comes in the form of blogs, personal book recommendations, and early access to the founder's sandbox podcast episodes before they released to the public. If you want more white glove information on building your startup with information like what was in today's episode, sign up with the link in the show notes to enjoy being a special member of Next Act Advisors. 01:01 As a thank you to Founders Sandbox listeners, you can use code SANDBOX25 at checkout to enjoy 25% off your membership costs. Thank you. 01:18 Welcome back to the Founder's Sandbox. I am Brenda McCabe, your host. This is a monthly podcast in which I reach entrepreneurs, business owners, who are going to learn about building resilient, purpose-driven, and sustainable businesses with great corporate governance. 01:38 I like to assist the entrepreneurs in building these scalable, well-governed and resilient business. And what I do with my guests is they tell their origin story about how they've built their own practices. And we'll get to the origin story of my guest this month, Shivani Honwad. Shivani and I have known each other for many years. She was bi-coastal in New York and Los Angeles. We met actually in the Los Angeles. 02:06 Los Angeles Venture Association, LAVA. It has a women affinity group. And she was eagerly contributing to some of the material and programs that we put on for women business owners, actually startups in the LA ecosystem. So I wanna thank you Shivani for joining me this month and the founder Sandbox. Thank you, Brenda. Thank you. So. 02:35 You own your own law firm, the law firm of Shivani Honwad. And it was originally based in New York. I don't know whether you operate nationally, but I'd love you to kind of repeat your origin story when I met you the first time in one of the women in lava. It was a small gathering. And it struck me your story was fascinating, because you were 03:04 working for a law firm in New York, but it was in your social life. You were, you know, out for drinks in the evenings and you would often be approached by women who were in the fashion industry, so models, and inevitably over a drink or maybe not a drink, they would end up using some of your free services. What was that? What were they asking your advice on, Shivani? And with that, we're going to get started on your origin story. 03:32 Thank you. Yeah, sure. So, you know, I was in my twenties in New York City and as one does in New York City, I would often go out. So I, at the time, was working in criminal law with a firm and civil litigation. But so I would go out with my friends. You know, I went to NYU, so I had a lot of friends in the city. And, you know, these models kept approaching me and they were like, hey, I heard you're a lawyer. I need help. 04:00 And I was like, oh, did you get arrested or did something happen like that? And they were like, no. And I kept hearing stories of how they were working for these modeling agencies. Most of the people that approached me were international models and their passports or their visas or something like their paperwork was being withheld so that they didn't really have freedom to travel and then not only that, they wouldn't be paid out. So. 04:25 they would model for days, weeks, sometimes months at a time, and be paid $0. And the agencies were just, there was just a lot of abuse in the industry. And so they kept asking for help. And at the time, I didn't really understand enough about the industry to know how pervasive this was. But I started looking into it because it wasn't just one model approaching me. It was like dozens of models over the course of a few weeks, if not maybe a few months. 04:54 that kept asking me for help. And it got to a point. I imagine your name got around, right? Well, because I wasn't doing anything yet. It was just that I was the only lawyer at all of these events, right? And I mean, this is also pre-Me too. So the other part of it was, is the lawyers they were going to, some of the male lawyers unfortunately, were also taking advantage of them and being like, hey, I'll help you, but you have to be my date to this event like Saturday night. 05:20 So they would see me in my 20s and a woman and woman of color, and they would just be like, oh, OK, so she won't sexually harass me or she won't threaten me in any way. So I think I was seen as a safer space for that. So I think that's why people approach me at parties. And then it got to a point where I just I couldn't really keep hearing it and not do anything about it. 05:46 And so I did some research into it. And then I found lawyers. I knew some in my network that knew how to help them. And the biggest issue, it seemed, was the immigration part, where it was like, if models come into the US under what's called an O-1 visa, and typically it's tied to whoever their agent or employer is if they come in under that route. But if they do it, there's other ways they can do it to have a little more freedom, or they can get their green cards so they have freedom. And that's the EB1A route. 06:16 And so I figured out an attorney who did that and he had agreed to like train me in how to do that. So eventually like I started my own law firm focusing on that. And it was just to help these models get some freedom. And then, you know, I expanded from there to doing some IP and contracts because once I helped them and get got them more stable, they were like, okay, well now I'm doing these ventures and I want you to negotiate these contracts and I want you to be my lawyer for this. Like you were great. So that's how my law firm kind of came to be. 06:44 And it was just 10 years actually, since I've opened it this past August. Oh my goodness. Yeah. It was just, it started out at this crazy need of just people needing help and to be in a safe space. And the irony of it is that I originally went to law school to kind of work on human trafficking issues. Oh my goodness. And I never thought I would see it. Like I never thought I'd work in fashion, but I mean, the work I was doing was tied to that because a lot of the models were essentially held in debt bondage. 07:14 of being tied to these agencies not being paid out and saying like, you owe us this much money so we're not gonna pay you or what have you. So I think that's how it's still, I got to do what I went to law school for, but in a different way than I had initially thought. Like I thought I would work for the UN or something like, but it was so hard to get into the UN. I applied nonstop originally, but like I got to do this. And like we changed some laws around in this space. Like, 07:43 The Boston Globe did like the Spotlight team did a piece on this and like some of my clients that I was also interviewed for. And then, you know, we met with officials in city hall. And so the freelances and free act, which got passed in New York also applies to models. So if an agency, you know, gets payment from a client to the agency and they don't pay the model within 30 days, the state of New York will actually fine the agency. 08:10 So the models now have recourse to collect payment faster. Excellent. So I would ask you later to give me this law, and we'll put it in the show notes. Because this is amazing. You have been a trailblazer in a serendipitous way. You started out, or while you're studying law, you thought you would work in sexual traffic, and you did not, or human trafficking. And you were doing criminal law. 08:38 ended up actually representing fashion models, immigration issues, as well as eventually venturing into assisting them in their contract management and IP. So amazing story. And I loved one thing that you did say. You said, I couldn't not do anything, right? I researched it and I just could not just let this go. So. 09:08 Very, very resilient, Shivani. How did that experience or others inform you to actually move all the way out here to Los Angeles and set up practice? And tell us a little bit about that. So I don't think you and I have actually talked about this before. But originally, what brought me out to LA was some of the work that I did here for the models. I was recruited by some organizations in the e-sports area. 09:38 Um, you know, e-sports is actually pretty big out here in California. And, um, there was some e-sports organizations that wanted me to help implement essentially policies and basic human rights for the gamers, because, um, kind of what we had done for the models in New York, um, there was really no regulations a couple of years ago. It's still pretty bare minimum, but. 10:02 for the e-sports gamers. And you have all these essentially mostly teenage boys, there are female gamers as well, but in the e-sports tournaments, and they were just taking a ton of speed or drinking nonstop Monster Energy drinks, and they were just dying, quite frankly, they were under all this pressure to perform. And again, there was really no regulation around it. And their contracts were devoid of like... 10:28 just basic human rights of like, okay, you can get a bathroom break, you get time to eat, you get time to sleep. So originally I was recruited out here to kind of work on those issues. And I will say, if you've never been to an e-sports tournament and like in a stadium, I advise going, it's an experience. Wow. This is like a trillion dollar industry and it like traverses all socioeconomic, like really like it. 10:56 It just transcends all lines. It's just an incredible scene to experience, just the fandom of it all. So I was in that space for a little bit originally and it just, it was a very chaotic environment that I just didn't really want to be in anymore. Right. And then, yeah, I just- And you were doing this from 11:26 from your own practice? At that time, you'd set up your practice, so you just recently celebrated 10 years of your law firm, Shivani Hanwad. Yeah. You were actually serving the e-sports from your law firm. Yeah, so I was doing some contract stuff. I was doing visas for the gamers, things like that. So I was getting more familiar with it. But it was because the issues paralleled. 11:53 basically what was happening with models in New York with the sports gamers in California. So that's kind of how the whole thing started. And then, like I said, it wasn't really for me, but then I had made some inroads here. I got connected to Lava and some other organizations. And then I got offered the position to teach at NYU's LA campus. So that's kind of anchored me here in Los Angeles now. But yeah, so I still do kind of the same stuff and I work. 12:22 you know, same. The thing with immigration law is it's federal. So my clients are all over the world and a lot of my clients also in the fashion, creative industries, their contracts are mostly like for New York and California based things. And like I'm admitted to practice law in both New York and California. So they just email me, like we do Zooms or, you know, calls and stuff and go through stuff. So yeah, I serve clients all over the world basically. 12:51 position you have with New York Stern's LA campus? It's not Stern. So it's New York University. Okay. I went to Stern undergrad. Yes. And then, but New York University's Los Angeles campus is just a general campus. It's not a specific school. Okay. So we serve students from all schools. And actually we have multiple global campuses. So we have two other degree granting campuses. One is NYU Abu Dhabi. 13:21 and one is NYU Shanghai. So this is what come to our LA program. It's an undergrad study abroad only program. So it's one semester and they come mainly from our New York campus. Some are, we also do have a lot of students that come from our Abu Dhabi campus and our Shanghai campus. And then they might be as part of other programs too. And so they come out here, they spend a semester, they, we work on getting them internships. 13:48 And they just kind of see, like most of them want to go into the entertainment industries in, you know, whether it's media, like screenwriting, directing, producing, or music. So they're just trying to see if they like the LA environment, make some inroads for if they want to like pursue their career in LA or New York or what's better for them. So that's the program that we have out here right now. And like we're growing actively because the campus opened in fall of 2019. 14:15 closed promptly in spring of 2020. And then just reopened fully again last year. All right. And do you teach a specific subject? Well, yeah. So the course that I teach, it's basically structured around like entrepreneurship or creatives. So I bring in kind of my business and my legal backgrounds. My, the director of the NYU LA program is amazing. And she gave me carte blanche to kind of design a course. 14:44 She was like, think of them as your future clients. What do you wish they knew? So that's kind of what we designed. So we like include like how to pitch, how to develop a deck and then how to pitch that deck. I also do a negotiation simulation because oftentimes these students have never like negotiated a deal before. So I go over, you know, what are basic deal terms that you should at least understand and if nothing else have these in a contract. And then I design a whole simulation and like put them in groups. 15:13 and give them mock contracts and they have to negotiate it out. And it's really fun because every single time we do it, they all start with the same contract, the same roles, and everything. And then they all present at the end of class what their deal terms were. And no group has ever had the same deal terms. And the reason for that is because it's also to show them that you all come in with your own biases and preferences and experiences and values. 15:41 Yes. It doesn't really matter what the other people are doing. It's just like, what makes sense to you? What do you feel comfortable with? Because if you feel comfortable with the deal and you're okay performing for this rate or with these terms or whatever, then you're going to be fine. And so, because then I always ask them, did you want someone else's deal? And they might say that they wanted parts of it. They're like, oh, I didn't know I could add that. Sometimes if we're doing an artist contract negotiation, 16:10 my female students will always be like, they'll add in hair and makeup budget. And then the male students didn't know like, oh, that's a thing or like, how much is hair and mica? And like women know that it should be expensive. So they're like, oh, I could do that. So like, it's things like that that come up cause I'm like, you can add in, if it's not written there, you can add stuff in. Like I give you flexibility. And they're like, okay, I'll think about that next time. But because they negotiated out, they felt heard. 16:40 So they're comfortable with the deal that they agreed to because they felt like they were heard, they felt valued. And so they were fine with their deal overall. So again, although they may have picked up some things that they would like for next time, no one's really been outright like, my deal was terrible. Like everyone's kind of felt like kind of comfortable because they get time to talk it through. And I think that's like the biggest takeaway is like, as long as like the other side feels heard, 17:09 you can agree to a situation where all parties kind of essentially win and can work together well. And thank you, this is fascinating. So you have an entrepreneurship program at the New York University's Los Angeles campus. There's another campus in Abu Dhabi and Shanghai. And so it's a year abroad. So is it cross-cultural mix and what students? Yes, but. 17:38 Sorry, I'm just gonna clarify. So it's not a year abroad for Abu Dhabi and Shanghai. They're actually degree granting campuses. Okay. So the Abu Dhabi campus is actually a really incredible program. It's a four year program. Okay. And it only has like a 2% admission rate cause tuition is free at that campus. So they're completely separate programs but they're all under the NYU umbrella. But I'm just saying that students come to our LA campus for a semester. It's a semester, right? Yeah, for a semester just to kind of do a semester abroad essentially. 18:09 And how many entrepreneurs have gone through your program? So, okay, so let me also clarify, sorry. I teach the Entrepreneurship for Creatives course, but like our entire curriculum here is centered around the entertainment industry. So there's a movie marketing class, there's a screenwriting class, there's pitching your project class, there's a history of film class. So it's all centered around entertainment. There's music courses, there's stuff like that. 18:38 The entrepreneur part is just kind of what I do because like, that's my background. And also like if you're a creative, you are an entrepreneur in the industry, like you are your brand. So mine's the only one, my course is the only one focused on that. So it's not that we have entrepreneurs here. They all want to be in the entertainment industry, but it's part of being in the entertainment industry, you are an entrepreneur. So just to clarify that a little bit, that it's not a separate program. Excellent. And thank you for that, you know, clarifying. 19:08 And I would like you to speak about your own new venture. So not only do you have your own law practice, you have recently started an initiative that is the South Asian Creator Collective. Tell us a little bit more about this. Yeah, so we launched that out of the NYU LA campus. Okay. Because I just found out like that my South Asian students 19:38 They, you know, we have only a few, usually every semester, but they just didn't have the community that some of the other creative communities had because typically South Asian families, your parents want you to be a doctor or an engineer and not really like, okay, you can have a music hobby or be a dancer as a hobby, but not have that as a career. So there was a lot of lack of support. And then I represent some South Asian artists. 20:06 whether they're writers or dancers or creators, producers, things like that in New York and LA. And so they also obviously would say the same thing. So I kind of wanted to bring everyone together to not only create a community for like my clients, my friends who are in the industry, but also to help build that bridge for my South Asian students to have like, you know, mentors in the industry. So we had our first meeting earlier this, a couple of months ago. 20:32 What came out of that was really cool that I brought together my friends and clients. They've already started collabing together on stuff. And then Brenda through you and Ty, I met people who are possibly interested in investing in South Asian creators projects. So we're looking at doing a possible pitch event in the spring to have our creators pitch projects and then to have investors possibly invest in them. So I like the idea of just bringing people together to kind of create this community 21:01 and to help each other kind of, you know, use everyone's skill sets just to create a better whole together. I love it. And I was absolutely thrilled that you were at the Thai So Cal's recent event with the preview and a screening of Show Her the Money, as well as we had our final. 21:22 competition for five women-owned businesses. So thank you for joining us there. We did that at the Noah House in Hollywood, of which I'm a member, and look forward to hearing more about the PitchFest that is probably gonna be in the spring of next year. Hopefully. Noah's crazy though about that, show her the money screening. I didn't realize how many people I knew in the film. Like I knew... 21:48 Liz, like from this organization that we were part of in New York, Dreamers and Doors, were like mainly female entrepreneurs. Like I knew her when she was starting Sogal. And so it was so crazy to see how far they've come. And then like I knew so many other people in the film. And I was like, wait, I knew them back then. I didn't know they were in this film. And like Naseem was in there. Like there was just so many people that I was saw in the film that I was like, wait, I know these people personally. So it was just a really cool screening to see. And to see so many. 22:18 people that I've known over the years, just in how far they've come over the years too. Was really cool. Yeah, initially it's a movement now. So initially Show Her the Money was gonna be shown in 50 US cities. It's gone viral. I think we're up in to the 200s and yeah, it's a movement. So thank you for being, and it's a small world, right? Oh, completely. We all end up, yes, there are no borders. So yeah, thank you. 22:45 And I look forward to that launch and I would be happy to promote it here in the founder sandbox as well as on my YouTube channel. You know, this switch gears. I want to I initially I've known you for years, but I really wanted you to come on to the founder sandbox because not only your story of not resiliency, but to the move across from the from LA to from New York to LA. But 23:14 you're passionate clearly about resilience. And I am also passionate. And it's the type of work I do with with founders as they're scaling their businesses just working on this resiliency, I say muscles. You recently hosted during LA's tech week, about two weeks back, a session on resiliency. Tell us a little bit about it and why you wanted to spearhead that. 23:42 Um, so I did my first LA tech week event last year, and that was a great learning experience. We did it all about pivoting and we had like 400 RSVPs for like 75 spots because I did at NYU's LA campus and we're small. So we had a fire martial capacity of 75. So it was just like overwhelming. But the original reason I launched that event was because 24:09 Um, when I looked at the original LA tech week calendar, all I saw were men on that calendar. And I only, if I saw a panel with a woman, it was like one woman and like five men. And I was like, I have so many incredible friends and clients that are women doing incredible things in the tech space and they never get the platform to talk about this. So I wanted a female forward event. Um, so I did that one and then that one went really well. So then everyone was like, 24:37 Okay, what are you doing for tech week this year? So that's how I was like, okay, so everyone really liked the pivoting one because they said they learned something from it and it was something everyone could relate to. So then, you know, as we're coming out of COVID, a lot of people have felt burnout and have felt the need to kind of just like reinvent themselves or just kind of rise from the ashes to a degree. So then this year's theme, I was like, I feel like I wanna do something around resilience. 25:04 because it's about like weathering the storm and coming out and like, you know, thriving again. And so again, I did it female forward. But what was really incredible is a lot of my male clients and friends also came and like others that I didn't know. And like all of them just like loved the event. And they're like, this has been the most informative event I've ever been to. And I said that at the beginning of my event, I was like, you know, this is like, yes, I, you know, my panel is all women, but 25:33 we can't change the ratio of where only 2% of women receive VC funding if we don't have men in the room, because you need everyone at the table to help change that statistic. And so by sharing the stories of like, again, they were my clients and friends, but they all run like incredible organizations. Like Steph Rizal was one of our speakers. She's an incredible singer songwriter. She just wrote a book for creatives and self-care. 26:00 I had Jazzy Collins, who's the first black person to win an Emmy for casting. And she has a production house called Force Perspective. I had Mickey Reynolds, who used to be the CEO, co-founder of Grid 110, and is now head of programs at Slosnikov, a VC fund. And then I had May Muna, who is amazing. She's a refugee. And she started two organizations, one called the Tia Foundation to help refugees in the US. And then she started this... 26:28 restaurant called Flavors From Afar where refugee chefs essentially have their menus every month featured at the restaurant. So like I got to feature these incredible stories and founders and you know, just how they like, May Muna, her Flavors From Afar restaurant is now Michelin like rated, but she was fired from a Carl's Jr. That's like her story. She's like, yeah, I was fired from Carl's Jr. and now I have a Michelin restaurant. 26:54 So where you start and kind of what happens, it's like you just have to keep going. And all of them kind of had stories like that of being like, you know, dismissed somewhere early in their career and just like, keep like, just keep going. And like, Jazzy too, like, you know, she was just like dismissed for being usually the only black female in any room. And now she's the first black person to win an Emmy earlier this year. And it's just like how, you know, yes, in casting, sorry. But yeah, and how that like just 27:23 those stories of how that rises. And I think a lot of people learn from that because a lot of them were just like, you just have to keep trying, or you just have to try something. And if it doesn't work, you know, go a different direction, but fail faster was kind of the message that they were putting out there that like you'll still figure it out and you just have to like have a really supportive community around you. And as long as you have that, like you can just like find the strength to keep going. 27:50 Tudos to you. This is a podcast that is absolutely filled with lots of nuggets, your own story in New York, coming out to LA, you're teaching your own entrepreneurship journey and your passion with respect to the underrepresented, right? And actually putting on events. 28:16 and Female Forward as well as last year in pivoting is thank you for being part of the ecosystem here in Los Angeles and next year I wonder what you're going to do in LA Tech Week. I know this week was pretty burned out still so we'll see. We have time. So you know I'd like to give you the opportunity to provide how my listeners can contact you or how's it best to contact you. 28:46 Um, yeah, I'm on LinkedIn. I'm on Instagram. My Instagram is just my name, Shivani Hanwad. Um, my email is just shivani at shivanilaw.com. So I guess any of those are kind of the best ways to find me or connect with me. 29:01 Okay, and we're going to shift gears back to this sandbox. You are a guest here to the founder sandbox. And again, my mission is to build resilient, scalable, and purpose-driven companies. So I always like to ask each of my guests what the word means, resilience, purpose-driven, and scalable, sustainable businesses. Each of my guests has a different meaning. And it's 29:30 actually one of the highlights of my podcast for me. Okay, so am I doing all three? Yes, you will. Okay. You already talked a little bit about resilience, but what does it mean to you? What does resilience mean to you? Shivani Ha. I think resilience just means to me, it's just like to persevere, to keep going. And I think all of us have our own challenges, obstacles and hardships. And I think finding the strength to just kind of get through those. 29:59 Because you don't always get over everything that you kind of maybe get through in your life, but getting through it is, I guess, the way to look at it in my mind. And then just kind of still making stuff happen, even if it's hard, is the way I look at resilience. To persevere, still making it happen. Thank you. Purpose-driven. You're very purpose-driven. How many back? If we were to scale you. 30:28 Well, purpose-driven, I just find it like, you know, just quick tangent, but like what originally drew me into law school and like wanting to work in the human trafficking space was like, you know, I was caught in these monsoon floods in India when I was working in Bollywood. And I learned about human trafficking and that's kind of what I wanted to work on. And I have worked on it in different ways, like, you know, changing that law in Delaware and then my work on the TVPGA as part of the New York State Trafficking Coalition. 30:58 So I have worked on that. And I just think that's always been kind of my, I guess, anchor point in a way of like a lot of the work or the pro bono work even that I do through my law firm. And part of why I've kept my law firm is because now no one tells me how I get to spend my time or money. I wanna work on representing children that have been trafficked and do those cases pro bono. I can do that. No one's like, no, you need more billable hours. Like it's up to me. 31:26 So I have a couple of nonprofits that I work with that I represent kids that have been trafficked to get them either status here or just like to a safer spot. And I really love that work. So the work I do with the creatives and everything, it kind of funds and provides me the ability to do this other work. So I think purpose-driven is just like figuring out what it is that you're passionate about and what your anchor point is. Like, why are you doing this? Like, what is it that's getting you through and what gets you out of bed? 31:55 Like I get really excited to like work on my clients' cases because I think they're doing really incredible things. Yes. So I think purpose-driven is just like that, like finding what you're passionate about and like how you can have a positive impact in the community. I have goosebumps. I had, you went off on a little tangent. That was a very important tangent and as it is your anchor point. So thank you for sharing, Shivani. Sustainable growth. 32:23 Okay, what's sustainable? So this is something I'm working on now. Yes. I think, you know, for me, I was an accidental law firm founder, you know, that like I kept meeting these people and like that needed help and like I, I never really thought I would start my own law firm. And so I think it's been a journey of figuring out how to like run a law firm and grow it and all of this and like. 32:48 I'm getting to that point where it's like, okay, what am I doing? Am I still doing this? Am I merging it with something else or someone else? And I'm very fortunate to have really great partners. I'm really fortunate to have the opportunity to these couple of law firms have offered for me to merge my law firm with theirs, join them, all of that. So it's figuring that part of it out. But I think, you know, to be sustainable or scalable, I think one thing, especially people who are type A like me, 33:17 that we struggle with is delegating. And that like finding, you know, you're not good at everything. You're not like, the first thing I did was hire a tax guy. Cause I was like, I don't do this. Like I don't know how to do anything tax wise, but it's just like figuring out like, you know, what you're good at and what you're not good at instead of trying to learn everything, figuring out how to delegate or finding team members to help you with the stuff you're not good at. Because I think a lot of people, especially founders try and hold on to everything. 33:46 And that's kind of what leads to burnout because if you're trying to do stuff that you're just not great at, you just always are gonna feel defeated. But if you have other people that are good at that stuff, supporting you in that, and you get to focus on the stuff you're really good at, then that's gonna energize you because then you're being more successful because you're doing the things you're great at. And then you're being supported still by other people. So you have that mental bandwidth to keep doing and keep running in the right direction. 34:14 what the stuff that you're passionate about, you're good at, what you're trying to grow. So I think to be sustainable or scalable, learning how to delegate is a really important skillset that it takes some time and emotional bandwidth to be able to be okay with letting go of something. Cause like most founders, like their companies are their babies. Like they're growing it. And you know, it's just so hard. It's like saying like, 34:44 It's like you're finding a nanny for your child. Like, okay, I'm okay with letting this person do this part of my business. So. Excellent analogy. And it also probably has to do with your own awareness, right? And the maturity of recognizing there are certain things that I just don't wanna do, but I don't like it or I'm not good at it. And the maturity and awareness that it's better done by someone else, right? 35:13 Yes. And I'm also self-employed and, you know, pushing through. And I have also delegated many things. I'm having a fantastic team, the producer of my podcast, and I let them do and tell, I follow their orders to tell you the truth. But you need that sometimes. Sometimes it's easier if someone just tells you what you need to do and then they're just handling the rest. 35:42 Um, and thank you for joining me in the, the, um, founder sandbox podcast this month, you know, um, to my listeners, if you liked this episode with Shivani Han what sign up for the monthly release, um, where founders, business owners, corporate directors and professional service providers provide their own origin stories. And they tell their stories about resilience purpose driven and scalable. 36:11 Thank you again. You can listen to these episodes on any major podcast streaming service. Signing off for this month. Thank you. Thanks, Brenda.  

