Podcasts about Pulitzer

Go to www.LearningLeader.com for full show notes This is brought to you by Insight Global. If you need to hire one person, hire a team of people, or transform your business through Talent or Technical Services, Insight Global's team of 30,000 people around the world has the hustle and grit to deliver. www.InsightGlobal.com/LearningLeader The Learning Leader Show Key Learnings  Go out and dent the universe. Erin's parents didn't put pressure on her to get perfect grades or go to Harvard; they wanted her to use her privilege and beautiful upbringing to make the world a better place. Youngest child syndrome makes you quick. Being the youngest of six, Erin learned to speak very quickly to get her thoughts in at the dinner table, and she was given unsolicited advice her whole childhood (which is why she loves giving advice now). Your siblings' sole job is to keep you grounded. Erin's parents are proud and supportive, but her siblings roast her and beat her down (all in good fun) to keep her as humble as possible. Success is attributed to a sense of humor. Erin gave career advice that was funny, and nobody had ever really seen that before. You don't get that unless you're the slightly bullied youngest of six kids your entire life. Rejection rage is a choice. At a Women in Film networking event, the head of the organization paused Erin's documentary trailer 30 seconds in and said, "You need to be more realistic." Erin went on to get a Pulitzer fellowship and premiered a feature documentary at 23 with international distribution. When you get a rejection, you can either let it beat you down or say, "I'm going to show them." "Tell me about yourself" is the world's worst interview question. It's lazy, not specific, and hard for the interviewee to truncate their entire life into 90 seconds. Use the past-present-future template: 1-2 sentences about your past, 1-2 about your present role, then future (where the interviewer's ears perk up), connecting to why you're applying for this specific role. Specificity is the magic word. When sending cold emails, the chances of getting a good response dramatically increase if you're specific: specific praise, specific question. Instead of "Can I pick your brain over coffee?" say, "I watched your video about X, and when you said Y, it piqued my curiosity." Higher quality questions get higher quality answers. This isn't just for podcasts or job interviews; it's a life skill. Good professional communication is like chess, not checkers. Most people just play checkers (you said this to me, I'm going to say this to you), but chess is thinking 10 steps ahead about what your end goal is and how this person falls along the path to that goal. Don't ask for a raise; ask for an adjustment to your compensation. Your job is transactional (you do work, they pay you). When you accepted your salary, you were doing X, Y, Z. Now you're doing X, Y, Z plus A, B, C. It's no longer an equal partnership, so you need an adjustment. It's not personal, it's just professional. Know your audience and your leverage.  Emotional regulation is powerful communication. If we just act impulsively and say what's on our mind all the time, it doesn't actually get you where you want to go. Always keep your desired outcome in mind. It's about checkmate. Don't just react, think about what the end goal is and how this conversation gets you there. Humanize people, don't make them wrong. That egotistical senior VP is probably actually really insecure about where they are in their career and wakes up every morning not knowing what they're doing. Put your ego to the side. Being a great communicator requires taking a break from thinking about yourself and thinking about what the other person's life is like and what their goals are. Align your goals with their goals. Think about how you can create that authentic relationship by figuring out how your goals align with what they're trying to accomplish. Shut up and listen. We do a little bit too much talking when we're trying to negotiate or strategize. It can be very beneficial to embrace the silence and practice active listening. Curiosity is an amazing way to show love. Being genuinely curious about a person makes them like you, and it becomes more natural the more you do it. Compliments have to be genuine and specific. People are way better at sniffing out fake compliments than you realize. If you can't find one thing you truly admire about someone, don't say anything. Don't make it transactional. When people ask, "How do I not make it feel like I'm using them?" Erin says, "Well, don't use them. Just be genuine." The most loving thing you can do is respect people's time. Meeting bloat has gotten really bad since the pandemic, and a lot of time is disrespected in meetings across the world. Maybe don't have the meeting. A lot of meetings are completely unnecessary, or at least the way they're set up, the people invited, or the way they're run are really inefficient. Only invite crucial people. Make sure that only the people who absolutely need to be there are invited to the meeting. Always have an agenda. At the beginning of every meeting, say "Here are the three things we're going to cover today, and here's the goal of this meeting." Put it in the calendar link with bullet points. Don't have brainstorming meetings. Have meetings with very tangible goals at the end, state them up front, and make sure that goal has been achieved by the end. Email subject lines are underutilized. Erin's dad's company would put tags like "request," "informational," or "command" on subject lines so you knew exactly what type of email it was and what was expected. The exercise of making a five-year plan changes your brain. Erin doesn't believe in sticking to a five-year plan, but the exercise of thinking about the future creates new neural pathways that change the way you think about yourself and your life. A happy life is an intentional life. The vast majority of people float through life and act very reactionary. Sitting down and thinking about what you actually want in five years is powerful self-care. Sit down with your partner and do this together. Before you get married, make five-year plans together. They might look really different (which is revealing) or really similar which doubles down on alignment. Create multiple five-year plans if you're young. If you don't know which path you're going to take, create five different scenarios for yourself and see which one energizes you most. Financial freedom is a goal worth stating. Erin wants to be financially free in the next five years, which allows her to pursue mission-driven work on her own terms. You're just another human trying to figure it out. Even though Erin wrote the book on workplace communication, she's still winging it every day just like everybody else. Combat the knowledge curse by staying connected to real people. When you're an expert in something, it's hard to imagine not being an expert. Erin moved back to Maryland suburbs to experience people working normal corporate jobs, DMs with people daily about their experiences, and gets on free calls just to listen. The data in newsletters tells a different story than people's actual experiences, so she stays grounded by hearing real anecdotes from IT workers in North Carolina or nurses in Kentucky. Set goals really high. Erin wants her startup to help 500,000 job seekers in a year, which is ambitious, but she doesn't care if she fails as long as she tries to reach it. More Learning #507 - Jesse Cole: How to Build Your Idea Muscle #344 - Jesse Cole: How to Create "You Wouldn't Believe" Moments #365 - James Altucher: How to Become An Idea Machine Reflection Questions Good communication is chess, not checkers. Think about a difficult conversation you need to have this week. Instead of just reacting to what they say, what's your desired outcome? What would "checkmate" look like, and how can you think 10 steps ahead to get there? Who in your life keeps you humble If no one does, how might you be losing perspective on yourself? What would it look like to invite that kind of honest feedback into your life? Erin recommends making a five-year plan, not to stick to it, but because the exercise creates new neural pathways. When's the last time you sat down and intentionally thought about what you want your life to look like in five years? What's stopping you from doing that this week?

President Trump claimed victory after American strikes killed Ali Khamenei, the supreme leader of Iran who had terrorized his own citizens and people all over the world for decades. But what the fall of Khamenei means for the people of Iran going forward is not yet clear. We talk to Arash Azizi, an Iranian writer and contributor to The Atlantic, about how Iranians view the strike and what the realistic options are for future leadership. And we talk to the staff writer Anne Applebaum about the broader implications of Trump's style of foreign intervention.  - - - Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

Netflix is backing out of a bid to acquire Warner Brothers Discovery, clearing the way for Paramount to take over. On this week's On the Media, what happens to journalism and democracy when a tiny group of billionaires are calling the shots. Plus, four years since Russia's war on Ukraine began, a look at the legacy of the first American reporter who was killed there. [01:00] Host Micah Loewinger speaks with  Victor Pickard, professor of media policy and political economy at the University of Pennsylvania, to discuss why what's happening at CBS, The Washington Post, and Paramount is simply the latest stage of a phenomena called "media capture," and what we can do to free ourselves from its binds. [17:58] Micah first sits down with Miriam Berger, a Pulitzer-finalist who spent two years reporting from Israel on the war in Gaza for The Washington Post, to talk about what we've lost with the termination of the paper's Middle East bureau, and then Jodie Ginsberg, CEO of the Committee to Protect Journalists, on why her organization labeled 2025 the most deadly year for the press since it began collecting data–largely due to Israeli forces in Gaza.  [35:49] Micah talks to filmmaker Craig Renaud about his Oscar-nominated documentary, “Armed Only With a Camera,” which is part tribute to his brother, Brent Renaud, the first American journalist to be killed by Russian soldiers while covering the war in Ukraine, and part salute to war journalists who are still reporting and risking their lives.   Further reading / watching: “The American Media Polycrisis: Cascading Layers of Capture,” by Victor Pickard “Lack of tents, food and warm clothes leaves Gazans exposed ahead of winter,” by Miriam Berger “Record 129 press members killed in 2025; Israel responsible for 2/3 of deaths,” by CPJ Staff Armed Only with a Camera: The Life and Death of Brent Renaud, directed by Craig Renaud and Brent Renaud On the Media is supported by listeners like you. Support OTM by donating today (https://pledge.wnyc.org/support/otm). Follow our show on Instagram, Twitter and Facebook @onthemedia, and share your thoughts with us by emailing onthemedia@wnyc.org.

This week, the Atlantic staff writer Elaine Godfrey was covering a campaign rally in Texas when she was ushered out. Elaine has been covering national politics for years, and has been turned away before—but that usually happens only at Trump rallies.This time, she was turned away by the staff of a Democrat running in the Texas Senate primary. The Atlantic's Adam Harris talks with Godfrey about her experience and what to know about the Texas primaries.  Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this special American Revolution 250 episode of The Learning Curve, co-hosts U-Ark Prof. Albert Cheng and Kelley Brown, Massachusetts state champion U.S. history and civics teacher, sit down with renowned Brown University historian Gordon Wood to explore the life and legacy of Benjamin Franklin and the American Revolution. Drawing on his book, The Americanization […]

President Trump has given plenty of signals recently that he is prepared to take military action against Iran. The exact reasoning, however, is less obvious. The Atlantic staff writers Nancy Youssef and Tom Nichols explain what's next for the United States and Iran, and how Pentagon officials might be planning for another conflict in the Middle East. --- Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

En 1981 la periodista Janet Cooke del Washington Post, ganó el afamado premio Pulitzer gracias a un reportaje impactante titulado “El mundo de Jimmy” que narraba la vida de un niño heroinómano de tan solo 8 años. El caso es que la historia y el niño no existían. Y cuando el embuste se descubrió Cooke perdió el premio y perdió su carrera. El Washington Post pidió perdón. Este es conocido como uno de los mayores fraudes en la historia del periodismo. El periodista riguroso no fabrica hechos, no los altera, no los induce, no conspira para “montar una cama” “ponerle un fijo” con señuelo a un determinado actor o buscar la forma de inducirlo a “que hable mal” del presidente de la República o de una legisladora oficialista. Conversamos con Eduardo Ulibarri acerca de las obligaciones que derivan del ejercicio periodístico riguroso y responsable en las sociedades democráticas.