Kicking off in the early ‘90s with a Teesside Uni residency, I had the honor of warming up for legends like Jeremy Healy, Danny Rampling, and Judge Jules—setting the stage for an unforgettable journey through house music. For the past 12 years, I've been running my own night, Together, while tearing up the decks at Pitch Fest and dropping high-energy sets for The Dance Factory. Not forgetting The Fixation nights on the boat. With house music in my veins, I bring the heat with harder-edged progressive sets on Unite, while still throwing in the occasional old-skool session. This set? Pure nostalgia. Mixed the way it was meant to be—on two Technics 1200s and a mixer—spinning the very records that shaped my early sets. Turn it up & enjoy!

It's January! It's the month for renewal, resolutions and fresh starts. Whether you're looking for personal or professional changes, now's the time to put plans to work. In Arlington Economic Development, training and support go hand and hand throughout the year, but this January, there's more in store. I'm Susan Soroko, Director of Creative Economy at Arlington Economic Development in Arlington Virginia. The role of Economic Development is to retain and attract businesses where workers can live and thrive in a great community even when the work world is changing. We support (small) business through programs like BizLaunch and value the importance of placemaking and a sector devoted to creative economy and the arts. Today we're going to talk about what it takes to transform a small business. Alex Held is Small Business Manager at Arlington Economic Development. He is a solutions oriented thinker with six years of business development, sales and marketing, and consulting experience in dynamic organizations both nonprofit and for-profit, managing competing priorities in a goal driven setting. I am particularly skilled at uncovering clients' needs and finding solutions to achieve their objectives. Resources Arlington Economic Development BizLaunch Division: https://www.arlingtoneconomicdevelopment.com/Small-Business BizLaunch Transformational Challenge and Pitch Fest event: https://www.arlingtoneconomicdevelopment.com/News-Resources/Events/BizLaunch-Transformational-Challenge-and-PitchFest Alex Held LinkedIn bio: https://www.linkedin.com/in/alex-held-cpm-747b6615/ The Innovation Economy Website: https://www.innovationeconomy.show Sign up for The Agile Brand newsletter here: https://agilebrandguide.com/ Get the latest news and updates on LinkedIn here: https://www.linkedin.com/showcase/innovationeconomy/ Listen to our other podcast, The Agile Brand with Greg Kihlström: https://www.theagilebrand.show The Innovation Economy podcast is brought to you by Arlington Economic Development: https://www.arlingtoneconomicdevelopment.com The Innovation Economy is produced by Missing Link—a Latina-owned strategy-driven, creatively fueled production co-op. From ideation to creation, they craft human connections through intelligent, engaging and informative content. https://www.missinglink.company

Nick and producer-turned-”shark” Mark hear pitches from ten up and coming Australian climate startups! Our third annual pitch episode with some incredible ~seed stage startups in the latest cohort from EnergyLab - Australia's leading climate accelerator. Previous guests on the Pitchfest and podcast have gone on to raise hundreds of millions in capital (you can review these here), so let's dive in to the latest group!You can also watch on YouTube here.The lineup:(02:16) Stralis Aircraft - Hydrogen-electric planes for emission-free flights (Bob Criner)(12:38) Enaxiom - Harnessing low-grade waste heat to decarbonize wastewater treatment (Tia Collings)(23:58) OptiGrid - Smarter energy management for batteries (Sahand Karimi)(33:31)GridStore Energy - Boosting solar panel output and profits (Garth Paton)(42:47) CLT Toolbox - Structural design software to accelerate timber building (Adam Jones)(53:51) Dewpoint Innovations - Novel coatings for passive cooling and atmospheric water collection (Dil Khosa)(01:02:23) X-Centric - Accurate soil data for agriculture (Roozbeh Ravansari)(01:11:22) Brownee - Empowering SMEs to thrive in a sustainable economy (Renate Crollini)(01:21:06) InfigoLabs - Decarbonizing industries with ultra-high-temperature heat solutions (Prashant Parulekar)(01:28:54) Planet Price - Quantifying the real costs of everything (Debbie O'Byrne)If you liked the pitch? Reach out! And if you didn't like the pitch, send feedback!***As always if you don't want to miss any eps, hit that follow button!We'd also love it if you gave us a review / rating on Apple or Spotify! It really helps other listeners find us.You can sign up to our mailing list, say hello@apositiveclimate.com or follow us at www.instagram.com/apositiveclimatepodcast and https://au.linkedin.com/company/a-positive-climate. **About the podcastA Positive Climate is an uplifting podcast about tackling climate change. An entertaining look at the products, people and technologies making a real difference. Hosted by Australian renewable energy and climate investment experts Nick Zeltzer and Alex McIntosh.Previous guests have included innovators from JET Charge, Goterra, 5B, Amazon, Zoomo, V2Food, All G Foods, Vow, Sea Forest, Great Wrap, Infravision,...

Are you ready to revolutionize how hiring managers and recruiters collaborate? This episode, we're thrilled to host David Nason and Master Burnett from HireBrain, where they share their innovative approach to reimagining how jobs and requirements are both defined and filled. Fresh off a win at HR Tech's Pitchfest in October 2024, they are ready to break down the pillars of hiring and talk about what it takes to build a solid foundation for talent that aligns hiring managers, recruiters, candidates, and most importantly, the business. Tune in to explore how you can remove blindspots and bias from hiring while creating a better hiring experience for everyone involved.

The AI Startup PitchFest, organized by Pundi AI, WOO Innovation Hub, and The Generative Being, aiming to spotlight cutting-edge AI solutions, is thrilled to announce the expert Jury Panel as well as an extension of the submission deadline. The participants now have until October 25, 2024, to submit their applications, providing more time for groundbreaking AI and web3 projects to join this prestigious competition. Meet the Esteemed Jury Panel:Dr. Lun-Wei Ku, Research Fellow, Institute of Information Science, Academia SinicaDr. Yi-Chieh Wu, Interdisciplinary Artificial Intelligence Center, National Chengchi UniversityShivang Gupta, Founder, The Generative BeingsAlex, AI Lead, WOO Innovation HubIan Chong, Developer Ecosystem Lead APAC, CircleZac Cheah, Founder, Pundi AIThese prominent figures in AI and blockchain technology will bring their wealth of expertise to evaluate startups based on innovation, market potential, scalability, team capability, and technical feasibility. Their participation not only elevates the credibility of the competition but ensures that the most promising AI startups will gain the exposure they deserve. Finalists will have the opportunity to present their solutions at the prestigious Singapore FinTech Festival, with the top three winners access to a six-month incubation program, empowering them to refine and bring their products to market as well as receiving up to 100,000 USD worth of resource support. Apply now: https://docs.google.com/forms/d/e/1FAIpQLSddwiTDhfhPXW7KKUfP5-4w-aFDHG6DbU8rvgO5xjtASFq9dw/viewform Leave a comment and share your thoughts: https://open.firstory.me/user/ckkcfzy6qw1t408649cld3pc3/comments Powered by Firstory Hosting

In today's news: The village of Stevensville has launched a crowdfunding campaign to help pay for the construction of a pavilion at Hickory Creek Park.  Set for Tuesday is the Emerge Innovation Hub's fourth annual PitchFest in Benton Harbor.  As Halloween approaches, the city of St. Joseph will host a Truck or Treat event for the kiddies this Saturday.See omnystudio.com/listener for privacy information.

In today's news: The village of Stevensville has launched a crowdfunding campaign to help pay for the construction of a pavilion at Hickory Creek Park.  Set for Tuesday is the Emerge Innovation Hub's fourth annual PitchFest in Benton Harbor.  As Halloween approaches, the city of St. Joseph will host a Truck or Treat event for the kiddies this Saturday.See omnystudio.com/listener for privacy information.

In today's news: The village of Stevensville has launched a crowdfunding campaign to help pay for the construction of a pavilion at Hickory Creek Park.  Set for Tuesday is the Emerge Innovation Hub's fourth annual PitchFest in Benton Harbor.  As Halloween approaches, the city of St. Joseph will host a Truck or Treat event for the kiddies this Saturday.See omnystudio.com/listener for privacy information.

In today's news: The village of Stevensville has launched a crowdfunding campaign to help pay for the construction of a pavilion at Hickory Creek Park.  Set for Tuesday is the Emerge Innovation Hub's fourth annual PitchFest in Benton Harbor.  As Halloween approaches, the city of St. Joseph will host a Truck or Treat event for the kiddies this Saturday.See omnystudio.com/listener for privacy information.

Last week, I attended The HR Technology Conference in Las Vegas. The event was full of energy and optimism for the future as hundreds of vendors showcased new AI products and AI integrations. Everyone was playing up the new heights of efficiency and effectiveness AI can take us as an industry. However, there was much debate about the level of genuine innovation on offer and a sense that rather than thinking radically and reinventing what we do, we were just looking at faster ways of solving old problems that don't live up to AI''s potential to challenge the status quo. Here are three interviews I recorded at the show to help you make up your own minds about the levels of innovation we are currently seeing. First up is Allyn Bailey from SmartRecruiters who predicted the rise of recruiterless recruiting on the show last year. I was interested to see how far she thought we had come on that journey and what was going to happen next. The second interview was with Josh Sklüt, co-founder of MyStandard, who was undoubtedly the vendor trying to be the most disruptive, with a very different way of looking at the relationship between employers and potential employers. The final interview is a conversation with David Nason, founder and CEO of HireBrain, who seeks to better align hiring managers and recruiters and who were winners of the Pitchfest competition at the conference.  Follow this podcast on Apple Podcasts.

Last week, I attended The HR Technology Conference in Las Vegas. The event was full of energy and optimism for the future as hundreds of vendors showcased new AI products and AI integrations. Everyone was playing up the new heights of efficiency and effectiveness AI can take us as an industry. However, there was much debate about the level of genuine innovation on offer and a sense that rather than thinking radically and reinventing what we do, we were just looking at faster ways of solving old problems that don't live up to AI''s potential to challenge the status quo. Here are three interviews I recorded at the show to help you make up your own minds about the levels of innovation we are currently seeing. First up is Allyn Bailey from SmartRecruiters who predicted the rise of recruiterless recruiting on the show last year. I was interested to see how far she thought we had come on that journey and what was going to happen next. The second interview was with Josh Sklüt, co-founder of MyStandard, who was undoubtedly the vendor trying to be the most disruptive, with a very different way of looking at the relationship between employers and potential employers. The final interview is a conversation with David Nason, founder and CEO of HireBrain, who seeks to better align hiring managers and recruiters and who were winners of the Pitchfest competition at the conference.  Follow this podcast on Apple Podcasts.

Last week, I attended The HR Technology Conference in Las Vegas. The event was full of energy and optimism for the future as hundreds of vendors showcased new AI products and AI integrations. Everyone was playing up the new heights of efficiency and effectiveness AI can take us as an industry. However, there was much debate about the level of genuine innovation on offer and a sense that rather than thinking radically and reinventing what we do, we were just looking at faster ways of solving old problems that don't live up to AI''s potential to challenge the status quo. Here are three interviews I recorded at the show to help you make up your own minds about the levels of innovation we are currently seeing. First up is Allyn Bailey from SmartRecruiters who predicted the rise of recruiterless recruiting on the show last year. I was interested to see how far she thought we had come on that journey and what was going to happen next. The second interview was with Josh Sklüt, co-founder of MyStandard, who was undoubtedly the vendor trying to be the most disruptive, with a very different way of looking at the relationship between employers and potential employers. The final interview is a conversation with David Nason, founder and CEO of HireBrain, who seeks to better align hiring managers and recruiters and who were winners of the Pitchfest competition at the conference.  Follow this podcast on Apple Podcasts.

Jumping Into Size-Inclusive, Sustainable Fashion with Hayley Matthews-Jones In today's episode, we are back with a brand-new guest interview! This time, Rachel is chatting with Hayley Matthews-Jones, the visionary founder behind The Jump. Discover how Hayley has shaped her understanding of local economies and sustainability, and why her personal struggles with finding the perfect jumpsuit fit inspired her to launch The Jump. We'll also learn about the importance of domestic manufacturing and the critical role of engaging with customers through surveys can be so helpful in the product development process. One of the most challenging aspects for any small business is finding funding, which Hayley dives into, including the rigorous application and pitch process of the Hatch Bloomington contest. Additionally, we touch on the importance of business planning, self-accountability, and maintaining a strategic vision for entrepreneurial success. We'll also explore the significance of building an email list from the get-go to ensure reliable customer communication despite the volatility of social media platforms.    About The Jump: The Jump is a size-inclusive jumpsuit brand that will be sustainably made in the US. We're currently in the research and development phase, with a goal to launch in Fall, 2025. Although we didn't make it to the final round of Hatch Bloomington, we're moving ahead with planning. We're currently conducting a user survey to learn more about our customer needs.   Take the survey here: https://docs.google.com/forms/d/e/1FAIpQLSe03FzrSq-jk8rSBNdXF-OtPr9G9V_tVB0tHOkr9k8ECb9SAQ/viewform   In this episode, you'll hear: -How The Jump got started and what Hayley noticed in her own collection of jumpsuits. -Recent survey findings! -How Hayley was able to reach the Top 10 in her Pitch Fest! -It's so important to stay focused on where you're going when you're in the trenches of the day-to-day in your business. -Always check your local community (Library, Chamber of Commerce, etc.) for free resources in the small business realm. We can't wait to hear what you think of this episode! Connect with The Jump: https://shopthejump.com/   Purchase the Business of Apparel Online Course: https://www.thebusinessofapparel.com/course To connect with Rachel, you can join her LinkedIn community here: LinkedIn. To visit her website, go to: www.unmarkedstreet.com.

Sense, a market leader in AI-driven talent engagement solutions for enterprise recruiting, announced the launch of its new Career Sites solution. This innovative product empowers companies to seamlessly build and launch a career site with brand consistency, an intuitive design, and robust recruiting features. https://hrtechfeed.com/sense-launches-career-site-solution/ Job search engine DirectlyApply, has announced the release of a new search experience that matches job seekers with opportunities based on the unique details of their resumes. https://hrtechfeed.com/directlyapply-redefines-job-search-with-resume-powered-matching-technology/ Fama Technologies, the social media screening platform announced their newest feature: Instagram Reels as a Source! With this release, Fama is taking a large step forward in helping its clients identify signals of workplace misconduct that may only appear in video format.  https://hrtechfeed.com/fama-announces-new-instagram-reels-as-a-source-feature/ The HR Technology Conference & Exposition® today announced the participants of its 2024 Pitchfest.  This year will see 31 companies compete against one another in three preliminary rounds. Each participant will have three minutes to present their concept, followed by two minutes to answer questions from the judges. Scores will be determined through a combination of audience voting (30 percent) and the judging panel (70 percent). The total score earned in the preliminary rounds will determine which six companies will advance to the Pitchfest final. https://hrtechfeed.com/hr-technology-conference-exposition-announces-2024-pitchfest-participants/  Phenom is hosting its annual AI Day 2024 on Spet 12th, which focuses on how Generative AI and AI agents empower organizations to hire faster, develop better and retain longer through augmented work — while ensuring responsible AI adoption and utilization. To register go to ai.phenom.com  

See omnystudio.com/listener for privacy information.