Since the government shootings of Renee Good and Alex Pretti in Minneapolis, something has changed in the national conversation about the Trump Administration's immigration policies. And the primary reason it's happening is not a brilliant PR campaign, Pulitzer-winning journalism, or organized political strategy. It's because of regular folks with camera phones documenting what's actually happening on the streets of Minneapolis and other cities that have been occupied by ICE. By simply recording and sharing, they have publicly and irrefutably contradicted the Trump Administration's blatant lies. And now, many people who did not want to pay attention to the issue are paying attention. Some folks who supported the aggressive immigration enforcement now don't. And citizens who were not comfortable questioning the administration's lies... question them now. Whether you want to call them “Legal Observers,” “Constitutional Observers,” or "regular folks" who record what's happening, the impact is profound. So in this episode, we discuss why these brave Minnesotans with camera phones are such a potent force in the current political environment with Scott Libin, a Senior Fellow at the University of Minnesota Hubbard School of Journalism. And, we speak with a former law enforcement leader in the Midwest who says more people need to pick up their smartphones and serve as "legal observers." Dave Mahoney served as Dane County, Wisconsin Sheriff from 2007 to 2021, and shared an interesting encounter with Dusty in 2011 that cemented both of their appreciations for the First Amendment right to document the government's actions. For those who are interested in serving as legal observers, Libin and Mahoney will even lay out some steps for enhancing your effectiveness and bolstering your safety. Because every American has a role to play in protecting our constitutional rights. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welkin is a poetic or archaic term for the sky, firmament, or vault of heaven.To “ring the welkin” or make the “welkin ring” is a literary idiom meaning to make a very loud noise, such as shouting, cheering, or singing, that seems to echo throughout the sky or heavens. It implies creating a celebratory or boisterous sound that fills the air.Will you ring welkin?“Jet” Eisenberg knew immediately why I was doing what I did. He said that I spoke about it on the day that we met more than a quarter-century ago.He said that I have spoken about it in every class that he has ever heard me teach.Most people continue to be confused regarding my commitment to @GreatWritersSeries, so I recently updated the description of that channel on Youtube. (You should subscribe, by the way.)You may recognize a line within that description that I used in last week's Monday Morning Memo.This is my new description on Youtube: The goal of @GreatWritersSeries is to tempt you to read great literature: the novels, histories, poems, and news stories that won the Pulitzer and Nobel prizes. The song lyrics and screenplays that won the Grammy and Tony Awards.Because they will change you.Great literature is the lightning bolt that will pierce your skull, illuminate your mind, and set your tongue on fire.“For as you read, so will you speak and write.”Roy H. Williams had a marvelous English teacher during his junior and senior years of high school in Broken Arrow, Oklahoma.Her name was Linn Ball.She taught him to hear the music of great writing and dance to it.She taught him to lift his eyes to the sky so that he could fly.She taught him to hear the music of unexpected words as they bang into each other and fill the movie screen of the mind with scenes that are startling and true.He wants to do the same for you.Moments before I began writing this Monday Monday Memo to you, I posted on Youtube a musical video of a poem written in 1929 by Ogden Nash.The title of that poem is “No Doctors Today, Thank You.” You can see and hear that Youtube performance in today's rabbit hole.This is it:They tell me that euphoria is the feeling of feeling wonderful,well, today I feel euphorian,Today I have the agility of a Greek god and the appetite of aVictorian.Yes, today I may even go forth without my galoshes,Today I am a swashbuckler, would anybody like me to buckleany swashes?This is my euphorian day,I will ring welkin and before anybody answers I will run away.I will tame me a caribouAnd bedeck it with marabou.I will pen me my memoirs.Ah youth, youth! What euphorian days them was!I wasn't much of a hand for the boudoirs,I was generally to be found where the food was.Does anybody want any flotsam?I've gotsam.Does anybody want any jetsam?I can getsam.I can play chopsticks on the Wurlitzer,I can speak Portuguese like a Berlitzer.I can don or doff my shoes without tying or untying the laces because I am wearing moccasins,And I practically know the difference between serums and antitoccasins.Kind people, don't think me purse-proud, don't set me down as vainglorious,I'm just a little euphorious.I'm just a little euphorious.I want you to dance.I want you to fly.I want the movie screen of your mind to be filled with scenes that are startling and true.I want you to feel euphorious.Roy H. WilliamsRegular viewers of cable news will instantly recognize Arthur Lih and his

The Trump administration is trying to sanitize U.S. history by removing mentions of slavery on historic monuments, scrubbing words such as “oppression” from government websites, and obscuring the legacy of Black American heroes. Last summer, the president personally criticized the Smithsonian for focusing too much on “how bad slavery was.” The Atlantic's Clint Smith and Adam Harris argue that if the federal government won't reckon with the nation's past, it might be time for a different approach to understanding Black history.  --- Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

Two-time Pulitzer-winning editorial cartoonist Mike Luckovich of the Atlanta Journal-Constitution, joins DMZ America co-hosts and colleagues Ted Rall (from the Left) and Scott Stantis (from the Right) to discuss cartoons, journalism and the news of the week:Economic challenges like inflation, affordability, jobs, and the deficit remain the dominant public concern, contributing to Trump's approval rating dipping to around 36% as Americans feel his policies have failed to deliver relief. Immigration continues as a flashpoint, with aggressive enforcement, mass deportations, and reduced illegal crossings achieving some goals but drawing criticism over humanitarian issues, overreach, and mixed support amid ongoing DHS funding battles and the partial government shutdown. As the 2026 midterms approach, Republicans defend narrow majorities amid deepening polarization, with key battles over government funding, foreign policy isolationism straining alliances, voter integrity legislation like the SAVE Act.Support the showThe DMZ America Podcast is recorded weekly by political cartoonists Ted Rall and Scott Stantis. Twitter/X: @scottstantis and @tedrallWeb: Rall.com

Two-time Pulitzer-winning editorial cartoonist Mike Luckovich of the Atlanta Journal-Constitution, joins DMZ America co-hosts and colleagues Ted Rall (from the Left) and Scott Stantis (from the Right) to discuss cartoons, journalism and the news of the week:Economic challenges like inflation, affordability, jobs, and the deficit remain the dominant public concern, contributing to Trump's approval rating dipping to around 36% as Americans feel his policies have failed to deliver relief. Immigration continues as a flashpoint, with aggressive enforcement, mass deportations, and reduced illegal crossings achieving some goals but drawing criticism over humanitarian issues, overreach, and mixed support amid ongoing DHS funding battles and the partial government shutdown. As the 2026 midterms approach, Republicans defend narrow majorities amid deepening polarization, with key battles over government funding, foreign policy isolationism straining alliances, voter integrity legislation like the SAVE Act.Support the showThe DMZ America Podcast is recorded weekly by political cartoonists Ted Rall and Scott Stantis. Twitter/X: @scottstantis and @tedrallWeb: Rall.com

3 - The show goes on! Why do city officials hate Wawa? 305 - Dom has a question for Kirk. What's everyone's shoe size? 310 - Bucks County rules that ICE detention centers will not be in their jurisdiction. Where are the criminals going to get due process? Has Wawa “fallen off”? 320 - Your calls. 330 - Award-winning investigative journalist, author, and Pulitzer finalist Gerald Posner joins us late in the afternoon here. Why does Gerald find it crazy that CHOP has not reversed course on gender affirming care and surgery? Why does Gerald think that people's minds have turned on how Big Pharma and hospitals handle children when it comes to opiates and then subsequently, gender affirming care? What will eventually curtail these hospitals from doing gender-altering procedures? Does Gerald feel the same way on GLP-1 weight loss drugs? What is Gerald working on next? 350 - Just how much is Springsteen charging for tickets in Philadelphia?

12 - Is Philadelphia a sanctuary city? NBC 10's Claudia Vargas goes toe to toe with the mayor over where the office stands on the matter? 1215 - Side - associated with victory 1220 - Is Wawa in decline? That's seemingly what the city is saying… Your calls. Is Cherelle Parker actually a good mayor? 1235 - Your calls. 1245 - What is the deal with Brian Fitzpatrick? 1 - The Teachers' Union is a menace! Corey DeAngelis, school choice Evangelist, joins us again today to explain why and how. How do we prove that the NEA is using children as political pawns now? What leads to these protests possibly being dangerous? How is Oklahoma's school choice enrollment going? Why do teachers need not be afraid of the unions? When are we getting a Corey book? 120 - Is there a worse organization than the UN? Why is former Eagle Seth Joyner squaring off with Brendan Boyle? Your calls. 140 - Kaitlan Collins doesn't realize the hypocrisy of what she said on The Late Show last night. We're going to ban federal law enforcement from being in New Jersey? 150 - Dom Giordano Presents: Progressive Women Gone Wild! 2 - Enes Kanter Freedom, Human Rights Activist, Nobel Peace Prize Nominee, former NBA Player, and NYT Bestselling Author joins us again. Why is Chinese athlete Eileen Gu a traitor for being borned and raised in America, but competing for China in the Olympics? Was Enes critical of China before Daryl Morey's “Free Hong Kong” tweet? He tells us a story about that. What was Enes' conversation with Daryl like on his tweet and the advice he gave Enes? Did Enes' endorsement deals dry up after speaking out against the atrocities in his native Turkey? Will Eileen Gu's deals go away? How are his book sales and reviews going? Who is this athlete that we have who stands opposite of Eileen Gu? How are his travels and life going with a bounty on his head? What is Enes' stance on tanking? 210 - Your calls. 215 - Dom's Money Melody! 220 - What is RFK Jr. doing with his jeans? Parents SOS sounds the alarm on social media use affecting our children as Mark Zuckerberg takes the stand today. 235 - How much are people paying to see Bruce Springsteen? Is the cat out of the bag that he is a phony? 240 - Your calls. 250 - The Lightning Round! Not! 3 - The show goes on! Why do city officials hate Wawa? 305 - Dom has a question for Kirk. What's everyone's shoe size? 310 - Bucks County rules that ICE detention centers will not be in their jurisdiction. Where are the criminals going to get due process? Has Wawa “fallen off”? 320 - Your calls. 330 - Award-winning investigative journalist, author, and Pulitzer finalist Gerald Posner joins us late in the afternoon here. Why does Gerald find it crazy that CHOP has not reversed course on gender affirming care and surgery? Why does Gerald think that people's minds have turned on how Big Pharma and hospitals handle children when it comes to opiates and then subsequently, gender affirming care? What will eventually curtail these hospitals from doing gender-altering procedures? Does Gerald feel the same way on GLP-1 weight loss drugs? What is Gerald working on next? 350 - Just how much is Springsteen charging for tickets in Philadelphia? 4 - We finish where we start. What does “sanctuary city” mean to Mayor Cherelle Parker? Your calls. 415 - The Lightning Round!

The winter mini-season rolls on with Michael R. Jackson, recipient of a 2021 Windham-Campbell Prize for Drama, talking to prize director Michael Kelleher about Sam Greenlee's 1969 cult-classic novel, The Spook Who Sat By the Door. Michael R. Jackson is the writer and composer of the Pulitzer and Tony-winning A Strange Loop as well as White Girl in Danger. Most recently, he wrote the libretto for Consequences in Sue (which just premiered in Philadelphia). He also wrote lyrics and co-wrote the book for the musical adaptation of the 2007 horror film Teeth with composer and co-bookwriter Anna K. Jacobs. He holds a BFA and MFA in playwriting and Musical Theatre Writing from the NYU Tisch School of the Arts. He has received a Jonathan Larson Grant, a Lincoln Center Emerging Artist Award, an ASCAP Foundation Harold Adamson Award, a Dramatist Guild fellowship, and was the 2017 Williamstown Theatre Festival Playwright-In-Residence. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Gardiner Harris is an award-winning investigative journalist whose reporting has reshaped public health policy, exposed corporate misconduct, and held some of the world's most influential institutions to account. Gardiner spent years at The New York Times as a public health and pharmaceutical reporter and served as a White House, South Asia, and international diplomacy correspondent. Before that, his reporting at The Wall Street Journal helped trigger what was then the largest SEC fine in history, and his investigations into mining conditions earned him the Worth Bingham Prize and the George Polk Award. He has been a Pulitzer finalist, the author of the novel Hazard, and now the author of No More Tears, a landmark exposé of Johnson & Johnson's decades-long pattern of deception. Thank you to the sponsors of The Elevate Podcast Shopify: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠shopify.com/elevate⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Masterclass: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠masterclass.com/elevate⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Framer: ⁠⁠⁠⁠⁠⁠⁠⁠framer.com/elevate⁠⁠⁠⁠⁠⁠⁠⁠ Northwest Registered Agent: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠northwestregisteredagent.com/elevatefree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Indeed: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠indeed.com/elevate⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Vanguard: ⁠⁠⁠⁠⁠⁠vanguard.com/audio Gardiner joined host Robert Glazer on The Elevate Podcast to discuss Johnson & Johnson's history, its scandals, and why companies fail to meet the promise of their values. Learn more about your ad choices. Visit megaphone.fm/adchoices