Jordan Sollof is joined by Chris Chaney, chief executive of CW+, the official charity of Chelsea and Westminster Hospital NHS Foundation Trust, to talk all things Digital Health Rewired Pitchfest. Chaney, who will once again be part of the judging panel for Pitchfest 2025 announced recently, talks about some success stories that have come from the annual competition for start-ups and how it has been a platform for companies to go on and achieve big things. He then explains what makes a perfect pitch and what exactly the judges are looking for, before highlighting why start-ups should apply for the next edition. Rewired Pitchfest is an annual competition for startups, offering them the chance to pitch in front of a live audience of NHS leaders, investors and industry peers. The winners will gain access to expert advice from CW+ and Chelsea and Westminster Hospital NHS Foundation Trust's CW Innovation team, and the potential to run a project in the trust. The live Pitchfest finals will take place in the Start-Up Zone at Rewired 2025, at the NEC in Birmingham, 18-19 March 2025. Applications for Pitchfest close on 23 August 2024. Rules and judging criteria can be found here. Guest: Chris Chaney, chief executive of CW+, the Chelsea and Westminster Health Charity  

Host Jennifer Sanasie breaks down the biggest events at Consensus 2024.To get the show every day, follow the podcast here."CoinDesk Daily" host Jennifer Sanasie breaks down the biggest events at Consensus 2024, from meeting top Web3 leaders at PitchFest to an electrifying Karate combat between crypto influencers. And, don't miss the EasyA Consensus Hackathon where developers can build and present their projects in front of world-class investors.-Consensus is where experts convene to talk about the ideas shaping our digital future. Join developers, investors, founders, brands, policymakers and more in Austin, Texas from May 29-31. The tenth annual Consensus is curated by CoinDesk to feature the industry's most sought-after speakers, unparalleled networking opportunities and unforgettable experiences. Register now at consensus.coindesk.com.-This episode was hosted by Jennifer Sanasie. “First Mover” is produced by Jennifer Sanasie and Melissa Montañez and edited by Victor Chen.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On this special episode of the podcast, we talk about when things going into the public domain. After learning about some properties joining the public domain in the coming years, we pitch one another on how they could be adapted with the same grace and care as Pooh: Blood and Honey. Which is your favorite […]

Catherine Gray, the host of Invest In Her, interviews Kat Weaver & Katie Dunn, the co-founders of Power to Pitch. They are a founder and investor team who saw the gaps in education, resources, & access to capital, and together advise founders on fundraising strategies, review pitches, update pitch decks, meet with program members on a weekly basis for support, and actively make introductions to investors.   www.sheangelinvestors.com  https://www.powertopitch.com/   Follow Us On Social Facebook | Instagram | Twitter | LinkedIn  

Thriller author KJ North's DEAD MAN'S MONEY is available on Amazon now!On today's 160th episode of The Thriller Zone, I'm happy to spend some time with debut author Steve Urszenyi as we discuss his thriller novel, Perfect Shot.Sure, we cover his experience as a writer, but be sure to listen as he shares the story behind the breathtaking opening scene, plus his reasoning behind and the process of choosing a female protagonist Alexandre Martel. As you may guess, we learn how Perfect Shot is the first book in a series featuring Alex.One of my favorite parts of this conversation is when Steve talks about his background as a paramedic and tactical medic which, as you'll quickly see, heavily influenced his writing and this story.Our conversation concludes with a discussion about Steve's agent, John Talbot, and John's role in the publishing process. Plus, you'll hear how Steve Urszenyi used his experience with PitchFest to land that "dream agent," and continues by offering some advice for aspiring writers. Yes, you may have heard this one particular advice before, but listen as to how Steve makes it seem a wee bit different. If you'd like to learn more about this debut author, visit: SteveUrszenyi.com and follow him on all social channels.Of course, you're happily invited to join us as we discuss all things thriller, mystery, and suspense at TheThrillerZone.com, as well as following us on ALL social channels @thethrillerzone. Be sure to SUBSCRIBE to us at YouTube.com/thethrillerzone.Thanks for listening. Thanks for watching. And as always, be sure to tell a friend you've found "The front-row seat to the best thriller writers in the world...with TheThrillerZone.com!"---SummaryIn this episode of The Thriller Zone, host David Temple interviews debut author Steve Yerzani about his thriller novel, Perfect Shot. They discuss the process of writing the opening scene, the choice of a female protagonist, and the research involved in the book. Steve shares his background as a paramedic and tactical medic, which influenced his writing. He also talks about working with his literary agent, John Talbot, and reveals that Perfect Shot is the first book in a series featuring the protagonist Alex Martel.Takeaways Choosing a strong opening scene can set the tone for the entire book. The choice of a female protagonist can challenge genre norms and provide a fresh perspective. Research is crucial for creating an authentic and engaging story. Drawing from personal experiences can add depth and realism to the writing. Having confidence in your own writing style and process is essential. Chapters00:00 Introduction and Background03:00 The Opening Scene and Writing Process06:00 Choosing a Female Protagonist09:01 Elevator Pitch and Plot17:33 The Importance of Research21:42 Becoming a Tactical Medic25:34 Surprising Experiences as a Paramedic28:49 Working with Literary Agent John Talbot32:08 The Alex Martel Series39:18 What's Next for Alex Martel43:00 Best Writing Advice44:39 Closing Remarks

Tune in to hear Boese review his 15 years at the HR Tech conference and the innovative ideas he's seeing at this year's Pitchfest, where startups bring new ideas to the fore. According to Boese, one of the top challenges for HR in 2024 is embracing technology more meaningfully. “AI can't teach us how to love,” he says, so we must find ways to use technology while preserving the human touch.Unum took its Gartner Marketing Award-winning HR Trends podcast studio on the road (again) to the 2023 HR Technology Conference & Exposition, held October 10–13 in Las Vegas. Listen as HR Trends host Clare Morin and others interview some of the biggest influencers in the HR tech world. You'll hear their expert opinions on how technology will change the HR profession and improve the employee experience through 2024 and beyond. 

"What if one of the big tech companies - Apple, Google, Amazon, Tesla - decides to become homebuilders? And disruption comes from outside the industry that basically upends the industry completely, a company that can come in and do what the industry will not, or can not, at this point, to deliver affordable, high-quality housing?" Join us this week as talk with Rich Binsacca and Dennis Steigerwalt about HIA 2024, PitchFest, and offsite construction. Rich Binsacca is the editorial director of Pro Builder, the leading B2B media brand for the U.S. housing industry, where he heads a team journalists, designers, and contributors to deliver timely, relevant, and award-winning content. A graduate of the University of Missouri School of Journalism, he has engaged the housing industry since 1987 as a journalist, editor, producer, and marketing/communications professional. Published independently by SGC-Horizon, Pro Builder is the official media partner of the National Association of Home Builders (NAHB). Dennis leads strategy and market engagement for the Housing Innovation Alliance, a network of over 2,000+ companies focused on strategic growth opportunities in the homebuilding industries. He's a boundary spanner, a connector, and an investor in all things related to the built environment.  Navigating complex networks of relationships and promoting broader investment in research and development, Dennis seeks out opportunities to connect the dots on transformational initiatives to achieve objectives together that we shouldn't, and likely couldn't, tackle alone. The Housing Innovation Summit will take place June 4-6, 2024. Pitchfest will kick off the Summit on June 4th. Get a 2-day Summit registration to participate in all Pitchfest activities and Summit sessions, round table discussions, and networking events. Stay for the final day (June 6) with a separate ticket for tours or send another member of your team to gather best practices from the field. Follow the Housing Innovation Alliance on LinkedIn and connect with Dennis.  View Videos of the virtual podcast here: https://youtu.be/J4GORWQp-SY https://youtu.be/4IJa3dqjJsE

Did anyone pay attention to the HR Technology Conference & Exposition's Pitchfest winners?The big winner digitally consolidates 401(k) plans. You know, rather than manually. That's how much basic blocking & tackling we still have left to do when driving innovation for business and making all of our work lives better. Another winner we loved is CollabWORK, who also addresses a pretty fundamental talent problem. We all love hiring referrals, but we don't think outside the box when it comes to connecting with the seven degrees of separation of our high performers and hard-to-source talent.Summer Delaney, CEO and Founder of CollabWORK explains their community-based hiring approach. Yes, they use AI, but that wasn't the big story. In fact, they might have won because they take a pretty cautious but intelligent approach. Tune in!

On this week's show, we cover how high and low our voices can go, things we have changed our views on, places we don't want to vacation, Oktoberfest, mattresses, a Beyonce concert, mailbox shenanigans, and more!Please consider becoming a Patron to help out the show and to start getting bonus content at just $5 a month: patreon.com/QualifiedNonsenseSend any questions or comments to: qualifiednonsense@gmail.com and don't forget to rate, review, like and subscribe on your podcast app of choice! Thanks for listening!Socials:Instagram & TikTok: qualified_nonsenseTwitter: @QNPodcastHosts: Jake Wilhelmi, Matthew Ellis, and Brandon BernhardtMusic: AceSound Effects: https://www.zapsplat.com

Leigh Medeiros, co-founder and co-director of the Hollywood Climate Summit's Pitchfest for Film and TV, talks about how climate screenwriting equals good storytelling and gives “ten reasons why the time is now for screenwriters to help save the planet."