All The Drama is hosted by Jan Simpson. It is a series of deep dives into the plays that have won The Pulitzer Prize for Drama. The Pulitzer Prize for Drama: “The Gin Game”1978 Pulitzer winner “The Gin Game” by D. L. Coburn Gin Game Wikipedia pagehttps://wikipedia.org/wiki/The_Gin_Game D.L. Coburn Wikipedia read more

In this episode, Dave and Andrew listen to the first work without a written score to ever win a Pulitzer, Ornette Coleman's album Sound Grammar. What will they think about this new direction for the prize? And it wouldn't be Hearing the Pulitzers without discussing some drama from the judges! We also discuss a special certificate granted to a deserving late jazz musician. If you'd like more information about Ornette Coleman, we recommend: Stephen Rush's book Free Jazz, Harmolodics, and Ornette Coleman (Routledge, 2016) Michael Stephan's book Experiencing Ornette Coleman: A Listener's Companion (Rowman and Littlefield, 2017) Nathan Frink's dissertation "Dancing in His Head: The Evolution of Ornette Coleman's Music and Compositional Philosophy" (University of Pittsburgh, 2016) 

The writer-director Jafar Panahi's new film, It Was Just an Accident, is the second Iranian film ever nominated for multiple Oscars. Panahi is in the United States for the awards season, but soon after, he plans to return to Iran, where he may well be arrested.  His co-writer on the film was recently jailed after signing a letter objecting to the deadly crackdown on protests in Iran. Panahi, who also signed the letter, has been sentenced to one year in prison in absentia. His lawyer has said they plan to appeal the sentence. But Panahi doesn't seem afraid. (He made It Was Just an Accident in secret, as he has in the past with other films.) Even with the crackdown in Iran and violence against protesters here in the U.S., he says he still has reason to hope: “I see a greater future. I see from above.” --- Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of the podcast, Troy Anderson, Pulitzer Prize-nominated investigative journalist and bestselling author of "Designated Disrupter: Trump and Other Unlikely Agents of Revival," discusses President Trump's role as a disruptor and his spiritual journey. Anderson highlights Trump's impact on Americanism over globalism, the national repentance movement inspired by Billy Graham, and the 2020 National Mall event attended by 42 million people. He compares Trump to biblical figures like Moses and King David, emphasizing Trump's growing faith post-assassination attempt. Anderson also discusses the potential for revival in deep blue cities and the importance of voting in upcoming elections to maintain pro-Israel policies. He concludes with plans for a Hollywood revival event.You can learn more about Troy or buy his books by clicking here https://troyanderson.us/.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Shane was joined by pulitizer winning Photographer, Deanne Fitzmaurice on the launch of her book of photographs, ‘On Dublin: Reflections on the Irish Capital' in conjunction with The Little Museum of Dublin. Shane also spoke to her work as a war photographer, and of course the powerful portrayal of Saleh, a young Iraqi war victim was the Pulitzer Prize winning photography in 2005.

The Melania movie is pitched as a documentary following the first lady of the United States in the lead-up to her husband's second inauguration. But it's missing all the hallmarks of a journalistic, biographical film. What you get instead is a series of aphorisms that clang loudly against the reality being shaped by Donald Trump. And of course, shot after shot of $1,000 shoes, gold decorations, and private planes. The Atlantic staff writer Sophie Gilbert describes the film as a “two-hour perfume commercial." Gilbert joins the show to talk about the movie, about the real Melania, and about President Trump's efforts to shape culture.   - - - Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

In a dismal morning Zoom call on Wednesday, the Washington Post's Executive Editor Matt Murray announced that they were laying off roughly a third of its already diminished staff. We talk to Joshua Benton, founder of and senior writer at the Nieman Journalism Lab at Harvard University about how the Post reached this point, the loss to journalism, and how Jeff Bezos is uniquely responsible.  - - - Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

We talk with Pulitzer finalist Ted Conover about his book Cheap Land, Colorado: Off Gridders On America's Edge. Ted bought land in an area outside of Alamosa where he and his neighbors lived off grid with few social safety nets. His take away? It's a difficult life with incredible views and intense poverty. But you can find lifelong friends and experience a special sense of liberation.

Rome. 1610. A painter who sees God in the faces of prostitutes and killers is on the run for murder.His name is Caravaggio. He drinks too much. He loves recklessly. Men, women, it doesn't matter. He picks fights with swordsmen and screams at the heavens in candlelit chapels. He paints the way other men pray, except his prayers are in defiance. And the Catholic Church can't decide whether to pardon him or let the bounty hunters finish the job.This screenplay by Richard Vetere, a Pulitzer nominee and Golden Palm winner whose work has been produced by Francis Ford Coppola, follows Caravaggio from the brothels of Rome to a besieged fortress on Malta where a scarred Grand Master offers him sanctuary and something that looks a lot like love. But sanctuary has a price. And Caravaggio has never paid what he owes without bleeding for it.There are popes making deals in candlelight. Brothers hunting him across the Mediterranean for killing their own. A muse he left behind in Rome who can't wait much longer. A rival painter who despises his work and can't stop staring at it. Knights nailed to crosses and set on fire floating into the harbor at dawn. A prison cell carved into rock like a grave. And an escape across open sea in a fishing boat guided by a boy too afraid to speak.This is not a quiet period piece. This is Game of Thrones in Renaissance Italy with paintbrushes and rapiers.Craig Parker, who played Haldir in Lord of the Rings, plays Caravaggio. Academy Award nominee and Golden Globe winner Bruce Davison plays the Grand Master. Dan Lauria, America's dad from The Wonder Years, plays the Cardinal pulling every string in Rome. Ray Abruzzo, Little Carmine from The Sopranos, plays the Pope. The cast includes Broadway veterans, stars of The Chosen, the voices behind the biggest video games on the planet, and a former Navy test pilot born in Italy playing an Italian swordsman.Fourteen actors. One genius who painted like God was guiding his hand and lived like the devil was chasing him. Turns out both were true.This is Caravaggio. This is Table Read. Listen now wherever you get your podcasts.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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

The Minnesota governor warns of a national unraveling and shares the view from his state.  “ The way you win this is through nonviolence, that you cannot do violence,” Governor Tim Walz told the Atlantic staff writer Isaac Stanley-Becker in Minneapolis on Wednesday. “And I know my constituents are mad at me for saying that. They're shooting us. They're killing us. They're beating us. They're taking our children. But you see what's happening now. For all that power and all that cruelty, they are retreating massively. Now, I believe they'll only retreat far enough to get to the next day or the next news cycle. But again, they underestimated this state, and I think they're underestimating the American people. I'm still baffled—if you were gonna pick two states to mess with, Maine and Minnesota, especially in the middle of winter, not smart.” - - - Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at theAtlantic.com/listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

I ran across the bloated carcass of Jack Smith. Apparently he got ran over and left to rot in a hot Arizona desert. The House took apart his "prosecution" against Trump. We learned why Smith is a failure. Funny that people listed his credentials, and at the top of the list is Harvard grad. That used to mean something. It was like the Nobel Prize, a Pulitzer, or an Emmy. Now all those awards are meaningless.Smith couldn't prosecute a parking ticket without turning it into a conspiracy thriller starring himself as the shadowy villain. This guy's guilty as a fox in a henhouse after hours, scrambling to bury his tracks deeper than a mole with a grudge. His big brainwave? Convincing the world that Trump couldn't possibly believe his own beliefs about the election—yeah, because nothing says 'ironclad case' like policing someone's inner monologue. "Trump can't think what he thinks," Smith basically argued, as if he moonlights as a telepathic hall monitor. But reality hit him like a freight train full of subpoenas gone wrong; the whole charade crumbled faster than a sandcastle at high tide. Democrats, bless their partisan hearts, flung themselves into the fray like lemmings with law degrees, defending this hack with the fervor of someone explaining why pineapple belongs on pizza. It's a masterclass in how far they'll stretch the truth to keep their narratives afloat, all while ignoring the glaring voids in evidence that could sink a battleship. And Smith? He wasn't just grasping at straws; he was weaving them into a noose for his own credibility.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Tournament of Champions is HERE and we love to see a bunch of our faves back on the Alex Trebek Stage. John nails a bunch of his predictions (including the one about the herbal candies), we get some great sports-related anecdotes, and we see some great gameplay as we continue on with this Jeopardy! postseason. Plus, John finishes watching Heated Rivalry, Emily updates us on what fans think is an editing snafu, and we dive deep on the famous photo taken at Iwo Jima. If you want some more moments of this show that are so famous you may want to take a picture, why not join our Patreon? It's just $5/month and you'll get a new bonus episode every month including this week, as Alison Betts and Drew Goins join us to play a rock and metal music board that goes about as well as both of those J! legends think it will (badly). You also get immediate access to all of our back catalogue of bonus episodes, access to our wonderful Discord community, and MORE! Join today at patreon.com/jeopardypodcast. SOURCE: Colliers: "The Picture That Will Live Forever" by Joe Rosenthal and W.C. Heinz; Pulitzer.org: "Joe Rosenthal and the Flag-Raising on Iwo Jima" Special thank you as always to the Jeopardy! Fan and the J-Archive. This episode was produced by Producer Dan. Music by Nate Heller. Art by Max Wittert.

Inside the Front‑Line of Resistance: Photojournalist Stephanie Keith on Visual Anthropology, ICE Protests & the Power of Community Observers

A second American was shot and killed by federal agents. The Atlantic staff writer Adam Serwer joins from Minneapolis to describe what he's seen there in recent days,  describing it as a form of activism America's not seen since the 1960s—perhaps even earlier.  Serwer spent last week in Minneapolis talking to protesters. “They know that ICE has the guns. They know that if ICE kills them, this federal government will call them a terrorist and not even bother to investigate. And they're still out there. Because they feel very strongly about finding a way to nonviolently resist a federal government that has openly said it'''s there to persecute them.”  - - - Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

Originally released February 25, 2025Tom, Mickey and Jeffrey are back for a new season of Unglossy. In this compelling episode, Pulitzer Prize-winning author Mitchell S. Jackson opens up about his remarkable journey from the tough streets of Portland, Oregon, to becoming a celebrated writer and educator. Mitchell shares intimate stories of balancing street life with academics, the transformative power of writing, and the challenges of teaching during a global pandemic. He reveals how his time in prison and the long, arduous process of writing his debut novel, The Residue Years, shaped his identity and artistic vision. Alongside reflections on winning the Pulitzer and the evolving role of public intellectuals, Mitchell dives into the unexpected intersections of music, NBA fashion, and cultural narratives in his latest book, Fly: The Big Book of Basketball Fashion. Tune in for an inspiring conversation about resilience, authenticity, and the enduring art of storytelling.Unglossy is produced and distributed by Merrick Studio and hosted by Merrick Chief Creative Officer, Tom Frank, hip hop artist and founder of Pendulum Ink, Mickey Factz, and music industry veteran, Jeffrey Sledge. Tune in to hear this thought-provoking discussion on Apple Podcasts, Spotify, YouTube, or wherever you catch your podcasts. Follow us on Instagram @UnglossyPod to join the conversation and support the show at https://unglossypod.buzzsprout.com/Send us a textEveryday AI: Your daily guide to grown with Generative AICan't keep up with AI? We've got you. Everyday AI helps you keep up and get ahead.Listen on: Apple Podcasts SpotifySupport the show

Last year, there was a mass exodus of federal workers: Some were pushed out, while others left on their own. All in all, more than 300,000 Americans left government jobs. The Atlantic staff writer Franklin Foer spent months talking to dozens of them, finding out who they were, what they did, and ultimately what, as a country, we may have lost. Read Foer's full story: “The Purged.” --- Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, we're bringing you something unexpected: Lava for Good’s investigative series Earwitness will be released right here in the Bone Valley feed. You'll see it here as Bone Valley Season 4: Earwitness. The entire season will be available to Lava For Good+ subscribers on Apple Podcasts on January 28th, and everywhere you listen to podcasts on February 4th. As an introduction, Gilbert King, Pulitzer prize-winning author and host of Bone Valley, sits down for a Q&A with Earwitness host and producer, journalist Beth Shelburne, as well as Emmy award-winning filmmaker Andrew Jarecki and film producer Charlotte Kaufman to discuss Earwitness, Toforest Johnson - the man at the center of the story - as well as their recent, critically acclaimed HBO documentary The Alabama Solution. Bone Valley Season 4: Earwitness is a production of Lava for Good™ Podcasts in association with Signal Co. No1. See omnystudio.com/listener for privacy information.