In June, I hosted a webinar called "The Truth About Screenwriting Contests and Pitch Fests" where I shared my thoughts on some of these writing contests and the potential scams out there, as well as some bad advice I always hear. This episode addresses questions you asked in our Q&A session that we didn't have time to answer. There's lots of great info here, make sure you watch.SHOW NOTESFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAUTOGENERATED TRANSCRIPTSMichael Jamin:When I'm in a writer's room all the time, we don't use these words that everyone seems to have learned on the internet. That's why when you said 15 minutes, 15 minute structure, what? It is unfamiliar to me because I've, in my 27 years, we don't talk like that. So when I teach you how we talk, it's like it's not as complicated as people wanted. When you learn from somebody, screenwriting, just find out, are they qualified to teach you? Forget. I don't care if they wrote a book. No, no. What shows have they written on? Hey everyone, it's Michael Jamin. Welcome back to another episode of Screenwriters Need to Hear this. I'm here with Phil Hudson. Welcome Phil.Phil Hudson:What up?Michael Jamin:What up? We're doing another q and a. So once a month I do a live webinar. You're all invited to go to be invited. Go to michael jamon.com/webinar. The one in June. The topic was, we always do a different topic, but the one in June was the Truth about contests, screenwriting Contests, and Pitch Fests. And afterwards I do a q and a and we try to get to as many questions as we can when we run out of time, and I can't answer all of them while Phil has kept a file. And now we're going to answer all those questions for you. So hopefully this will be very illuminating. Yeah, may seem a little random, but whatever. It's, it's knowledge. Alright, Phil. Yeah, so hit me with a question.Phil Hudson:Yeah, absolutely. Just again, for decorum purposes I guess, or flow, we took all the questions. If we don't answer your question here, it's probably addressed somewhere else. So we have previous q and a question, podcast episodes. You take questions all the time on your social media there. There's stuff everywhere. So if your question hasn't been answered, most likely it's been answered somewhere else. We've already answered. Your YouTube is actually a great place to go for our content. Yeah, subscribeMichael Jamin:To Michael Jamon,Phil Hudson:Writer.Michael Jamin:Yeah, Michael Jamen, writer on YouTube as well as Instagram and TikTokPhil Hudson:And Facebook. And you can go to Michael's site as well. And I believe in the footer there's a list of all your social media and they can click on that stuff. So yeah, I've broken your questions out into multiple sections by topic and I've had to fold some questions together because there were just a ton of questions in this podcast, in this webinar. So, okay. This first section is called Breaking In related to the Truth about Screenwriting contests and Pitch Fest. And Michael, you are not one to mince words regarding all of these hacks and sheets to get into the industry. And I think it's something a lot of people need to hear and hopefully have, are going to hear from you today.Michael Jamin:By the way, I want to say, I'm sorry, Phil, but the webinars are always free and if you miss it, we send you a free replay, which is good for 24 hours. And then if you miss that, you can purchase it on my website for a small fee@michaeljamin.com slash shop. So sorry if you missed it, but you had to wax at it for free. Okay.Phil Hudson:Yeah. And that's on demand and permanent. It's not, you watch it once and it goes away or it, it's like you get it and it's chock full of good information.Michael Jamin:Yeah.Phil Hudson:Awesome. So Natalie Faler, how do you even find a person to pitch your screenplay to? So since these contests don't help your career get started, how do you get your career started? How do you come become qualified to get hired or work in any of these production companies?Michael Jamin:So what you need to have, you look at your script as a writing sample. You can write a movie, tell whatever you want, a TV show, whatever it is. Everyone's get so focused on, well, how do I need a Bible? Do I need episode three and four and season 10? No, no. You just need one damn good script that will impress people. That's all. Just one and one is hard enough. So write your script. And then when you give it to somebody, if it's good, someone in the industry, they'll pass it along. If it's really good, if it's mediocre, they're not, if it's okay or bad, they're not going to pass it along. You don't get a chance to sell your TV show if it's bad. No, you have to write a great script. What's in your hands? So everyone just assumes that and they assume, well, I already have a good script. Okay, but does anyone else agree with you? Have you given to anyone who agrees with you that it's a great script because it's not up to you. They have to agree with you. They have to say, yeah, it's a great script and then doors will open. But first things first, learn how to writePhil Hudson:And that actually jumps us down, you address is can we, Drake ask typically how many episodes do you pitchMichael Jamin:One you first go for, you don't do any, you pi, you give one script. How are you going to pitch an episode? How are you going to pitch a show if you can't even get the meeting to pitch a show? And you can't get the meeting until someone reads a script of yours and says, this is a really good script sample. It's a work, it's a writing sample. That's it. It's not about selling anything. It's about impressing people with your ability to write. It's okay if you're not going to sell it, tell you how many scripts I've written the intention even to sell it. It was just to impress people.Phil Hudson:Yeah. The last part of this question is how do you become qualified to get hired or work in any of these production companies as an avenue of working your way up? And the answer is you start at the bottom.Michael Jamin:Yeah, you start at the bottom way at the bottom where you're not even thinking about that. You're thinking, well, how can I become qualified to get coffee for the person who works here? And then you, that's how you start making contacts. That's how you start working your way up. So everyone wants to start at the top. My recommendation is start at the bottom.Phil Hudson:Beautiful. Liz Romantic besides attempting to get representation from an agent, what's another way to get my screenplay seen by a producer?Michael Jamin:Oh, well again, working Do a fill does works at a production company versus a pa, then I got promoted to associate producer. That's how you do it. That's, that's another way to do it ano, is to start at the bottom. Start making your connections in Hollywood. Another way to do it is to, you can start your own channel on social media where you're putting out amazing, you're shooting and making your own amazing content and I'm, I'm talking about scripted, whatever it is you want to do as a scripted, start doing that. Start impressing people with your ability to write and amazing things will happen. But I was going to do a whole webinar on that as well. I know I'm not, I'm giving short shrift to that answer, but I'll explain in detail in future webinars.Phil Hudson:Yeah. Awesome. Rob Stagin Borg, they say Hollywood Ism All is always looking for new talent, but are they really?Michael Jamin:Yeah, they're looking to exploit you. And like I said, you want to be exploited. Why not? They're looking for someone to make them rich. Everyone is looking for someone to make them rich. And if you have the ability to make them rich, if they look at you and they see dollar signs in your face, you're in, you're in. Yeah. But the problem is no one wants to do that. They want to beg, come on, can. No one wants to, no one's interested in helping your career. They want to help their own career. And the way they help their own career is by finding someone who's this, who's got a ton of talent that they can exploit in a good way, but exploit.Phil Hudson:Yeah. Yeah. All right. Our buddy, the Jovan shares back, and this question is in reference to one of the topics of the webinar, which is available now for people to buy. If you want to go watch it, it's michael jam.com/shop. But this is in relation to the topic of what's the reality and value of competitions and screenwriting contests and all this stuff. And you're basically saying not a lot and most of 'em are not beneficial.Michael Jamin:Yeah. You can go listen to the webinar we talk about which ones I think are the best ones and the biggest ones. But the small ones, the little ones, it's only making them rich, not you rich. Yeah.Phil Hudson:So with that context, does this advice also go for short story competitions?Michael Jamin:I don't really know. I really don't know. I'm not in that world. I'm a TV writer.Phil Hudson:Yeah. And that might be short film contests and things, but there's the occasional short film that gets moved. Like the Poon Dynamite, right? Was it paca? I don't know. It was a short that was put into Sundance and then it got bought and then it got flipped into a feature. That'sMichael Jamin:Very, but they said short story though. This person said short story. Correct.Phil Hudson:In the context of screenwriting. Okay. I think it's really about short films because you talk you storyMichael Jamin:If, yeah, I mean if you can make something and a respective, especially a film festival, that's a little different. If you make something at a film festival that gets people's attention. But that's what I'm yelling it all along you. You've already made it. You've already made it and it's already great. SoPhil Hudson:Yeah, you've done the work. You're not hoping someone else will give you the in. Yeah. Alright. Sadie Wise heart, what are avenues with getting into the industry with just an associate degree? I keep hearing being a PA is great, but are there also other avenues? Michael, I've never once in my life been asked if I have an associate's degree. That's something people talk about, but I,Michael Jamin:No one cares. Phil, I want to know, can you get the coffee? Can you pick up lunch? Yeah. Do you know how to use the coffee machine? That's what I want to know. I don't need to see your diploma.Phil Hudson:This will be fun. So this is my diploma cover. I was handed when I walked across my stage at my college graduation. It's empty, right? There's no diploma in here. Why? My school went defunct, my school closed.Michael Jamin:They went out of business.Phil Hudson:There's no, there's no diploma. Did I earn it? Yep. Do I have the honors? Yep. Do I have photos of me? Did my family come? Yep. There's no diploma in there. If someone wanted to see my diploma, I couldn't even show it to them. That's how little it matters in the industry. Yeah. Can you do the job?Michael Jamin:But this person wants to know, are there other avenues other than pa? I mean, if you want to break into the business, you're going to have to start at the bottom. I'm you, I'm sorry. You don't get to become an executive producer unless you've, you know, got to start at the bottom.Phil Hudson:Yeah, yeah,Michael Jamin:Absolutely. But again, I have a i'll, I'll probably do a webinar coming up where I'll talk about things, other avenues to break into the business if you absolutely cannot move to LA and you insist on not starting at the bottom, what else can you do? It's going to be a harder, but there are things you can do, but it'll be harder.Phil Hudson:Yeah. Ah, we met a bunch of people are going to sign up for that one. That sounds like, that sounds like a lot of the questions we get. Okay, great. Rob Stagin Borg, again with so many services out there designed to help in Arian quotes, new riders. How can a new rider tell what is legit and what is this scam? A scam?Michael Jamin:I would assume everything's a scam. I thinkPhil Hudson:That's the answer.Michael Jamin:I mean, I don't know. I don't know what kind of service that they're talking about. If it's a coverage service, you're going to be read. The person reading your coverage is probably not qualified. They're no more qualified than you are unless you were able to find a writer, a working writer, a successful working writer with credits that you've seen on I M D B on shows. And those people are out there that have the time to help charge people to read, to give notes or whatever. That's your due diligence. You got to find them. But wouldn't, a service is different like a service is what are you going to get? You're going to get a minimum wage paying person reading your job. But if you can find a working writer to do that, and because of the internet, you probably can then expect to pay. You expect to pay for someone's expertise. They've earned it and you're going to have to pay more for it. Sorry. That's just how it goes. So if you want to pay $50, you're going to get $50 worth. If you want to pay $400, you'll probably get $400 worth.Phil Hudson:And you got your start taking lessons from a former writer who was retired and doing that, right?Michael Jamin:Yeah. Yeah. But that's a little different. But yeah, I, I wanted to learn from people who had the job that I had, who I wanted rather the job that I wanted getting charged.Phil Hudson:Dominique Davenport. Hey Michael and Phil, what's up Dominique? Hey, I'm a PA from Atlanta. I'm just now getting my footing in the industry. What steps should I be taking starting out?Michael Jamin:Good for you. You're already got your foot in the door. Maintain those relationships that you have with everyone who works there, from the producer to the associate producer to the coordinator. Just maintain those relationships and prove that you're a hard worker. That you'll go above and beyond because when they get their next job, they will bring you along with them. They don't want to want to train someone from scratch. So my advice to you is to be nice to whoever you've worked for as a pa, the coordinator, all the way up to the producer, the executive producer, show them that you're a hard worker. Show them that you hustle, that you go above and beyond because when they go to their next job, they're going to want to take you with them. Why is that? Because they don't want to hire someone brand new and have to break them in. And maybe that person doesn't have your work ethic, so it's just easier for them to work with the same people and promote those people. So you're, you've got your foot in the door. All you got to do now is continue doing more of the same, which is continue impressing people with how hard you work. Don't say no to anything. Get there early, leave late. Good for you. You're in, you're in. So just work your butt off and you'll do great.Phil Hudson:Yeah. Hannah Chartier, who's the writer's assistant on Tacoma fd, and this is very specific to Atlanta. I was talking to her and her story is she volunteered and did a bunch of work for the broken lizard guys for Super Troopers too. And then the she PA on that. And the producer was so impressed, he brought her along as his assistant for Miss Marvel in Atlanta. And I was talking to her on set and she was telling me that, and I was like, oh, that's cool. I know Miss Marvel's stunt Double Cassidy. I went to film school. They're like, oh, I know Cassidy Cassidy's. Awesome. That's how small the industry is. So someone I went to film school with in New Mexico who's working as a stunt person and an actor in Atlanta knows someone that I'm sitting on a set in Santa Clarita, California, dressed in 13th century French garb.Like we're having a conversation about that person. So that word does travel and your reputation does precede you. So Chelsea Steep, should Hollywood go back to proper employment? So for those who aren't aware, Hollywood used to literally have a contract on you as a writer, and you only work for Warner. Oh, and you only worked for M G M and that was your job. And you wrote things for them and you were on their payroll. And then that changed with a rider's strike and the formation of the Rider's Guild to stop that because credits were being assigned to producer's, girlfriends, and whoever it was. And you had no say because you were just an employee. And so they started a union to protect writer's interests. And that's how the W G A began. And they think this question is saying, should writers, should we go back to that as a form of employment?Michael Jamin:I think you answered it really well. I mean, some writers are lucky enough to have an overall deal at a studio and they get paid well, but most writers don't. That most writers are just jumping from gig to gig. And that's why we're on strike right now because the studios have turned it into a gig economy. So there's a happy medium somewhere, I hope.Phil Hudson:Yeah, Sadie Wise Heart again. Where would be some good organizations or companies to find jobs as rider's assistants, also with the rider's strike? How would that affect that process?Michael Jamin:Well, there are no jobs during the rider's strike. So that affects that process. Writer's assistant is not an entry level job. It is a job you have to be trained and qualified to do. I'm not qualified to be a writer assistant.Phil Hudson:It's a union job too.Michael Jamin:Now it's a union job covered on I O C, right? Yeah. Yep. But you have to, someone has to train you how to do that. And I'm not, I'm a showrunner and I don't know how to do it. And so usually you start as a pa and then you ask the writer's assistant who's above you, how do I do your job in case I poison you? And that way I can take your job if you fall sick and they'll train you to know how to do that job because you have to know how to use the software really well. But you also have to know the distribution protocols, who gets scripts when and how they're distributed. And so it's a little bit complicated. There's some notes you have to know how to take notes really well, but it's not an entry level job, but it's a a job you definitely want to get if you are an aspiring screenwriter for sure.Phil Hudson:Yep, yep. Everything's different right now and going to continue to be different. Even if the actors strike at this time, they have voted for the authorization to strike. So yeah, Tom Miller, if I get rejected from contest and get nos from query letters, what do I do?Michael Jamin:There's your problem right there. If you get rejected from a contest, reputative one, the big ones that we talk about in that webinar we just did, and don't, you're not going to get rejected, but you're not going to, let's say you don't win, it's because you need to work on your game. You need to become a better writer. How about work on that? It's not some, they're telling you maybe you're not good enough, but in the meantime, you should always be working on your craft, get better and better as a writer. And that, you know, don't need a contest to do that. You, or you can also shoot your own stuff. You can make it. I've done plenty of webinars on what I would do, and I'm going to do another one on what I would do if I had a break into the industry today.But at the end of the day, if you are not a good writer, there's just no demand for you. And I know you're going to say, well, but aren't there bad writers working? Sure there's a whole range of writers working, but the bad ones aren't going to keep writing forever. They may have gotten lucky. And that can't be your strategy. Your strategy can't be Well, they're bad. I can be bad too. No, there's no demand for demand for mediocre writers. You need to work on your craft and get better. But there's a lot you can do and we'll talk more about that in future webinars. Yeah,Phil Hudson:Yeah. I'd also say that a lot of that rejection, keep in mind that that also might be topical. It might be related to your subject matter, and it may be that some of those are very specifically looking for stories. Like Sundance for example, is a good one. They're looking for underrepresented voices, and so they're looking at indigenous stories and they're looking at people with something interesting. So the work I've done there, they're very fascinating people and typically from a different ethical, racial, more of a, what we call a protected class background who have not had opportunities to tell their stories that are unique. So you got to understand your audience too. And that's still a lesson you got to learn. So, alright, Jarret Frierson, ultimately what's most important, establishing connections and networking or making your writing the best it can possibly be?Michael Jamin:Well, if you could have the best network in Hollywood, and if you're writing is no good, no one's going to go out in a limb and hire you. I mean, because that they're jeopardizing their own career. If they have a show and they can hire one writer and they got some bad writer that's not contributing and is going to drag them down, they're not going to risk their career for you. I don't care if you are their babysitter, you know, have to be good. So why can't you do both at the same time? Why can't you work on your craft while continuing to make the context and expanding your circle? But again, I talk about, I've talked, I've spoken about at length about what that means, what your network means, and your network isn't people you randomly send emails to once a year to keep. That's not your network. Your network or your, is your cohort people, your friends, people, you're close to, people you work with, people, your class, your graduating class, this is your network. It's not people who you've reached out to on LinkedIn and they decide to friend you. That's not your network.Phil Hudson:No, it's Kevin who texted me today and said, Hey man, how are you doing? We haven't talked story in a while. You want to hop on a call and we have a call tomorrow to go over stuff. Oh, great. He's the guy, the who sends me things to read and I send him things to read and we hop on the calls and we spend an hour talking about them. Great. Perfect. It's so awesome. Cool. Moving on. This section is craft. It's just how we do the job. Olivia asks, some teachers say you need establishing shots. Others say no. Who's right?Michael Jamin:Well, I guess if you're going to shoot it, you always want to, if you're shooting something, get an establishing shot. It helps establish a location. We always have establishing shots. I've never been on a show. You need establishing shot, especially if you're going to cut from one location to another. If you're doing a scene in someone's house and the next scene is in a restaurant and you don't put an establishing shot, people are going to think, wait, is there back room of the house? A restaurant? They're not going to be confusing. So get the grab an establishing shot. Do you need to put it in your script? No, you don't need to put, say exterior restaurant day. I mean, you could say Interior restaurant day. So you don't need that. You don't to slug an establishing shot in your script, but if you're going to shoot it, get one.Phil Hudson:Yeah, yeah, yeah. It's a good question in an answer I wish I would've had in 2009 and 10 when I was writing a lot of establishing shots for no purposeMichael Jamin:In my script. Make it more, does it make the read more enjoyable? No.Phil Hudson:And more and clear and Right. The slug line makes it clear. I am inside a restaurant.Michael Jamin:Yeah, I get it. I know what a rest, thePhil Hudson:First ad, the first A d will schedule. Yeah, exterior shop. Yep. Yeah, right. Tamara Hanssen. What would you say are the most important things to pay attention to when writing a thriller? And what would you say is the biggest difference between a horror versus a thriller? I thought it'd be an interesting one because you're a comedy writer.Michael Jamin:Yeah. I'm not really the best person to ask. I mean a horror because I don't write either one of them. But a horror can be just a slash fest, a slash film, which is guts and gore and a slasher movie where there's a mass murderer at a campground that's a horror movie. Could be. Whereas a thriller, it doesn't have to be all that guts and glory. It could just be the fugitive, right? A guy running from the law. There was no guts and Glo guts in that. It was just a guy keeping one step ahead of almost like an action movie. So those are the kind of differences. But in terms of writing, they still both need to have a story. Both need to have, you both have to follow a story, and that's something that can be learned.Phil Hudson:And that's the answer, is the focus on telling a good story. And then you'll learn the tropes, right? Yeah. BecauseMichael Jamin:No one wants to read a story. If your screenplay screenplays, they go camping and the dad gets murdered, and now the sun's running from the ax killer, who cares? What's the story? Yeah, it's it. It's great Down. ButPhil Hudson:Silence of the Lambs, silence of the Lambs, on the other hand, wins the Oscar Oscars because at that end scene, we are worried Clarice Darling is going to be consumed by this darkness she's been avoiding.Michael Jamin:So it's not just plot, it's plot and story. Make something great.Phil Hudson:Yeah, that's solid answer. Christine, I'm an artist getting into production for animation. What would you say is the most important thing I would know from your perspective as a writer on an animated show?Michael Jamin:Well, if you're an artist, I mean, these animation houses often give you tests. And I, I've never worked at an animation house, even though I've worked with many. And the tests, can you draw? I know Disney famously has a, I think they call it like a sack test or a potato sack test or something where they ask animators, this is, you Google it, you'll find it to write the emotions. Imagine a sack of flour, and now make, it has no eyes, no no limbs, no arms or legs. No eyes or face. Make the sack sad. Now make it excited. Now make it angry. And this is a famous test that they do to show all the emotions of a sack of flour without relying on the facial expressions. And that really apparently is what made Disney so amazing in animation way back when they first started. So study all that. But again, I'm not an artist for animation, so I'm not the best person to talk to.Phil Hudson:Yeah. See, it rings true though. The magic carpet in Aladdin. Very emotive, very expressive, no face, no arms. So Conrad Michael, what's your rules around character descriptions when introducing them? How many samples would you recommend? Oh, it's two questions. I apologize. First question.Michael Jamin:Yeah, character description, shorter is better. And you want to describe them a little bit, and it helps to give 'em a little bit of their personality. And it shouldn't be cliche. A girl next door is pretty cliche, doesn't know how hot she is, is cliche, give some juice to this character. And in that description, age, what do we need? What do they look like? That helps. But also to help describe their personality just a little bit. And in a way that's not a cliche. That's often why people say, think Jack Black or whatever. That does help. We know Jack Black is a little outrageous. We know he's thinks he's cool. Maybe he isn't, but he's got that attitude that helps. That's one way people do it. Yeah.Phil Hudson:Wardrobe important as well, because it tells us who the character is. Something else you can consider, a lot of people don't think about.Michael Jamin:Yeah, I mean, if you need a woman, that was a note. If she's wearing overalls that says something about maybe she's out, maybe she's outdoorsy, maybe she works in the garden a lot as opposed to wearing a dinner gown.Phil Hudson:Yeah. And it gives eventually, if it's going to get made, gives you costuming department something to work with. So yeah. Anyway, Viki. Wow. Viki, can you tell us about the eight episode structure of the Hollywood movie in three acts, storytelling? Is there anything else? Jan from Finland?Michael Jamin:I don't understand the question. What is it?Phil Hudson:Yeah, so 8.9 0.88, that structure of a Hollywood film, right? They're specific beats and metrics you need to hit within a structure. It's more of a formulaic approach. They said eight episode, I'm pretty sure they're talking about eight beat or eight point, and I think that's famous,Michael Jamin:The topic. I thought they're talking about eight episodes. Okay. So they went, if the question is, can you tell me more about the points ofPhil Hudson:Yeah, the eight, they're saying the eight episode structure of the Hollywood movie. And so I think what they're saying is theMichael Jamin:Eight point structure. Yeah, that's why I did hear it, right? I did hear it right. You did hear it. Right. Eight episode structure, that doesn't make sense.Phil Hudson:No, it's eight point structure of a Hollywood movie compared to three act storytelling or in three act storytelling.Michael Jamin:Okay. Okay. So I was confused. So I teach in my course, I teach three act structure, and that can be applied to everything. Whether you're making a movie, a TV show, half hour, 90 minutes, 60 minutes, doesn't matter. Three act structure, it doesn't matter. It's all the same. It's just that in a movie, it's going to be a little, everything act is going to be a little longer lengthwise than in a half hour TV show. In terms of these points that you're talking about, not episodes but points. Yeah. Also, when I teach my class, there are points that you think that have to be met. The bottom of act one is a point, the middle of act two, the bottom of act two, I teach all this. I have a certain number of things that you have to do per episode in order to tell a compelling story. It's not formulaic, it's just something that you need to have in a story so that it feels like you're not just treading water. So that stuff happens. So if you'd like to learn more about that, we have a screenwriting course. It's only open once a month for a couple of days, but you can sign up to find out when it will be open. And that's at michaeljamin.com/course.Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you, and it's absolutely free. Just go to michaeljamin.com/watchlist.Phil Hudson:Awesome. Keenan, what is your opinion about whether writers should adopt and master three act structure versus the mini movie method? Roughly eight, 15 minute movies that make up a feature. Is there any reason they should be blended together?Michael Jamin:I don't even know what that is. I only know three act structure. I don't know what this 15 minute, I don't know where you're learning this stuff from. I don't. What difference does it make if I'm telling a story? I don't. Okay. Just so you know, when I tell a story on a sitcom, it's not 15 minutes, but it's 22 minutes because sitcoms tend to be short. So is there any difference between a 15 minute sitcom and a 22 minute sitcom? No, it's cutting out a couple of minutes. That's all. There's just no difference. Everything is three act structure. Boy, they make things. Boy, the internet makes things hard for people, I think.Phil Hudson:Yeah, these are a bunch of branded terms that I've read about in books and in other places that you've not, because you don't look at those things. Yeah, I don't.Michael Jamin:AndPhil Hudson:Ultimately, from my perspective, it's just a lot of it is very, very confusing. It does get very formulaic into, you know, need to introduce everybody, every major character of your script. By page three, you need to have your inciting incident on page 10. You need to, and your script act one on page 25, and then it becomes so burdensome. And then you fall into the dark zone and wasteland of act two, where no one tells you what you have to do in that.Michael Jamin:But then talk about making your course. There's so many people Yeah, go ahead, Phil. Go ahead.Phil Hudson:I was going to say, but then in your course, it's like, oh, they're very clearly defined what I need to do in the top of act two, middle of act two, bottom of act two, very clear. And it's like, oh yeah, this all makes way more sense. And now I understand exactly what I need to do. ButMichael Jamin:It's also simpler. It's like they make it so complicated.Phil Hudson:Well, they feel like making it complicated and naming it something fancy is a way of just making it sophisticated and seem more advanced. And that's the thing. I mean, I do Brazilian jiujitsu, I wrestled in high school. I like grappling Brazilian Jiu-Jitsu's, just a, it's when you talk about climbing a mountain, that's my version of climbing a mountain right now is just getting tapped out and practice murdered by a bunch of people half my size. And there's this thing called white belt mindset, which is looking for the cool hack and the cool trick that the other guy doesn't have. But then I watched this black belt. He did a, literally watched it last night. There's a black belt who's talking about a study that was done out of 500 fights in Juujitsu. You're not punching people in the face, it's just submissions and grappling. He said, out of 500 fights, what is the percentage of specific moves that won a fight? And it's like the first three, the top three make up 50% of all wins. And they're the basics. The next four, the other basics. And they make up 95% of the taps. So people are so caught up in the tips and tricks and hacks and it's, it's fundamentals. It's all about fundamentals. ButMichael Jamin:Also when I'm in a writer's room all the time, we don't use these words that everyone seems to have learned on the internet. That's why when you said 15 minutes, 15 minutes structure, what I, it is unfamiliar to me. Yeah. In my 27 years, we don't talk like that. So what I teach you is how we talk. It's like it's not as complicated as people want to, when you learn from somebody, screenwriting, just find out, are they qualified to teach you? Forget. I don't care if they wrote a book. No, no. What shows have they written on?Phil Hudson:And this is advice that you give to everyone. You literally say, if it's not me, you don't need to learn from me. Find someone who has done the job. Look them up. And you, me didn't make me, you asked me maybe a year ago to put up all these samples that used to be in the course publicly on the site so people could vet your writing and see your writing just as a like, Hey, you to help people, here's some samples of real shows. You can go watch on Hulu or Netflix or tv, wherever right now that exists, that were produced. And get an idea of whether or not they want to learn from you. And ifMichael Jamin:You don't think,Phil Hudson:Find somebody else. Right?Michael Jamin:Right. Find someone. Just study their work. Do you like it if learn from them if you don't find somebody else.Phil Hudson:Yeah. Lynn Marie, in my last script, I had too many characters. When you are hired as a writer, are you given a number of characters? Does it depend on the story you've created?Michael Jamin:No, the, it's not. It's not like you're given a number, but you can't service all of them if you had too many characters. So you can't service all them. And so you have a bunch of actors you're going to hire, whatever your number of actors that's on your TV show or movie, whatever. Let's say it's five main actors on, let's say you're doing a TV show, you have five actors. And if you can't service them, if you don't, can't give 'em anything to do, they're not going to be happy. I actually was watching an interview with Alan Ruck from Succession, and I think he was talking about season two or season one, I don't remember. But he said the first three episodes of that season, he wasn't doing anything. And he went to the showrunner and director. He goes, guys, maybe you want to kill me off because, because I'm not doing anything.And they said, please don't go into the, I know it's slow now, but we have great stuff for you later in the season. And he's like, oh, okay. And he said, I'm glad I stuck around because they did. He almost made a mistake of leaving. But you can't have an actor stand around and not service them. Why are you paying them? So I go through this in the course as well. How many characters should you basically have for a TV show? For a movie? It's a little different, but you got to give 'em something to do. Why are you paying them?Phil Hudson:And without naming names, and this is something I just read yesterday. Some other advice on the internet. Combine characters so that you're not randomly dropping in new people throughout the movie or abandoning those. You've established a lot of bad advice about characters as well on the internet. And if the answer is, what do they serve? The story,Michael Jamin:They have to have something to do and they have something to, they can't just stand around and nod when somebody else says something. You got to give 'em a good at a strong attitude or else why are they in the scene?Phil Hudson:Yeah. Awesome. Moving out of craft, another section. Being a pro anonymous. I was an actor on Lopez, one of Michael Jam's shows. Loved it, critically loved, but I felt the network it was on really limiting it, limited it. How do you compromise with a network on the final product?Michael Jamin:They're paying for it. You give 'em what they want. What's the compromise they're paying you? Do you want to work again or not? They have the right, this is what they want and you have to give them what they want. That's the compromise. Obviously, you're going to try to do it to your best of the ability so that you feel it's good, but at the end of the day, you give them what they want because it's paying for it. What's it? What's the stuff? My art, my words? What's that? How is that going to put foot on your plate when they fire you?Phil Hudson:Yeah, when we first started, you referred yourself as a tailor. Do you want to talk about that?Michael Jamin:Yeah, basically, I think of myself as a tailor. When someone comes in, they say, I got slacks. And I say, okay, you want cuffs. And they say, yeah, I want cuffs. Okay, I can give you cuffs. I don't say, I don't, no, you're going to ruin my slacks. It's theirs, whatever you want. I can give you pleats, I can give you cuffs, whatever you want. And I'll try to make the best. And I can give you a recommendation. I could say, you know what? You wouldn't look good in a three double breasted suit. You'll look better if it's a single breasted. And they'll say, but I want double breasted. Okay, I will give you the best double breasted suit I can.Phil Hudson:Yep. That's being a pro. Great. Yeah. Jim, someone offered me an option with no payment. Is it worth it to tie up my script?Michael Jamin:An option with no payment? It sounds like a bad, sounds like a bad,Phil Hudson:That doesn't sound like an option. It may not actually be legally binding, by the way. In most states, there has to be an exchange of money to be able to option. Sometimes it's a buck, sometimes it's a significant amount of money. But to me, Michael, my unsolicited opinion here is run. That is just a waste of time. And if you listen to the last podcast that we did, I recently just had an experience similar to this, not exactly this, but run.Michael Jamin:I was, that's myPhil Hudson:Opinion, Michael.Michael Jamin:Years ago I was a writer. I was accessible writer, working on a TV show, and my partner and I wrote a script and we didn't sell it. No, actually it's not true. We s That's not true. We sold it to H B O and then we got the rights back and then some other network because the H B O decided not to make it. And then some other network wanted to buy it. And I'm like, oh, okay. And their offer was $1. And I said, well, you're going to have to do more than that dollar. I told 'em to go fuck off. So sorry you don't get my script for a dollar, but suss out these people. I don't know what kind of option, why, I don't know. That's not really an option. It doesn't sound like a good deal. Who are these people? WhatPhil Hudson:That sounds, sounds like to me is some guy who thinks he's a producer is sees something in you and wants to take advantage of you at your expense to go hawk your script, to go make a dime. And the answer is, if your script is that good, other people are going to read it and they're going to want to pass it around and they're going to want to make it. And that's an option. That's something to pursue. Someone offering you an option for nothing. It's just move on.Michael Jamin:Yeah, it sounds like, it sounds suspicious if you're, you're professional, if your gut's telling you to run, then run. Listen to your gut. Yeah,Phil Hudson:My gut is speaking for you, Jim. Yeah, run. Cool. Moving on, miscellaneous, just a bunch of questions. Probably four or five here, Michael. Okay. Mark, how does one copyright a screenplay and how much does it cost?Michael Jamin:You can register your screenplay with the writer's GU of America. I don't know, it might be 35, 40 bucks or something, a copyright. I think the minute you write it, it's copywritten, you know, can mail yourself a copy but in the mail and keep it sealed. But again, I don't give legal advice on this channel, so I'm telling you what I know. If you're really worried about it, you can get an entertainment lawyer or you can Google it and you can find out for yourself. So I don't give you any, again, there's nothing in it for me to give anybody legal advice. I'm not a lawyer. So these are a couple of options, but please explorePhil Hudson:More. Electronic filing is $45, so standard application is $65 and you canMichael Jamin:Do it for free. And that gives you certain protections, not all, but do your own due diligence. SoPhil Hudson:It also publishes it in a registry that is searchable and anybody can go find your script. And there you go. But again, idea versus execution.Michael Jamin:Yeah,Phil Hudson:Right. It's all about the execution. Alright, Tina, should we get it registered with the W G A before we have someone read it? What is the best way to get your script in front of someone for just notes? And Perry does registering a script with the W G A protect the IP from being stolen from me.Michael Jamin:I've only registered, I should do a webinar on that, on getting stolen. Yeah,Phil Hudson:That's a big topic and it's a scary look. The questions from my perspective, they're scarcity mindset questions. You need to be smart. But if you're worried about someone stealing your idea, it's saying, well, this is all I have. Instead of saying, okay, I'll just move on. And it's very hard to prove theft of intellectual property unless it's just very hard. It's a case that very rarely wins. And I know of one very famous case that we did talk about early on in the podcast where there was a film that came out and they lost in France. France said that they stole an idea from someone and they had to pay a ton of money, but it was produced and made out into the world by a professional filmmaker before they even got there. So anyway, that's just my thoughts.Michael Jamin:Yeah, I mean, you know, can register. Ultimately, you're going to have to put your work out there if you want to get hired and if you can keep, you want to keep it yourself and if you're so worried about it, and you'll never, no one's going to find it in your closet. So I, I'll probably do a webinar at some point talking more about this at length, but ultimately you, you're going to have to put your work out there and be careful who you give it to. Don't give it to the guy in Starbucks with the hbar mushroom mustache, but you can give it to reputable studios and you shouldn't have to worry too much.Phil Hudson:Yeah. One thing that just came up again, we talked about before was registering your script with the W G A and then putting your registration number on your cover feels, it feels pretty amateur.Michael Jamin:It feels a little Bush League. I've only registered for whatever what it's worth, only one script in my entire career. That was the first one I ever wrote. And then I was like, I can't, and then I was like, I can't afford to do anymore, like 40, whatever it was, 40 bucks. I can't afford to do this.Phil Hudson:You can submit it directly through final draft by the, you can register your script through Final Draft Now. It's been out for a couple years, but IMichael Jamin:Didn't know that.Phil Hudson:I think registering your script and as a paper trail, that can be served as in court as evidence is one thing, but putting it registration number on your script is another mark of, yeah, maybe don't do that. Yeah, maybe. Yeah. Ryan McCurdy, how does someone who is in multiple guilds, the W G A D, G A and P G A navigate their jobs? Do they just not write but will direct or do they not work at all? How do people who are in multiple guilds? Oh, so it's a repeat of the question. I apologize, but I don't know if this is reference to the strike specifically, but I thought it was a good question for you because you W G A and D G A, right?Michael Jamin:Yeah, but it's not, and I'm not even an active member in the D D G A, whatever job you're working at, if you were working as a director, now you, there's nothing to navigate. You pay dues. If you're getting directing gigs, then you will pay dues on those directing gigs and you have writing gigs, then you pay dues for that. So there's nothing to navigate. It's just like you only pay dues if you earn money for the work you've done. Although I should be clarified, you do have a low monthly fee of, it's probably 25 bucks every quarter or something like that in addition. But there's nothing to navigate really.Phil Hudson:And during this strike it, I think specifically, not to speak for the Writer's Guild, but the research I've done as someone who is kind of at that stage of my career where I do have the opportunity to have some meetings with people and have some conversations and conversations I've had with the W G A, right? It is against the W G A strike guidelines to have meetings with signatory companies right now regarding written work. That does not mean you can't sit at home and write. And it does not mean that you can't work with other writers and pass things around. And what it means is you shouldn't be seeking employment or to gain monetary value from a signatory in violation. So regardless if you're in the guild or not, you shouldn't be doing that.Michael Jamin:Right. So next question,Phil Hudson:Lindsay, what was the biggest surprise to you when you first started working in the writer's room?Michael Jamin:The biggest surprise was everyone was incredibly talented. This is when I was on Just Shoot me and I was in way over my head. I was able to write one script on with my partner. We wrote, I was able to be funny on my own, at my own pace, but in a writer's room, when you're surrounded by really talented writers pitching ideas, I didn't understand the difference between a good idea and a bad idea idea. I had no idea. And I was worried about being fired because I didn't know how to contribute. That was really eye-opening. It was like, man, everyone is so funny. And I'm laughing after a couple weeks. I'm like, no one's paying me to laugh. I'm getting paid to make people laugh. I better figure out how to do that fast and figure out how to contribute meaningfully in a writer's room.And that really means understanding story structure, that that's kind of what I teach in the course. If you were lucky enough to get that break, God, you don't want to screw it up by not understanding how to story structure and understanding how to do the job. Man, if, here's the thing, if you get hired tomorrow, not wonderful, you got hired in a show, sign up for my course immediately and cram it because you do not want to get fired from your job because you don't understand how to do the job. And I'm telling you, 99% of new writers just don't, because there's so much to learn. So whether they get fired or not, it's a different story. But I've see, I see people flame out all the time.Phil Hudson:Yeah, it's heartbreaking. It's heartbreaking seeing that turnover, even for someone at my level just knowing I want that job so bad, but at the same time, coming to the realization that, man, I wouldn't have been able to do that job either.Michael Jamin:Yeah, yeah, yeah.Phil Hudson:Think you think can, and you have the enough gumption and ego to push you along to say, I can do that job. And you have to have that blindness to reality to continue moving forward. But there's also a level of reality you have to settle into, say a personal assessment. Yeah. I would've been fired too. I would not have been able to execute.Michael Jamin:Phil. You know me, I never yell at people, take my course. I'm never saying sell my, I'm never sell a sale, sell. Take my course. You don't. But if you get hired on a staff job, take the course please. Because if you get fired off this thing for not knowing what's sick, oh, you'll kill yourself. You will be so upset that you are not prepared soPhil Hudson:Well, on this note, did, didn't you have a friend who was a showrunner who basically wanted to offered all of her writers your course? Yes. They didn't know story.Michael Jamin:I forgot about that. Yeah, I did havePhil Hudson:A, without going into detail of the that, do you want to talk about that? The conversations you were having with her about what those struggles were?Michael Jamin:Yeah. She was running a show, a big show on a major network. This is a friend that I've worked with many years ago, but she's a really talented writer. And so she was running this show with a bunch of new staff writers, and she was just so frustrated with the quality of work. Actually, I'm not sure if she was running it or she was co-running it with somebody else. So maybe it might not have been her show. She might have been co-executive producer. And she was very frustrated and she was like, I wish everyone here would just take your fricking class so that I don't have to educate them so that they could stop arguing with me all the time when I'm telling them what a story should be. So they would stop arguing with her and just listen and contribute meaningfully because it's like so frustrating is when a new writer doesn't know how to do a job, they'll often fight for something because they don't know any better and they want to contribute and they fight for something, which is a terrible idea without knowing what a good idea is. And she was like, Ugh, this is so frustrating. I wish they would just take your damn class so I wouldn't have to waste energy yelling at them or arguing with them.And she's a good writer. She's talented. She's worked for 20 something years.Phil Hudson:And again, I've seen in my limited career in the writer's room, I have seen people burn out for arguing with the showrunners about something that ultimately doesn't matter to the story, and more specifically arguing with the showrunner's vision of what the story should be.Michael Jamin:Yeah. Oh boy. It'sPhil Hudson:Sad. And you have a whole section in the course too about writers. Were medicate, how do you behave in a room? And I had conversations with the lizards when I was on tour about that etiquette and the reality of the fact that when you're new, shut up and listen. ShutMichael Jamin:Up.Phil Hudson:Yeah. Only open your mouth if you have something that is stunning. Yeah. So awesome. Two more questions here, Olivia, ask, does the corp help? Does the course help us find an agent at the end?Michael Jamin:Well, I mean, it doesn't give you instructions on how to do that, but it's certainly going to, it's certainly if you can't write a good script, good luck getting an agent. So the course teaches you how to write a good script. Hopefully doors open after that, but good luck. You're not be able to trick an agent into hiring you if you don't know how to write or not hiring you. I don't like the expression representing you. Sorry. Yeah,Phil Hudson:Yeah, that's a good point. Two, two things. One there, I believe there is a q and a in the bonus section where you do talk about agents and managers. Yeah. And you go over the realities of that situation. Two, I'm blanking. Oh, you did? I didn't you do? Oh, one of our early podcasts. It was like episode five or something, was talking about agents and managers. So go back and listen to that podcast. Yeah, good stuff in there. Lindsay. Last question. Do you prefer to be a member of the writer staff or be the showrunner?Michael Jamin:So when you're starting off, when I was starting off, I did not want to be the showrunner at all. Like I knew I didn't know what I didn't know. And then I did it for about 10 years as a rest, staff writer, learning, soaking it up after about 10 years, you rise so high that the next step is you either become a showrunner or you just don't work because there's just not that many jobs. So becoming a showrunner actually opens up opportunities. So my partner and I took that jump and we started looking for opportunities to run shows and we ran. We've run three shows when we were before we became showrunners. You're always looking at your boss. You're always thinking, I bet I could do my job. I bet I could do his job or her job better than he or she can. Then when you finally get that job, you're like, Ugh, it's so hard. It's so hard. I don't know why I thought I was so arrogant to think that, and now, like I said, I've done it. I've proven to myself the show I'm currently on, co-executive producers. I'm not the showrunner and I'm perfectly happy not to have that pressure of being the showrunner. I'm perfect. I make less money, but I'm perfectly happy.But if the next job is showrunner better than being unemployed, I'll take whatever. I'll happy to do it. But I'm also, it's not an ego thing for me where I need to be the boss.Phil Hudson:In the documentary showrunners that I've recommended many times, there's a showrunner who says that a network at a certain point is so concerned with getting the thing done, that if you were literally dying on your deathbed and you had to be wheeled, you are like, I can't come in. I can't do the job. I would have to be wheeled in on a gurney and put up on an iv. They would say, what kind of gurney would you like and what kind of iv? What would you like in the iv? Yeah, because the showrunner job is that important to the overall production. Yeah. So do you get paid for the stress involved with that?Michael Jamin:Yeah. Yeah. Although about the shows that I did, they were cable shows, so they were less money. They networkPhil Hudson:Critic, critically acclaimed table shows.Michael Jamin:Yeah. Yeah.Phil Hudson:So that's it, Michael. That's your June webinar q and a.Michael Jamin:Woo. Yeah. Thank you so much everyone. We got a lot. What can you do, Phil? If someone, like I said, I should mention this. All the webinars are free to attend. If you attend, we always give you a little something special if you miss it, we send you a free replay within 24 hours. If you do not watch that and you want to watch some of the old ones, they are available for purchase on my website at a small fee. All this stuff, I got free lesson, I got a free webinar, I got a free newsletter. Sign up for all of it on my website, michaeljamin.com. If you want to see me tour with my book, my forthcoming book is called right now. It's called the Paper Orchestra. Maybe changing the title. I don't know, but you can learn more about that. If you want to see me in your city, go to michaeljamin.com/upcoming. I'd love to see you there. I'd love to see everyone there.Phil Hudson:Oh, it's great too. I went for my birthday last year. You did a performance in an incredible performance. Yeah, incredible performance, but then also I wait your birthday's tomorrow, isn't it?Michael Jamin:Oh God. My dad called me today. He goes, happy birthday. He goes, it's not my birthday yet. He goes, I know. Why'd you call me then?Phil Hudson:Yeah. Anyway, I went and then it was fun. I got to meet people from your course who I've talked to for years and they were there supporting and fun stuff, but really, really cool way to see how story moves and it's not like you have the amazing sets and choreography and like crazy lighting. It's you moving people with words and it's with words. It's a great explanation, A great display of what storytelling should be is how I would describe that.Michael Jamin:Thank you, Phil. Thank you. Yeah, everyone come see it. I thank you so much. Alright, Phil. Until next week.Phil Hudson:Keep writing. SayMichael Jamin:Keep writing. Alright. Thanks everyone.Phil Hudson:This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar@michaeljamin.com/webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five star review on iTunes. For free screenwriting tips, follow Michael Jamin on social media @ MichaelJaminwriter. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music by Ken Joseph. Until next time, keep writing.

Emmy Rousseau, Visionary Educator, is the founder of Trinity Transformations and the Holistic Healing Hub. She empowers changemakers, especially educators, to go from feeling flat to in flow, so that they can create the change in the world they were born to make.  Emmy is passionate about helping others realize that putting themselves first is selfless, not selfish. She is here to help us see how filling ourselves up first helps us serve not only ourselves, but also the world best. She does that through a combination of movement and mindset. Her accolades include: Bestselling author, Speaker Slam Certified Gold Inspirational Speaker and 2021 Grand Slam finalist. She co-created and co-hosted Amplifying Voices: Mental Well-th and the Never Give Up Summit. Emmy was the winner of the 2022 PARO Pitch competition, was awarded Top 3 in the She Did It! Pitch Fest, Top 100 in the 2022 Total Mom Pitch, and was a finalist for the Universal Women's Network™ 2022 Women of Inspiration™ Awards.  Emmy is a certified teacher of 22 years turned educational consultant, transformational speaker, activist, fitness instructor and co-author of the book, Our Yellow Brick Road: An Anthology of Humans Who Believe in the Impact of Storytelling (Life to Paper Publishing (2022). Emmy loves speaking to educators and other changemakers at schools, conferences, summits, retreats, and on podcasts like this, to share her teachings and learnings.  Emmy's pillars in life and business are joy, gratitude and love. Learn more and follow Emmy: https://www.trinitytransformations.com https://www.linkedin.com/in/transformwithemmy/ https://www.youtube.com/@transformwithemmy https://www.instagram.com/transformwithemmy/ https://www.facebook.com/transformwithemmy https://www.tiktok.com/@transformwithemmy --- Support this podcast: https://podcasters.spotify.com/pod/show/maria-leonard-olsen/support

Listen in for a snapshot from each of our 2023 Pitchfest finalists! At the 2023 Housing Innovation Summit, we introduced a new program, coined: Pitchfest in order to bring new ideas to light, offer feedback that startups can use to advance their solutions, and introduce these innovators to potential advisors, partners, investors, and clients. A dozen companies made it to the final round, and four came out on top.In this episode, you'll hear from...Mohsen Zehtabchian, AmatecCliff Fetner, Soil ConnectJim Scott, StructureBotRobert Benjamin and Helene Cornell, Aris HydronicsSameer Sood, FwdSlashDerek Cowburn, LumenCacheNeedham Hurst, Up&UpEric Law, Urban MachinePaul Cardis, On3Tomas Garcia, ArxBranka Minic, Jobs to BuildJordan Wojtowecz, TraceAirRead more about Pitchfest and the Housing Innovation Summit. Support the show

This series highlights our Pitchfest finalists. At the 2023 Housing Innovation Summit, we introduced a new program, coined: Pitchfest in order to bring new ideas to light, offer feedback that startups can use to advance their solutions, and introduce these innovators to potential advisors, partners, investors, and clients. A dozen companies made it to the final round, and four came out on top.In this episode you'll hear from Tomas Garcia of Arx. Tomas was a finalist in the Tech + Data category. Read more about Pitchfest and the Housing Innovation Summit. Support the show

This series highlights our Pitchfest finalists. At the 2023 Housing Innovation Summit, we introduced a new program, coined: Pitchfest in order to bring new ideas to light, offer feedback that startups can use to advance their solutions, and introduce these innovators to potential advisors, partners, investors, and clients. A dozen companies made it to the final round, and four came out on top.In this episode, Jordan Wojtowecz of TraceAir will give her pitch. You'll also hear from their client, Dan Galasso of Tri Pointe Homes. TraceAir participated in the Tech + Data category. Read more about Pitchfest and the Housing Innovation Summit. Support the show

SHOW #1282 The Great Fall Line-Up Reality TV Show Pitch Fest! --- Support this podcast: https://podcasters.spotify.com/pod/show/bigjujumedia/support

This series highlights our Pitchfest finalists. At the 2023 Housing Innovation Summit, we introduced a new program, coined: Pitchfest in order to bring new ideas to light, offer feedback that startups can use to advance their solutions, and introduce these innovators to potential advisors, partners, investors, and clients. A dozen companies made it to the final round, and four came out on top.In this episode, you'll hear Derek Cowburn from LumenCache. Derek was a finalist in the ESG category. Visit their wefunder. Read more about Pitchfest and the Housing Innovation Summit. Support the show

In this engaging episode, we're thrilled to bring you insights from remarkable thought leaders who are reshaping the landscape of healthcare technology. Our guests are:Sarah Dowell of Cyber Clinic, an online mental health clinic that offers individualised counselling leveraging cutting-edge tech.Dr. Adrian Cohen, Founder of Headsafe, who is revolutionising concussion diagnosis and management with his groundbreaking Nurocheck technology.Serge Lauriou from My Medic Watch, a company transforming how we monitor individuals with medical conditions through a smartwatch application.Adam Hutchinson, the innovative founder of oVRcome, utilising smartphone technology and virtual reality to make mental health therapy more accessible.Key TopicsThroughout the episode, our guests discuss their roles in the exciting and ever-evolving healthcare technology field, touching on several key topics:The revolution in mental health care and the role technology plays in improving accessibility and effectiveness of treatments.The transformative role of Nurocheck in concussion assessment and management, leading to objective and reliable diagnoses.How My Medic Watch is empowering patient safety and assistance through smartwatch monitoring technology.The impact of oVRcome's use of VR and smartphone technology in making mental health therapy accessible to a broader population.Links & ResourcesWatch On YouTubeRead the Episode ArticleSubscribe to the NewsletterBecome a THT+ MemberExperience the excitement of the Pitchfest, where fearless startup founders and innovators present groundbreaking solutions to investors. This episode of Talking HealthTech provides a front-row seat to witness the innovations shaping the future of healthcare technology. Don't miss out on these visionary ideas and the potential they hold for improving patient care and accessibility.Join us on Talking HealthTech for the Connect Virtual Care event hosted by Informa Connect at the National Telehealth Conference. We're exploring ground-breaking ideas and inspiring innovations in healthcare technology, and we can't wait for you to join the conversation. If you love the show, leave us a review, and share it with someone who might also find value in it. For those keen to take their healthtech to the next level, consider becoming a THT+ Member for access to our online community forum, quarterly summits, and exclusive content. For more information, visit the link above.

This series highlights our Pitchfest finalists. At the 2023 Housing Innovation Summit, we introduced a new program, coined: Pitchfest in order to bring new ideas to light, offer feedback that startups can use to advance their solutions, and introduce these innovators to potential advisors, partners, investors, and clients. A dozen companies made it to the final round, and four came out on top.In this episode, you'll hear Paul Cardis from On3 give his pitch.Visit the Summit website.Support the show

This series highlights our Pitchfest finalists. At the 2023 Housing Innovation Summit, we introduced a new program, coined: Pitchfest in order to bring new ideas to light, offer feedback that startups can use to advance their solutions, and introduce these innovators to potential advisors, partners, investors, and clients. A dozen companies made it to the final round, and four came out on top.In this episode, you'll hear Sameer Sood from FWDSlash give his pitch.Visit the Summit website.Support the show

This series highlights our Pitchfest finalists. At the 2023 Housing Innovation Summit, we introduced a new program, coined: Pitchfest in order to bring new ideas to light, offer feedback that startups can use to advance their solutions, and introduce these innovators to potential advisors, partners, investors, and clients. A dozen companies made it to the final round, and four came out on top.In this episode, you'll hear Cliff Fetner from Soil Connect give his pitch.Visit the Summit website.Support the show

This series highlights our Pitchfest finalists. At the 2023 Housing Innovation Summit, we introduced a new program, coined: Pitchfest in order to bring new ideas to light, offer feedback that startups can use to advance their solutions, and introduce these innovators to potential advisors, partners, investors, and clients. A dozen companies made it to the final round, and four came out on top. In this episode, you'll hear Eric Law from Urban Machine give his pitch. The presentation starts rockin' out with a short 20 second video at min 2.50. Watch the video here. Visit the Summit website.Support the show

Bestselling authors William Bernhardt and Rene Gutteridge discuss the latest news from the book world, offer writing tips, and interview Nancy Crochiere, author of the new novel Graceland. For thirteen years, Nancy has delighted readers with her humorous and relatable account of family life in her newspaper column, The Mother Load. Now she's making her fiction debut with a charming, big-hearted novel about a single mom forced to chase her Elvis-obsessed mother and pink-haired daughter to Memphis to prevent them from revealing…her long-held secret.Chapter 1: IntroductionRemembering MomsChapter 2: News: AI Spotlighta) Harper Collins Will Use AI in NYC Publishingb) AI Programs Assimilate Your Webpage, andc) Author Pubs (and Sells) 40 Books Generated by AIChapter 3: Interview with Nancy CrochiereIn this interview, she discusses:a) the joy of eccentric characters,b) the joy of courting controversy,c) the joy of outlining,d) the joy of a regular writing schedule, and e) the critical importance of perseverance.Chapter 4: Parting WordsWriterCon is September 1-4 (Labor Day weekend) in Oklahoma City. If you're a writer, aspiring or published, or you know someone who is, this is where you need to be. WriterCon will feature:3 NEW YORK TIMES-BESTSELLING Authors!!!50+ successful writers talking about their art and craft8 top-of-the-line agents who have actully sold books and made great deals for their writers18 excellent publishers with pro-level distribution and sales20+ people providing services for authors and keeping you up-to-date on the latest book-world developmentsPrizes, games, booksignings, swag, Book Expo, PitchFest, First-Page Panel, karaoke, snacks, signings, Lunch with the Stars, mentoring, manuscript critiques, scholarships, contests, merch, Open Mic, evening roundtable chats, AND SO MUCH MORE!Come join us and take your writing career to the next level!!!www.writercon.comUntil next time, keep writing, and remember: You cannot fail, if you refuse to quit. William Bernhardtwww.williambernhardt.comwww.writercon.com

Invest In Her host Catherine Gray talks with the co-founders of Power to Pitch, Kat Weaver & Katie Dunn. They are a founder and investor team who saw the gaps in education, resources, & access to capital, and together advise founders on fundraising strategies, review pitches, update pitch decks, meet with program members on a weekly basis for support, and actively make introductions to investors. www.sheangelinvestors.com  https://www.powertopitch.com/   Follow Us On Social Facebook | Instagram | Twitter | LinkedIn  

Kris McCarthy is the Co-Founder and COO of FanSaves. Kris played seven years of professional hockey and won two Championships before transitioning into the front office. He served as the Director of Sales for Two Minor League hockey teams in 2017. That's when he and Shannon Ferguson came across a pain point that led to the creation of FanSaves.  Kris works with teams and organizations to increase sponsorship sales and fan engagement through their award-winning digital platform. FanSaves allows teams to digitally activate their fans through discounts and deals provided by team sponsors while making fan data and analytics available. Kris is also the host of a podcast called, “Living the Startup,” sponsored by Staples Canada. He's recorded over 75 episodes sharing stories from startup founders from all over the world. Listen in for some takeaways about Kris's time as a hockey player and how he and FanSaves are improving sponsorship and fan engagement in the sports arena.  You will want to hear this episode if you are interested in... Learn more about Kris McCarthy and FanSaves [3:23] Kris's favorite story from his time in hockey [6:34]  How Kris became the GM of a team while playing [9:18] What FanSaves is and how it came into existence [11:35]  How the platform measures sponsorship engagement [16:10] Handling innovative technology on their platform [18:02]  How NFTs might impact the FanSaves experience [19:13]  Kris's PitchFest experience and what you can learn from it [21:08] What Kris has learned from failing forward [24:55] What it's like working with his significant other [26:16]  What Kris did today that put brought him joy [28:00]  Resources & People Mentioned Untold: Crimes & Penalties Connect with Kris McCarthy The website On Instagram On Twitter On Linkedin Connect With Mitlin Financial podcast*at*mitlinfinancial(dot)com - email us with your suggestions for topics or guests If you would like to learn more schedule a call: https://mitlin.us/FitCall https://mitlinfinancial.com  Follow on Twitter Follow on Instagram Subscribe on Youtube Follow on Linkedin Follow on Facebook Guests on the Mitlin Money Mindset Show are not affiliated with CWM, LLC, and opinions expressed herein may not be representative of CWM, LLC. CWM, LLC is not responsible for the guest's content linked on this site. Subscribe to Mitlin Money Mindset™ on Apple Podcasts, Spotify, Google Podcasts

Ryan and Dylan go head to head pitching a ten-year slate of films and streaming shows for the DC cinematic universe. Will they continue the DCEU or create a new universe from scratch? Take that, James Gunn. Timestamps: Box Office Breakdown: 0:53 Box Office Predictions: 1:55 Judge Introductions: 3:13 Rules of the Showdown: 4:15 Opening Statements: 8:20 Ryan's Pitch: 13:00 Unwinding from Pitch: 46:00 Dylan's Pitch: 47:47 Unwinding from Pitch: 1:21:50 Open Debate: 1:25:00 Judge Questions: 1:49:02 Judge Deliberation: 2:05:12 Reveal of the Winner: 2:58:23

Hagan_Pitchfest by Uptown Radio

Climate change isn't going away, so we have to find ways to adapt. Last week, we took a look at some of the ways that cities, businesses and NGOs are trying to combat extreme heat and rising temperatures - a growing threat to people and communities all over the world. It's all very well looking at macro solutions, but what can we as individuals do? This week we rounded up our World Changing Ideas reporters to pitch their favorite heat-reducing ideas. So, which one is your favorite? And can any of them have a real world impact? Take a listen!

Nick and Alex hear pitches from TEN of Australia's up and coming climate startups! This episode brings you something a bit different. We've partnered with our friends at EnergyLab (Australia's leading climate solutions accelerator) to hold a pitch speed round featuring their most recent startup cohort.  The rules: A 60 second opening free pitch and 10 minutes max for each startup. That's it!  If you want to help the startups get in touch with them via the links below AND if you enjoyed the episode we'd love it if you submitted a review on Apple Podcasts. The startups (drumroll!) Conrytech (3:19) - Reinventing Airconditioning (Sam Ringwaldt) Allegro Energy (11:25) - Long Duration Redox Flow Energy Storage (Fraser Hughson) Acacia (17:43) - The Sustainable Personal Finance Platform (Anil Sagaram) Raaise (25:59) - The Platform Powering Climate Startups (Amy Carter-James) National Renewable Network (34:50)- Solar + Battery Solutions at No Upfront Cost (Alan Hunter) Farmbot (43:08) - Remote Water Management Made Easy (Andrew Coppin) Solstice AI (51:02) - Intelligent Solar Forecasting (Julian De Hoog) ValAi (59:36)- Unlocking Sustainable Buildings (Allys Todd) Ecojoule Energy (1:10:00) - Enhancing the Grid for Renewables (Mike Wishart) Economical Energy (1:15:46) - The VIPER: Gravity Based Energy Storage (Matthew Forest)  About the podcast A Positive Climate is an uplifting podcast about tackling climate change. An entertaining look at the products, people and technologies making a real difference.  Hosted by leading Australian climate technology experts and investors Alex McIntosh and Nick Zeltzer, two friends on a mission to find the solutions to keep our existential crises at bay. A Positive Climate recently charted as the #1 locally produced podcast in the Australian Technology charts for both Apple and Spotify.  Look out for our prior episodes of optimistic content covering everything from: hydrogen, lithium mining, plant-based and cell-based meats, electric vehicles, drones, cryptocurrency, solar energy, seaweed, electric bikes, edible waste-eating maggots, and much more.  You can also follow us: on Instagram, Twitter, LinkedIn or send us a comment at hello@apositiveclimate.com Music by the late, great Nick Weaver Production by our hero Mark Spencer from Here.Media Socials by the legend Rebecca Sather JenkinsSee omnystudio.com/listener for privacy information.

Large events with a lineup of speakers who have well crafted pitches might seem like a good thing. But there's a better way that targets the people who truly need the solutions you have to offer, and the people who are more likely to stay committed to buying. Visit eCircleAcademy.com and book a success call with Nicky to take your practice to the next level.

We love HR Technology Conference & Exposition's annual Pitchfest. It's a great opportunity to give spotlight and stage to new innovation, new voices, and new approaches to solving old HR and talent problems. This year's lineup was as good as ever; a field of 33 was narrowed to 6. A winner of one of the most sought-after awards in our industry was announced. The winner was: SPOTLYFE! We couldn't wait to chat with Team SPOTLYFE following their big win. They tell the story that won the prize, why they think they're grabbing headlines in the current talent market, and how supporting PEOPLE outcomes supports WORK outcomes. They also share their latest research on burnout and the hustle culture, two big factors affecting the quality of our everyday lives. Take a Listen!

Spotlyfe led the way by winning the 2022 HR Tech conference pitchfest.