Trump is headed to Davos, Switzerland to speak at the annual World Economic Forum's meeting. There will be leaders from government and business gathered. So far, this group has not been supportive of Trump's efforts to get his hands on Greenland, but Trump says Europe will not ‘push back too much' and he intends to tell anyone who disagrees with him that Denmark ‘can't protect Greenland saying, “I don't think they're gonna push back too much. We have to have it. They have to have this done.” We will talk about it with Pulitzer prize winning author and investigative journalist David Cay Johnston. The District Attorney for the city of San Francisco will stop by the show. We will ask Brooke Jenkins about crime, ICE enforcement and the challenges facing San Francisco. The Mark Thompson Show 1/20/26 Patreon subscribers are the backbone of the show! If you'd like to help, here's our Patreon Link: https://www.patreon.com/themarkthompsonshow Maybe you're more into PayPal. https://www.paypal.com/donate/?hosted_button_id=PVBS3R7KJXV24 And you'll find everything on our website: https://www.themarkthompsonshow.com

For over 30 years (since 1995) Ira Glass has been one of, if not THE voice of public radio. His show, This American Life, has won Peabody awards, the first ever audio journalism Pulitzer. And it’s also shaped generations of listeners and audio makers. As an early adopter of podcasting (2006), the show was for many a first foray into digital listening. It spawned major hits like Serial, which led to a boom in documentary podcasting. But the world of audio has changed a lot in recent years. Ira Glass shares his thoughts with Soundside. And he’s coming to the Mount Baker Theater in Bellingham this weekend (Saturday, January 24th) to share some of his secrets: the show is called “An Evening with Ira Glass: Seven Things I've Learned” Guest: Host and executive producer of This American Life, Ira Glass Related Links: Mount Baker Theatre Presents An Evening with Ira Glass: Seven Things I've Learned Ira Glass Explains Why I’m Listening to Podcasts Wrong | SubwayTakes Uncut - Youtube Ira Glass plays a nicer version of himself on the radio - NPR Thank you to the supporters of KUOW, you help make this show possible! If you want to help out, go to kuow.org/donate/soundsidenotes Soundside is a production of KUOW in Seattle, a proud member of the NPR Network.See omnystudio.com/listener for privacy information.

Learn the meaning of Carnival traditions like jab jab & stilt walking & get recs for visiting Guyana. _____________________________ Get the Monday Minute — my weekly email with 3 personal recs for travel, culture, and living beyond borders you can read in 60 seconds. _____________________________ ON THIS EPISODE: In Part 2 of this conversation, award-winning journalist Melissa Noel joins Matt to explore how diaspora stories are told—and why depth, context, and care matter. Melissa unpacks the cultural and political meaning behind Caribbean Carnival traditions, shares her personal recommendations for experiencing her home country of Guyana beyond the surface, and reflects on the impact of her Pulitzer-supported reporting on Jamaica's barrel children and the long-term impact of migration on families. From ethical considerations when interviewing vulnerable communities to the extractive dynamics of tourism and the responsibility of storytellers, this episode examines how culture, migration, and power intersect—and how travel and journalism can be practiced with intention, accountability, and respect. → Full show notes with direct links to everything discussed are available here. _____________________________FREE RESOURCES FOR YOU: See my Top 10 Apps For Digital Nomads See my Top 10 Books For Digital Nomads See my ⁠7 Keys For Building A Remote Business⁠ (Even in a space that's not traditionally virtual) Watch my ⁠Video Training on Stylish Minimalist Packing⁠ so you can join #TeamCarryOn  See the Travel Gear I Use and Recommend See How I Produce The Maverick Show Podcast (The equipment, services & vendors I use) _____________________________ ENJOYING THE SHOW? Follow The Maverick Show on Instagram and DM Matt to continue the conversation Please leave a rating and review — it really helps the show and I read each one personally You can buy me a coffee — espressos help me produce significantly better podcast episodes! :)

Tensions are high in Minneapolis this week. The Trump administration is sending more federal agents. Protesters are calling for justice for the killing of an unarmed citizen. But what could actually happen legally? Especially when the Department of Justice seems more interested in trying to open a criminal investigation into the victim's wife than the ICE officer who pulled the trigger? We talk to the legal researcher Bryna Godar about the history of prosecutions against federal agents and why they're not often successful. And we speak with the Atlantic staff writer Nick Miroff, who covers immigration, about what members of ICE are saying internally—and why they now feel more emboldened than ever. Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tune in to the DMZ America Podcast as hosts Ted Rall from the left and Scott Stantis check in with groundbreaking animated political cartoonist Mark Fiore.Mark Fiore, born 1970, is an acclaimed American political cartoonist specializing in Flash-animated editorials. Shaped by California upbringing and Idaho wilderness, he majored in political science at Colorado College, graduating in 1991 amid Dick Cheney's speech.Starting in print for The Washington Post and LA Times, Fiore joined San Jose Mercury News before pioneering online animation in the late 1990s. His cartoons appear on SFGate.com, NPR, Mother Jones, and KQED.Hailed as "the undisputed guru" by The Wall Street Journal, he won the 2010 Pulitzer—the first for non-print work—plus a 2016 Herblock Prize, 2004 RFK Award, and multiple Online Journalism honors. From San Francisco, Fiore satirizes politics via markfiore.com.Support the showThe DMZ America Podcast is recorded weekly by political cartoonists Ted Rall and Scott Stantis. Twitter/X: @scottstantis and @tedrallWeb: Rall.com

All The Drama is hosted by Jan Simpson. It is a series of deep dives into the plays that have won The Pulitzer Prize for Drama. Photo credit: Library of Congress The Pulitzer Prize for Drama: “The Time of Your Life”1940 Pulitzer winner “The Time of Your Life” by William read more

President Donald Trump likely won't listen to this podcast, but Senator Mark Kelly of Arizona has a warning for him: Any attempt to take Greenland using military force will probably go down as the biggest mistake made by a president in all of U.S. history. In this conversation with Kelly, we discuss the impact of the censure letter against him sent by Defense Secretary Pete Hegseth, the legality of U.S. military strikes in the Caribbean, the future of the Democratic Party, and his family's response to political violence. - - - Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Pulitzer finalist and James Beard award winning journalist talks to Kate and Mark about how restaurant critics have to "split themselves"; being "accidentally anonymous" and how she became comfortable with telling that story; chasing curiosity; and how she went from a born and bred New Yorker to loving Detroit.Read Lyndsay's piece, "My year in review as Free Press restaurant critic: Accidentally anonymous," which was discussed in today's episode, at the Detroit Free Press: https://tinyurl.com/f9cp9xpbSubscribe to Food with Mark Bittman on Apple Podcasts, Spotify, or wherever you like to listen, and please help us grow by leaving us a 5 star review on Apple Podcasts.Follow Mark on Twitter at @bittman, and on Facebook and Instagram at @markbittman. Want more food content? Subscribe to The Bittman Project at www.bittmanproject.com. Hosted on Acast. See acast.com/privacy for more information.

If it's not threats of military action against Colombia and Cuba, or talk of taking Greenland from Denmark, it's seizing oil tankers in European and Caribbean waters. All of it has world leaders scrambling to figure out how to handle Donald Trump's revived form of US imperialism. Jonathan Freedland speaks to the Pulitzer-winning author Anne Applebaum about what to expect from a world changing by the hour at the hands of the US president

After the Venezuelan leader Nicolás Maduro and his wife were captured by U.S. forces over the weekend, President Donald Trump announced that America would now “run” Venezuela. Staff writers Vivian Salama and Michael Scherer break down what might happen next—and what Trump told The Atlantic the day after the capture. --- Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

In July, we published a series of stories about San Francisco's attempt to address a crisis unfolding on the city's streets. We followed Evan, who had been homeless for years, as he sought an escape from the addiction that was threatening his life. Four months later, we check in on how he's doing. Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

On April Fools Day 1999, 26-year-old Yvonne Layne was found murdered in her Alliance, Ohio home. David Thorne, her ex-boyfriend and father of one of her children, was instantly a suspect. Another young man admitted to the murder,  and David breathed a sigh of relief, until the confessed murderer fingered David; “He paid me to do it.”  David was sentenced to life without parole. Two decades later, Pulitzer winner and podcast host, Maggie Freleng (Bone Valley Season 3: Graves County, Wrongful Conviction, Suave) launched a “live” investigation into David's conviction alongside Jason Baldwin (himself wrongfully convicted as a member of the West Memphis Three). Maggie had come to believe that the entire investigation of David was botched by the tiny local police department, or worse, covered up the real killer. Was Maggie correct? Was David's claim of innocence credible? In Death and Deceit in Alliance, Maggie recounts the case that launched her career, and ultimately, “broke” her.”  New episodes of Death and Deceit in Alliance will be available every Tuesday and Friday starting on December 2 wherever you get your podcasts. To binge the entire season, ad-free, subscribe to True Crime Clubhouse on Apple podcasts.

It was a great year for Warner Bros. Discovery: Two of its movies (One Battle After Another and Sinners) are front-runners for the Academy Award for Best Picture, and it had a string of critical hits and box-office successes with Superman, Weapons, and A Minecraft Movie. But despite those wins, the media conglomerate—which also owns HBO and CNN—found itself up for auction with two aggressive bidders: Paramount and Netflix. The Atlantic movie critic David Sims explains why this deal could be bad for the movies. And our staff writer Frank Foer lays out why this deal could be bad for democracy—especially if President Donald Trump gets involved. --- Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

Will the supreme egoist be snared by his thirst for vainglory? Could the board of the Pulitzer Prize take Trump down? After deranged Donald picked a fight with the board, the Pulitzer lawyers demanded info that he would prefer to keep hidden. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

European Union leaders hold high-stakes negotiations over whether to use frozen Russian assets to help Ukraine's war effort. Belgium - where most of the assets are held - is under pressure to drop its opposition. Without the funds, the Ukrainian president Volodymyr Zelensky said his country's drone production would have to be cut. Also: power cuts in major cities in Sudan are blamed on drone attacks by the paramilitary Rapid Support Forces. A French doctor is jailed for life for poisoning dozens of patients. Peter Arnett, the Pulitzer prize-winning war reporter, dies at the age of 91. And FIFA links up with Netflix to launch a new football game, which won't need a console.The Global News Podcast brings you the breaking news you need to hear, as it happens. Listen for the latest headlines and current affairs from around the world. Politics, economics, climate, business, technology, health – we cover it all with expert analysis and insight. Get the news that matters, delivered twice a day on weekdays and daily at weekends, plus special bonus episodes reacting to urgent breaking stories. Follow or subscribe now and never miss a moment. Get in touch: globalpodcast@bbc.co.uk

More than a decade after its peak, the Islamic State has changed, but it isn't defeated. This past weekend, the jihadist group reemerged in connection with two disparate acts of violence thousands of miles apart.  Two U.S. soldiers and a civilian interpreter were killed in Syria by a man the Pentagon says is affiliated with ISIS. A day later, at Bondi Beach in Sydney, Australia, two men opened fire at a Hanukkah celebration, killing 15 and wounding dozens. The men had homemade ISIS flags in their car, and had recently traveled to an area in the Philippines where ISIS-affiliated groups are known to still be active. Are these incidents connected? And do they point to a group that's evolving? Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices