Podcasts about Quiver

This time, I am blessed to talk to one of the most beloved artists in Magic the Gathering history, Richard Kane Ferguson. He is going to be launching a kickstarter on June 10th, and you can check it out here - https://www.kickstarter.com/projects/rkftokens/richard-kane-fergusons-tokens-and-playmats Casual Magic is brought to you by Quiver deckboxes and cases and by my patrons at Patreon.com/shivamb. Thank you for your support!

This week we're joined by David K Wilson, director of the forthcoming documentary The Gathering Is The Magic! We discuss the stories and communities that make this game great, and talk about the making of the film. You can check out the Kickstarter here for more details and late pledges!  https://www.kickstarter.com/projects/391665896/the-gathering-is-the-magic Casual Magic is brought to you by Quiver deckboxes and cases and by my patrons at www.patreon.com/shivamb. thank you all for your support!

Tim Miller is a bowyer and owner of Black Arrow Longbows in Devon, England, which has been in operation for 10 years. Tim specializes in laminate longbows, warbows, yew selfbows, and arrows.Please enjoy this episode of Project Quiver on Salish Wolf with Tim Miller.          Episode Links: https://www.instagram.com/blackarrowlongbows/https://www.blackarrowlongbows.com/https://www.youtube.com/@blackarrowlongbowshttps://www.facebook.com/blackarrowlongbowsProject Quiver at Anchor Point ExpeditionsSummary:In this episode, Tim Miller, founder of Black Arrow Longbows, shares his journey from woodworking hobbies to mastering the craft of traditional bow-making. We delve into the technical intricacies of creating bows suited for different climates, the community of bowyers, and the passion that keeps this art alive.Show Notes:Tim's background in woodworking and transition into bow-makingChallenges of bow curing and storage in humid environments like Costa RicaTechniques for building heavy weight bows and considerations for durabilityThe influence of historical and cultural archery traditions in modern bowyer practicesThe importance of continuous learning and testing in bow craftsmanshipTools of the trade: from hand tools to specialized machineryInsights into sourcing materials like lemonwood, cow horn tips, and exotic coresThe evolution of custom bow orders and the community of archery enthusiastsBalancing art, engineering, and practicality in bow designMaintaining passion and freshness in a career that demands precisionChapters:00:00 - Intro and guest introduction 02:01 - Building a workshop in Costa Rica and environment challenges 04:00 - Bow failures and humidity impacts 06:00 - Seasonal storage solutions for bows in humid climates 08:10 - Tim's journey into bow-making and early experiments 12:10 - The influence of historical archery models and media 15:00 - The appeal of heavy draw weight bows and authenticity 18:00 - Materials used in traditional bowcraft: bamboo, lemonwood, and more 22:25 - Sourcing exotic woods and understanding botanical names 27:10 - The technical process of lamination and hot-pressing bows 30:16 - The community of bowyers and their influence 33:50 - Building bows based on historical models and custom requests 37:10 - Challenges of warranty and customer satisfaction 41:00 - The social side of archery and community events 43:20 - Achieving high draw weights: limits and mechanical possibilities 47:30 - Tiller design and bow stability 51:00 - Production scale: From one-off to commercial 55:00 - Experimenting with wood combinations and testing 60:00 - Learning and evolving through collaboration and observation 66:00 - Workshop setup: tools and machinery considerations 70:30 - Making arrows and other bow-related accessories 75:00 - Unique design features like Victorian tillers and handle modifications 78:00 - The importance of proper tillering and handling stress points 81:00 - Resources for aspiring bowyers and how to get started 83:20 - Closing thoughts, community advice, and future plans

In this Episdode, Gigi talks with two Graduating Senior: Addi & Maverick about the future.

Stephan Zenz is a bowyer and teacher of nature and wilderness skills in Austria. Having spent more than a decade working behind a camera in the media industry, he now follows his passion of leading men's work and helping children flourish in the wild.Please enjoy this episode of Project Quiver on Salish Wolf with Stephan Zenz.          Episode Links: https://www.instagram.com/nativwerk_stephanzenz/https://www.nativwerk.at/Project Quiver at Anchor Point ExpeditionsSummary:Explore the inspiring story of a multi-talented bowyer, photographer, and wilderness teacher transitioning across professions to embrace a life rooted in nature, craftsmanship, and community. This episode offers insights into traditional bow making, outdoor education, and personal growth through creative pursuits.Show Notes:Stephan shares how his career shift was driven by a desire for authenticity and connection with natureDiscussion of different woods used in bow making, especially osage, yew, black locust, and rattanInsights into the tools and methods for crafting bows, including tillering and eyeing the grainThe importance of patience and focus in the craft and personal transformation through working with natural materialsDetails about bow making workshops, gatherings, and retreats in Austria, fostering community among bowyersStephan describes his journey into wilderness survival, teaching kids survival skills, and leading group adventuresThe influence of outdoor experiences, caves, and mountaineering on his artistic and personal lifeTips for photographing bows and wildlife, emphasizing natural light and perspectiveChapters:00:00 - Introduction to Stefan's diverse career: bowyer, photographer, wilderness teacher02:01 - Stephan's background in media and transition to outdoor education04:08 - The process of building bows: materials, tools, and challenges09:03 - How Stefan started bow carving with a fascination for archery15:12 - Harvesting bow staves and sourcing materials in Austria and abroad17:10 - The origin of Stephan's business, Nativwerk, and focus on community20:20 - Kids' wilderness programs and outdoor survival skills22:23 - Personal insights into working in a grandmother's barn workshop24:01 - Photographing bows and wildlife: techniques and equipment27:27 - Organizing and leading bowmaking gatherings and retreats28:45 - Exploring traditional weapons like atlatl and spear throwers33:34 - Building and finishing a Hooper-style bow: design, painting, and sinew backing47:34 - Favorite bow woods and tools52:18 - Working with materials like rattan, horn overlays, and natural dyes64:40 - Stephan's experience with over 40 bows made and ongoing challenges70:28 - Lessons learned: patience, focus, and connection to materials71:56 - How their shared passions continue to foster community and personal growth

This time I am joined by Steven Brust, one of my favorite authors of all time, to discuss his long running series of Vlad Taltos novels! Sadly, the sound quality in this episode is not the best, but the discussion was great. Casual Magic is brought to you by Quiver deckboxes and cases, and by my patrons at Patreon.com/shivamb. Thank you for your support!

Joe Lyons is a bowyer based in Nottingham, England, who has been carving bows for just under two years. His brand, Wildwood Bows, is a nod to his style of bow carving in which he prefers to leave the bark on his bows. He also enjoys carving prehistoric bows and crafting fantasy bows. Please enjoy this episode of Project Quiver on Salish Wolf with Joe Lyons.          Episode Links: https://www.instagram.com/wildwoodbowyer/https://www.etsy.com/shop/wildwoodbowyer/?etsrc=sdt#aboutProject Quiver at Anchor Point ExpeditionsSummary:In this engaging podcast episode, Todd interviews Joe Lyons, a passionate bowyer from Nottingham, England. Joe shares his journey into bow making, inspired by his love for Robin Hood and the game Runescape. He discusses the intricacies of crafting bows, the types of wood he uses, and his aspirations to make heavier bows. The conversation also touches on the importance of balance in archery, Joe's business Wildwood Bows, and his plans to expand his presence on social media.Show Notes:Joe discusses his journey from local woods in England to sourcing exotic staves for his bows The significance of different woods such as hazel, yew, ash, maple, and underrated options like dogwoodHow bark rentention and finishes like linseed oil and varnish impact bow performance and appearanceHis approach to bow design, including longbows, flatbows, and fantasy-inspired creationsThe usage of modern tools like card scrapers and traditional hand tools in bow shapingHow he incorporates cultural and historical inspirations like Robin Hood festivals and Mesolithic bowsThe role of ongoing learning and mentorship in mastering bowcraftChapters:(00:00) - Welcome and introduction to Joe Lyons' background(02:05) - The Robin Hood festival experience and local events in Nottingham(07:43) - Making fantasy and themed bows, including orcs and wild rose staves(10:10) - Wood types and their properties, with a focus on dogwood and wild rose(15:40) - Training both sides of the body for balance and injury prevention(22:21) - Using AI and online resources to learn about bow making(28:14) - Challenges in bow making: horn tips, knock design, and finishing touches(33:27) - The upcoming book on bow making and sharing knowledge within the community(43:00) - Current projects and custom commissions, including the historic St. Andrews bow(45:47) - Finishing techniques: linseed oil, shellac, wax, and handle wraps(55:00) - Connecting with Joe and exploring his online presence

This time on Casual Magic, I'm joined by creator and showman k0ppk0pp to discuss Shoebox, sobriety, and the challenges of addiction and Magic! Casual Magic is brought to you by Quiver deckboxes and cases, and by my patrons at Patreon.com/shivamb. Thank you for your support!

Welcome to Day 2863 of Wisdom-Trek. Thank you for joining me. This is Guthrie Chamberlain, Your Guide to Wisdom. Day 2863 – Wisdom Nuggets – Psalm 127:1-5 – Daily Wisdom Wisdom-Trek Podcast Script - Day 2863 Welcome to Wisdom-Trek with Gramps! I am Guthrie Chamberlain, and we are on Day 2863 of our Trek. The Purpose of Wisdom-Trek is to create a legacy of wisdom, to seek out discernment and insights, and to boldly grow where few have chosen to grow before. The title for today's Wisdom-Trek is: The Song of Ascent – The Architect, the Watchman, and the Warrior In our previous episode on this grand expedition, we climbed through the seventh Song of Ascent, Psalm One Hundred Twenty-Six. We stood in the tension of the “already, but not yet,” remembering the unbelievable, dream-like rescue of God's people from exile, while desperately praying for a fresh outpouring of His grace. We learned the profound, agricultural lesson of the sower. We discovered that in the contested territory of this fallen world, we often have to plant our seeds in tears, exhausted by the spiritual warfare around us. Yet, we anchored our souls to the unbreakable, cosmic guarantee that those who weep as they plant will eventually return singing, carrying a massive, joyful harvest. Today, we take our next deliberate steps upward on this ancient pilgrim trail. We are exploring the eighth song in this magnificent collection. We are turning our attention to Psalm One Hundred Twenty-Seven, verses one through five, in the New Living Translation. Interestingly, this specific psalm is attributed to King Solomon. Solomon was the ultimate builder of the ancient world; he built the glorious Temple, fortified cities, and amassed unprecedented wealth. Yet, in this psalm, he pauses to deliver a sobering warning about the futility of human ambition. He teaches us that building a physical empire, or a lasting family legacy, is entirely useless if the Architect of the cosmos is not the one holding the blueprints. Let us step onto the trail, and learn how to build a legacy that actually lasts. The first segment is: The Futility of Autonomous Ambition Psalm One Hundred Twenty-Seven: verses one and two. Unless the Lord builds a house, the work of the builders is wasted. Unless the Lord protects a city, guarding it with sentries will do no good. It is useless for you to work so hard from early morning until late at night, anxiously working for food to eat; for God gives rest to his loved ones. This magnificent stanza opens with a definitive, double-sided declaration of human limitation. “Unless the Lord builds a house, the work of the builders is wasted. Unless the Lord protects a city, guarding it with sentries will do no good.” To truly grasp the weight of these words, we must view them through the lens of the Ancient Israelite worldview, specifically regarding the Divine Council and the cosmic rebellion. When human beings attempt to build a house, a dynasty, or a fortified city without the authorization and the active presence of Yahweh, they are essentially repeating the catastrophic sin of the Tower of Babel. At Babel, humanity sought to build a localized empire, a massive tower to reach the heavens, in order to make a great name for themselves, completely autonomous from the Creator. That act of autonomous ambition resulted in God disinheriting the nations, confusing their languages, and placing them under the jurisdiction of lesser, rebel spiritual principalities, the fallen elohim. Therefore, any city, or any human institution, built outside the cosmic order of God, is inherently vulnerable. It belongs to the chaotic, unstable realm of the rebel gods. You can hire the greatest architects, lay the thickest foundation stones, and post the most highly trained sentries on the walls, but if the Most High God is not the active Protector of that territory, the entire enterprise is spiritually bankrupt. It is destined to collapse into the dust. This reality brings us to the deeply psychological, and practical, observation in verse two. “It is useless for you to work so hard from early morning until late at night, anxiously working for food to eat; for God gives rest to his loved ones.” The rebel gods of the surrounding pagan cultures demanded endless, anxious labor from their followers. The deities of Canaan, Egypt, and Babylon were viewed as cruel taskmasters, requiring constant sacrifices and frantic appeasement just to ensure the rains would fall, and the crops would grow. The kingdom of darkness thrives on human anxiety. It wants you waking up before dawn, terrified of failure, and going to bed late, exhausted and consumed by the stress of basic survival. But Solomon, the wisest king of Israel, calls this frantic, autonomous striving “useless.” It is vanity. It is chasing the wind. He draws a sharp, beautiful contrast between the oppressive systems of the world, and the loving economy of Yahweh. “For God gives rest to his loved ones.” Other translations say, “He provides for His beloved even in his sleep.” The God of the Bible is not a cruel taskmaster. He is the loving Father who provides Shalom—complete, restful wholeness. This does not mean that believers are called to be lazy. We are called to be diligent, responsible stewards of creation. But the motivation changes entirely. We do not work out of a suffocating, paralyzing fear of starvation, or a desperate need to build our own autonomous empires. We work from a place of profound rest, knowing that the Sovereign Lord is the ultimate Provider, and that He is intimately guarding the house we are building. The second segment is: The Divine Gift and the Rejection of the Fertility Cults Psalm One Hundred Twenty-Seven: verse three. Children are a gift from the Lord; they are a reward from him. Suddenly, the psalm pivots. Solomon shifts the metaphor from building a physical house out of stones and cedar, to building a household, a dynasty, made out of human lives. He declares, “Children are a gift from the Lord; they are a reward from him.” In our modern culture, we might read this simply as a sweet, sentimental statement about the joy of parenting. But in the ancient Near East, this was a massive, aggressive theological claim. It was an act of profound spiritual warfare. The nations surrounding Israel were deeply entrenched in fertility cults. They worshiped gods like Baal and Asherah, believing that these localized, rebel deities controlled the womb, the rain, and the harvest. When a couple wanted to conceive a child, they would participate in the corrupt, often deeply immoral, rituals of the pagan temples, frantically trying to manipulate the gods into granting them fertility. By stating that “Children are a gift from the Lord,” the psalmist is explicitly stripping all power and authority away from the false gods of Canaan. He is reminding the pilgrims that Baal has absolutely no jurisdiction over human life. The womb is not controlled by the chaotic forces of nature; it is the exclusive, sovereign domain of Yahweh. Every single child is a direct, intentional inheritance, and a precious reward, handed down by the Creator of the universe. To build a family legacy, you do not turn to the frantic, anxious practices of the world; you look upward, to the Giver of all good things. The third segment is: The Warrior's Quiver and the Expansion of the Kingdom Psalm One Hundred Twenty-Seven: verses four and five. Children born to a young man are like arrows in a warrior's hands. How joyful is the man whose quiver is full of them! He will not be put to shame when he confronts his accusers at the city gates. Having established the divine origin of the family, Solomon introduces one of the most striking, martial metaphors in the entire Psalter. “Children born to a young man are like arrows in a warrior's hands.” Why does he compare children to weapons of war? Because, in the biblical worldview, raising a family is not a neutral, passive activity. It is an act of strategic, generational combat. The world is contested territory, deeply infected by the lies, the injustice, and the chaotic rebellion of the dark spiritual principalities. When you raise children in the fear and admonition of the Lord, you are intentionally shaping imagers of God, preparing them to push back against the darkness. Consider the nature of an arrow. An arrow is not meant to be kept safely inside the quiver forever. A warrior carefully shapes the shaft, balances the weight, sharpens the arrowhead, and attaches the fletching. All of this meticulous, grueling preparation is done for one specific purpose: to launch the arrow outward, into enemy...

Gigi sits down with Noah to chat about his season at AHS.

Cubby Hoover is a youth pastor based in Missouri. After being introduced to the craft of bow carving by Rick Spicer of Pack Rat Outdoor Center in Arkansas, Cubby began carving primitive bows. He has been carving bows for 8 years and is passionate about outdoor survival skills. Please enjoy this episode of Project Quiver on Salish Wolf with Cubby Hoover.          Episode Links: https://www.instagram.com/cubbersons/https://www.youtube.com/@CubbersonsCustomBowshttps://www.facebook.com/p/Cubbersons-Custom-Bows-100090311585490/https://www.canecreekarchery.com/Project Quiver at Anchor Point ExpeditionsSummary:Join us for an inspiring conversation with Cubby, a self-taught bowyer, bow maker, and outdoor enthusiast with a fascinating journey through archery, wilderness skills, and personal growth. Discover how experiences on "Alone" shaped his perspective, and learn practical insights on bow crafting, self-reliance, and community involvement.Show Notes:Cubby shares his background, including his early nickname and its storyHis introduction to archery through a class with Rick Spicer, and the influence of that momentThe journey from making his first board bow to crafting custom primitive bowsHow his experience on the TV show "Alone" impacted his mental health and skillsThe importance of community, mentorship, and making intentional life choicesTechniques and materials used in traditional bow making, emphasizing Osage and Black Locust woodsInsights into bushcraft skills such as flint knapping, cordage, and using natural materialsHis approach to hunting with primitive gear, and balancing it with modern methodsThe significance of hobbies and passions for mental well-beingResources, favorite tools, and advice for aspiring bowyers and bushcraft enthusiastsFuture projects including local archery events and supporting community initiativesChapters:00:00 - Introduction and episode overview02:14 - Cubby's nickname story and childhood04:50 - Growing up in Missouri and the influence of local woods07:24 - The introduction to Rick Spicer and archery classes09:41 - Starting bow making and inspiration from community mentors12:54 - Building bows from Osage and the progression of craftsmanship18:39 - Cubby's experience on "Alone" and survival challenges22:31 - Critical injury on "Alone" and decision to exit the show27:34 - Reflections on goals, failures, and mental health recovery33:48 - How community, therapy, and outdoor pursuits support well-being36:03 - Transition from hobby to part-time livelihood in bow making41:44 - Engagement with bow and arrow competitions and community events45:42 - Hunting with primitive gear and respect for nature49:34 - Bushcraft skills, natural materials, and self-reliance55:08 - Tools and techniques for traditional bow carving and maintenance62:49 - Material choices: Osage, Black Locust, Hickory, and others66:09 - Finishing touches: overlays, tips, and decorative elements70:55 - Using animals fully: hide processing, bones, and primitive tools76:49 - Current projects, upcoming events, and community involvement82:21 - Final thoughts and connecting with Cubby

This week we're joined by the incredible investigative journalist and author Tal Lavin to talk about Russia, White Supremacy, Sandwiches, and a little magic on the side! Just a super cool conversation with one of the coolest people I've gotten to know. Casual Magic is brought to you by Quiver deckboxes and cases and by my patrons at Patreon.com/shivamb. thank you all for your support!  

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

Luke is a bowyer, naturalist, teacher, rewilder, mentor, survivalist, and founder of Holistic Survival School. Luke has committed his life to mastering and teaching ancestral and indigenous living skills in order to help people find their balance and connection to the Natural World.Please enjoy this episode of Project Quiver on Salish Wolf with Luke McLaughlin.          Episode Links: https://www.holisticsurvivalschool.com/https://www.instagram.com/luke.holistic.survival.school/Project Quiver at Anchor Point ExpeditionsSummary:In this in-depth interview, Luke McLaughlin shares his journey into holistic survival, primitive skills, and bow making. Discover how these ancient practices foster connection, spiritual growth, and resilience in modern life.Show Notes:Holistic survival as a daily practicePrimitive skills for modern lifeThe spiritual and therapeutic aspects of bow making and fire buildingChapters:00:00 Introduction to Holistic Survival School03:52 The Philosophy of Survival in Modern Life06:51 Teaching Methods and Program Structure09:14 The Journey into Bow Building and Hunting12:27 Therapeutic Aspects of Survival Skills15:17 Experiences on Reality TV and Hunting18:20 The Importance of Connection to Nature21:20 Cultural Reflections on Survival and Awareness24:11 Impact of Survival Skills on Students27:06 The Power of Fire Making30:53 Bow Building: A Primal Connection37:32 Harvesting Osage: A Journey of Connection40:40 Flint Knapping: The Art of Arrowheads45:30 Living Off the Land: A Holistic Approach51:45 The Spectrum of Primitive Skills53:58 Rites of Passage and Youth Engagement56:42 Cultural Connections and Community Building01:01:01 Reconnecting with Nature and Ancestral Skills01:05:36 The Importance of Following Your Passion01:11:24 The Art of Bow Making and Attunement

This time we speak to returning guests Eduardo Sajgalik and Sahar Mirhadi to discuss how Team Worldly Council applied psychology and project management techniques to enhance their constructed deck building for Pro Tours! Casual Magic is brought to you by Quiver deckboxes and cases, and by my patrons at patreon.com/shivamb. Thank you for your support.

This week on Bronze and Modern Gods, we've got a mix of modern market movement, deep collector history, and two underrated books that deserve a second look.Hot Book of the Week: We're talking about a true Golden Age grail that's seeing a major surge in activity after big adaptation news hit, including a recent high-grade sale that shows just how serious the top end of this market can get.25 Year Rule: Green Arrow #1 (2001) — the start of “Quiver,” and one of the most memorable early-2000s moments where a celebrity filmmaker writing a mainstream DC title felt like a big pop-culture event. We break down why it mattered, how it went to four printings, and what the market looks like now.Underrated Books of the Week:A modern Image superhero team book that reads like a prestige TV pitch and is cheap enough to grab right now.An overlooked DC giant with a Neal Adams cover that's tougher than it looks in higher grade.Plus: Viewer mail, Show & Tell, and the usual collector talk along the way.#comicbooks #bronzeagecomics #archiecomics #planetary #marvelcomics #comiccollecting #comicspeculation #bronzeandmoderngodsBecome a Member for $2.99/month and get:• Members-only live streams• Bonus Show & Tell episodes• On-screen shoutoutsJOIN → https://www.youtube.com/channel/UCkHTY1eNYHr9JoTndx_m6kA/join

At an early age, Jared Parkinson was introduced to primitive skills by his grandfather, who taught him to nap arrows and make atlatls and his own quiver for arrows. When Jared was 18, his grandfather gifted him a longbow, and from there, Jared's passion for archery and bow making began.Jared is now a bowyer and a basket weaver and is dedicated to a life of primitive survival skills in his home state of Washington.Please enjoy this episode of Project Quiver on Salish Wolf with Jared Parkinson.          Episode Links: https://www.instagram.com/primitive_alchemist/Project Quiver at Anchor Point ExpeditionsShow Notes:Jared's start and evolution in bow making, influenced by family and primitive skillsThe spiritual and meditative qualities of shooting primitive bowsThe significance of ritual, ceremony, and rites of passage in human culturePractical insights into bow carving, design choices, and materialsWilderness therapy as a transformative experience and its influence on Jared's craftThe role of mentorship and community in passing down traditional skillsThe importance of connecting with nature through fire, ritual, and mindful practiceThe impacts of modern distraction and the restorative power of primitive skillsChapters: 00:00 - Introduction and Jared's background in primitive skills and archery 02:07 - How family and early experiences ignited Jared'spassion for bow making 05:12 - Primitive bows versus modern bows: connection and peace 06:55 - The relationship with wood and material selection in bow crafting 08:31 - Exploring different bow styles and materials, and future projects 09:48 - Sourcing and working with various wood species for bows 11:07 - How archery practice serves as a meditative and spiritual ritual 12:42 - The role of breath, focus, and flow in shooting 14:15 - Hunting and wilderness experiences in Washington State 15:54 - Jared's journey through wilderness therapy and its impact on his life 18:25 - Hunting with traditional bows and the emotional connection to animals 21:36 - Jared's personal workshop and his current projects 22:49 - Crafting with natural materials, including quivers and leatherwork 24:45 - The importance of ritual, fire, and community in personal growth 26:48 - The significance of wilderness therapy in Jared's story 28:29 - Wilderness work, safety, and personal development experiences 30:43 - The power of shared fire and storytelling in community building 35:17 - Addressing societal disconnection and the value of ritual and craft 36:50 - The role of tradition in overcoming addiction and societal issues 38:25 - Connection to ancestors, the natural world, and the importance of DIY skills 40:03 - Carving as a meditative process and current craft practices 41:42 - Bow design preferences and wood choices in Jared's work 44:52 - The beauty and significance of horn overlays and traditional adornments 47:54 - Willow basket weaving and foraging for natural materials 50:57 - Jared's side business and the broader value of primitive skills 51:40 - The philosophy behind "Primitive Alchemist" and the pursuit of harmony with nature 53:36 - Mentorship, legacy, and family influence in traditional craft 54:24 - The approach to designing and selecting staves for bows 57:13 - The process of layout and focusing on grain patterns during carving 58:16 - Tools for bow making: draw knives, rasps, and special tools 59:53 - The value of stave presses and heat correction tools 61:30 - Influence of Pacific Northwest styles and native design elements 64:26 - Local woods like ocean spray and sourcing native materials 67:36 - The inspiration from mentors Pete and Jamie, and the cultural revival through bow crafting 71:31 - Traveling and documenting bowyers worldwide as a spiritual and cultural journey 77:59 - The creative process as a way to find purpose, community, and inner peace 80:13 - Archery as healing, mindfulness, and a link to ancestral practices

This time I'm joined by former Magic, Destiny, and Fortnight developer Robert Schuster to discuss the art of game design! Casual Magic is brought to you by Quiver and by my patrons at Patreon.com/shivamb. Thank you for your support!

This week I'm joined by Magic artist Tyler Walpole to discuss his path into making art for the game, and his experience at cons! Casual Magic is brought to you by Quiver, makers of fine deckboxes and cases, and by my patrons at patreon.com/shivamb. Thank you for your support!

Gigi talks with Trenton and Josh from the AHS Baseball Team about the game and how they got started. She even learns a bit about the sport along the way.

Markus Nyström is a Swedish bowyer living near Uppsala who carves under the brand of Barrlind Bows. He sources local woods such as juniper and hazel from farms and forests near his home. Please enjoy this episode of Project Quiver on Salish Wolf with Markus Nyström.          Episode Links: https://www.instagram.com/barrlind_bows/https://www.facebook.com/nilsmarkuspilbagar/Project Quiver at Anchor Point ExpeditionsSummary:Dive into an engaging conversation with Markus Nyström, a Swedish bow maker deeply rooted in forest knowledge, craftsmanship, and sustainable sourcing. Discover how regional forests shape bow making, the importance of local materials, and the philosophy behind this traditional craft.Show Notes:Markus shares his experiences with collecting bow woods in Sweden and the significance of the country's "Allemansrätten" (Right of Public Access).Discussion on the unique properties of Nordic woods like juniper, birch, elm, and how climate and forest management influence wood quality for bows.The impact of forestry practices such as clear-cutting on bow wood availability and the importance of local sourcing and traded staves.Insights into different bow woods: juniper, hazel, elm, and the challenges and benefits of working with them.Techniques and tools for carving soft woods like juniper, including a discussion on minimalism and tool selection.Markus's journey from making a simple youth bow to professional craftsmanship and the role of passion versus income in his work.The role of environmental consciousness and ethical sourcing in sustainable bow making practices.Cultural distinctions and regional differences in bow materials across Europe and North America.Insights on the future of bow making, personal projects, and how the craft remains a meditative and artistic pursuit.Chapters:00:00 - Introduction to Marcus and his Scandinavian background 02:00 - Forests of Sweden: Agriculture, wood sources, and the right to roam 04:20 - Finding suitable bow woods in agricultural fields versus forests 06:00 - The significance of old farms and hedgerows for bow staves 08:00 - Types of woods Marcus works with: juniper, hazel, elm, and others 10:30 - Collecting material from fallen trees and old plantations 13:00 - Working soft woods like juniper and carving techniques 15:30 - Making bows: from beginner to professional and the importance of experience 18:00 - Tools of the trade: rasp, razor blades, and minimalism in carving 21:00 - Journey from hobbyist to craftsman: making bows for income versus passion 24:00 - Sourcing materials across Europe and North America—local versus traded staves 28:00 - Environmental considerations and ethical sourcing of bow woods 33:00 - Cultural differences in bow woods across regions and personal preferences 36:00 - Challenges working with certain woods: cracking, drying, and processing 40:00 - The cultural and spiritual aspects of bow making as an art form 45:00 - The future of bow making and community sharing of knowledge 50:00 - Personal passions, art, and the joy of craft 55:00 - Final tips for aspiring bowyers and respecting forest resources

This time I'm joined by my dear friend, the game developer and cosplayer Milly Wales, to talk about Magic's influence on game design! Casual Magic is brought to you by Quiver deckboxes and cases, the magic marketplace Mana Pool, and by my patrons at patreon.com/shivamb. Thank you for your support!

Steven Bieber is a bowyer based in Florida. Under his brand, Provision Bows, he makes primitive bows for both hunting and target shooting. He is also interested in sustainable food production, herbal medicine, and is a teacher at a Waldorf school. Please enjoy this episode of Project Quiver on Salish Wolf with Steven Bieber.          Episode Links: https://www.instagram.com/provisionlongbows/https://www.youtube.com/@provisionlongbows8881https://www.facebook.com/StevenBieberProject Quiver at Anchor Point ExpeditionsSummary:Discover the fascinating world of traditional bow making through an inspiring conversation with Steven Provision, a master bowyer dedicated to craftsmanship, sustainability, and connecting with nature. This episode explores the deep spiritual and cultural significance of bows, the art of working with natural materials, and the journey of self-discovery involved in creating these iconic instruments.Show Notes:Steven's personal journey into bow making inspired by childhood fascination and Native American traditionsThe relationship between wood, spirit, and the bowyer, emphasizing intuition and mindfulnessTechniques and tools for heat bending and shaping bows, including the use of traditional and modern toolsThe importance of sustainable materials like Osage orange, black locust, and red elmThe spiritual and therapeutic benefits of carving and crafting self bowsThe story of a remarkable healing experience with acupuncture and holistic medicineChallenges of teaching sustainable agriculture and instilling respect for nature in studentsThe impact of community, relationships with wood suppliers, and passion for craftsmanshipChapters:00:00 - Introduction to Steven Provision's journey into bow making02:15 - Childhood influences and early experiments with bows04:50 - The revival of bow making for hunting and self-discovery07:10 - Inspiration from Native American crafts and Ed Scott's legacy10:30 - The spiritual connection with wood and the bowyer's relationship to nature13:45 - Making a whitetail deer hunting bow from personal experience17:00 - Sustainable practices in agriculture and teaching the next generation19:10 - The healing power of holistic medicine and acupuncture in life stories24:40 - Differences in teaching younger vs. older students about nature27:05 - The importance of relationships with wood suppliers and sourcing materials31:55 - The meticulous process of shaping and tillering bows without pulleys36:23 - The influence of cultural stories and personal history on bow design40:10 - Demonstration of different bow styles and designs with technical details45:30 - Creating bows inspired by animal forms, like the Cape Buffalo49:00 - The use of heat bending, tools, and intuition in crafting bows54:00 - Developing a consistent shooting performance and design philosophies60:00 - Parting thoughts on sustainability, community, and the future of bow making76:50 - Closing remarks and where to find Steven's work and upcoming book

Zdenek Lences of Varangian Bowyer has been making selfbows for nearly 6 years in much the same way our ancestors have made them for thousands of years. Based in the highlands of the Czech Republic, he uses uncommon woods, such as blackthorn, hawthorn, and many more. Please enjoy this episode of Project Quiver on Salish Wolf with Zdenek Lences.          Episode Links: https://www.instagram.com/varangianbowyer/https://varangianbowyer.wordpress.com/https://www.youtube.com/@VarangianBowyerProject Quiver at Anchor Point ExpeditionsSummary:Join us for an insightful conversation with Zdenek, a skilled bow maker from the Czech Republic, as he shares his journey into the craft, the challenges of sourcing materials, and his philosophy on tradition and innovation in bow making. Discover the story behind his brand, his favorite woods, and his perspective on archery's deep roots in human history.Show Notes:Zdenek's background in tool renovation and the start of his bow making journey during the COVID pandemicThe variety of woods used for bow crafting, including blackthorn, cherry, elm, and lesser-known speciesChallenges of sourcing materials legally in a small Czech village and environmental considerationsThe philosophy of simplicity versus luxury in bow design, including views on snake-skin overlaysThe influence of European history, castles, festivals, and modern festivals on archery cultureTools and techniques: traditional hand tools, modern machinery, and finishing methodsThe importance of learning from failures and nature in mastering the craftFuture projects, including plans for a new series and ambitions for a workshop and content creationChapters:00:00 - Introduction to Zdenek and his background in Czech Republic 02:25 - Living in a forested area and regional experiences 03:38 - The small community of boyars and their gathering places 04:45 - The origin of the brand name Varenge and Boyar 08:17 - How Zdenek started making bows during COVID 09:54 - The process of selecting suitable woods like cherry, elm, blackthorn 12:02 - Working with lesser-known woods and experimental materials 14:43 - The tools used in bow making, from traditional to modern 17:24 - Struggles with finishes and achieving durability 22:15 - The influence of ancestors and deep-rooted historical connection to archery 24:29 - Modern versus traditional tools and material experimentation 26:11 - Favorite bow styles and inspirations from historical designs 28:00 - Personal preferences on overlays, aesthetics, and craftsmanship philosophy 30:39 - Use of horn overlays, horn types, and logo insights 32:16 - Family involvement and personal background in woodworking 33:54 - Challenges of harvesting wood legally in a small village environment 35:34 - Europe's medieval festivals and European archery culture 36:21 - Differences in land accessibility and public forests between Europe and North America 39:08 - Favorite tools for bow carving and tool collection 43:11 - Challenges in finishing bows and protecting the grain 45:07 - Preferred finishes and protective treatments 46:00 - Resources and educators that influenced Zdenek's craft 47:54 - Workshop setup at his parents' place and future content plans 48:43 - Hunting and practice routines 50:11 - Bows for flight archery and specific woods like hornbeam 52:21 - Future projects including new series and personal goals 53:12 - How to connect with Zdenek online and through festivals 54:40 - Shipping logistics and international markets 56:43 - Closing thoughts and encouragement to follow Zenek's journey

This time I'm joined by the developers of cult classic Caves of Qud, to discuss the impact of Magic on their game design! Live and Drink! Casual Magic is brought to you by Quiver deckboxes and cases, the magic marketplace Mana Pool, and by my patrons at patreon.com/shivamb. Thank you for your support!  

This week I am rejoined by famed fantasy author Seanan McGuire to discuss her forthcoming Strixhaven novel, Omens of Chaos! Casual Magic is brought to you by Quiver deckboxes and cases, the magic marketplace Mana Pool, and by my patrons at patreon.com/shivamb. Thank you for your support!

Jeremy Weber is an avid outdoorsman, hunter, and hobby bowyer. He and his partner, Gwen, manage The Lodge at Water's Edge in Portersville, Pennsylvania - a mid century 80-acre micro-venue nestled in the Slippery Rock Gorge bordered by McConnells Mill State Park. Jeremy created Selfbows at Water's Edge where he offers bow carving experiences with accommodations on the Waters Edge property. Please enjoy this episode of Project Quiver on Salish Wolf with Jeremy Weber.          Episode Links: https://www.instagram.com/selfbows_at_waters_edge/https://www.facebook.com/people/Selfbows-at-Waters-Edge/61569938627847/https://www.instagram.com/the_lodge_at_waters_edge/https://www.thelodgeatwatersedge.com/Project Quiver at Anchor Point ExpeditionsShow Notes:Jeremy's story of the old estate and its transformation into a workshop for bow making and retreatsTechniques for harvesting and seasoning various tree species for bow wood, including American hornbeam, hickory, and OsageThe process of splitting and preparing wood using wedges, draw knives, and shellac preservation methodsExploring different bow styles and experimenting with materials like flowering dogwood, cherry, and elmThe significance of shooting both sides in archery for balance and brain healthThe historical perspective on bows from different eras, including a fascinating account of reconstructing a 17th-century Sudbury Native American bow using hand toolsJeremy's upcoming workshops at Waters Edge in September and how to participateChapters:00:00 - Introduction and overview of Waters Edge lodge and Jeremy's background02:24 - Description of the estate and property features including the main lodge, cabins, and creekside pool plans04:12 - The power of nature: ice chunks from river flood and weather impacts on the land05:13 - Bow carving workshops: schedule, group size, and what participants will learn06:20 - Harvesting trees on the property: identifying species and sustainable practices08:09 - Favorite woods for bow making and the unique characteristics of American hornbeam (muscle wood)09:45 - The process of bark removal and how seasonality affects harvesting11:10 - Comparing American hornbeam and hop hornbeam trees and their suitability for bows13:11 - Jeremy's journey into bow making, family history, and early archery experiences 15:08 - Building bows from different woods and personal experimentation with designs 16:48 - The workshop setup, tools used, and the importance of continual learning in bow craftsmanship 18:33 - On-site accommodations and the structure of a typical bow-making retreat 19:14 - Recommended bow styles for beginners and the forgiving nature of hickory 20:47 - The sequential drying process from felled tree to ready-to-carve stave 22:43 - Techniques for splitting wood with wedges and draw knives, and preserving with shellac 25:41 - Sourcing and working with Osage orange trees outside the property 28:16 - The exciting experience of harvesting Osage from local farms and the snowbound effort 33:16 - Experimentation with different woods like flowering dogwood, cherry, and elm 34:16 - Transition from modern to primitive hunting bows and the spiritual connection in archery 36:11 - Shooting from both sides to develop balance and challenge for the brain 40:23 - Recreating historic bows like the Sudbury bow using traditional tools and techniques 45:43 - Favorite tools for carving and current projects in Jeremy's workshop 47:02 - Jeremy's current bow projects, draw weights, and upcoming builds 48:27 - Challenges with snaky grain and the art of following grain patterns for optimal bows 50:02 - Inspiration from historic bows and making your own based on archeological exemplars 55:50 - How to connect with Jeremy and sign up for the September workshop

This time we are joined by Pro Tour Lorwyn Eclipsed winner Chris Larsen to discuss his path to the top! Casual Magic is brought to you by Quiver deckboxes and cases, the magic marketplace Mana Pool, and by my patrons at patreon.com/shivamb. Thank you for your support!

This time I'm joined by Magic artist Allen Panakal to talk about his adventures in becoming a new artist for the game, and translating genres of art! Casual Magic is brought to you by Quiver deckboxes and cases, the magic marketplace Mana Pool, and by my patrons at patreon.com/shivamb. Thank you for your support!

Lubo Sojak is a passionate craftsman and bowyer who has spent over a decade perfecting his bow making skills. Based in Slovakia, Lubo started his journey in archery through a friend's influence, which sparked a lifelong passion for bow making. Every bow he makes is from a stave that he has personally harvested and seasoned. Please enjoy this episode of Project Quiver on Salish Wolf with Lubo Sojak.          Episode Links: https://www.instagram.com/lubosojak/https://www.facebook.com/people/Luky-L-S/100063498604883/Project Quiver at Anchor Point ExpeditionsSummary:In this conversation, Todd interviews Lubo Sojak, a bowyer from Slovakia, who shares his journey into the world of archery and bow making. Lubo discusses his beginnings, the philosophy behind his craft, and the community of bow makers. He emphasizes the importance of tradition while also valuing innovation in bow making. The conversation also touches on the types of wood he prefers to use and the challenges of harvesting materials in Slovakia. In this conversation, Lubo and Todd delve into the intricacies of bow making, discussing various wood types, their properties, and personal experiences in crafting bows. They explore the significance of rot-resistant woods, the challenges and techniques involved in bow crafting, and the importance of learning from others in the bowyer community. The dialogue also touches on the environmental aspects of bow making, the journey of learning and perfecting the craft, and the diverse styles and methods employed by different bowyers.Show Notes:Lubo does not identify as an archer but as a bow maker.His journey into archery began with a friend's bow.Bow making is a hobby for Lubo, not a profession.He finds peace and joy in the process of making bows.Lubo enjoys sharing his knowledge with others in the bow making community.He prefers using local woods like mulberry and black locust for bow making.Lubo emphasizes the importance of learning from failures in his craft.He believes tradition in bow making is built over time and through experience.The bow making community is supportive and generous across borders.Lubo harvests all his own wood, valuing the connection to his materials. Lubo discusses the challenges of identifying different wood types for bow making.Black locust is noted for its hardness and suitability for fence posts.Rot-resistant woods are commonly used for making durable bows.Personal experiences with various woods enhance the bow crafting process.The environment in Slovakia provides ample resources for bowyers.The journey of learning from different bowyers is invaluable.Different bowyers have unique techniques and styles in crafting bows.Perfection in bow making is subjective and varies among bowyers.The importance of accepting imperfections in crafted bows is highlighted.Community and sharing knowledge among bowyers enrich the craft.Chapters:00:00 Introduction to Lubo Sojak and Archery03:03 The Journey into Bow Making05:48 Hobby vs. Profession: The Bowyer's Life08:59 The Philosophy of Bow Making12:13 Community and Culture in Bow Making15:05 Tradition vs. Innovation in Bow Making18:14 Favorite Bow Types and Techniques20:54 Wood Selection and Harvesting Techniques30:46 Exploring Wood Types for Bow Making33:39 The Role of Rot-Resistant Woods36:20 Personal Experiences with Different Woods41:25 The Environment and Resources for Bowyers44:09 The Journey of Bow Making and Learning51:12 Diverse Techniques and Styles in Bow Making59:00 The Art of Perfection in Bow Crafting

Beloved artist Schmandrew returns to discuss what it was like to do his first art pieces for Magic cards! Casual Magic is brought to you by Quiver deckboxes and cases, the magic marketplace Mana Pool, and by my patrons at patreon.com/shivamb. Thank you for your support!  

This time I'm joined by hyper bubbly cosplay and content creator PeachyPop! We talk about our shared love of Neera and her incredibly cool and utterly destroyed pet deck, made of all damaged cards! Casual Magic is brought to you by Quiver deckboxes and cases, the magic marketplace Mana Pool, and by my patrons at patreon.com/shivamb. Thank you for your support!

The county is launching a community land trust and wants residents to apply for its first board of directors.

This week, we are rejoined by friend of the show Alex Kessler to talk about ruinning a game company and his upcoming kickstarter!   Casual Magic is brought to you by Quiver deckboxes and cases, the magic marketplace Mana Pool, and by my patrons at patreon.com/shivamb. Thank you for your support!

This week we're joined by Gramps of the Casual Compliance podcast to discuss Australia, Ante, and Slivers!  Casual Magic is brought to you by Quiver deckboxes and cases, the magic marketplace Mana Pool, and by my patrons at patreon.com/shivamb. Thank you for your support!

In this episode of Ten Arrows, One Quiver, we sit down with Hugh Peiser, a father of ten to talk about the calling, chaos, and beauty of raising a large family. What does it look like to shepherd ten unique souls under one roof? How do you build unity without losing individuality? And how does a simple dinner table become one of the most strategic battlegrounds for faith and formation?We discuss the power of eating together, why the table matters more than we think, and how daily rhythms shape eternal direction. This conversation explores discipline, laughter, exhaustion, leadership, and the intentional work of raising children to know and love the Lord.Ten arrows. One Quiver. A household aimed with purpose.

The "We Hate Uncle Lewis Club" is back in session for another deep dive into FRIDAY THE 13TH THE SERIES as we discuss "Cupid's Quiver".Love is in the air, and so is murder, because a disturbed college student has gotten his hands on a cursed Cupid statue with the power to make women love him...to death.You can expect-Forty-year-old college students!Unsexy sex scenes!Lasers!Bee Bombs!Wild Wiggery!Updates From Hawaii!!Snarky Yet Wise Commentary From Maya, Trae and Patrick!CUPID's QUIVER is currently available on YouTube.www.screamqueenz.comFollow us on InstagramJoin our YouTube ChannelTheme song: SINISTER (Darkwave Remix) by SAM HAYNESLogo by KASEY LOMAN from EVIL GOODS DESIGNMentioned in this episode:Network Plug with musicThis podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrp

Christopher Applewhaite is a physician, bow hunter, and amateur bowyer living on Salt Spring Island on Canada's west coast. In his workshop overlooking the Salish Sea, he can be found carving bows mostly from yew wood that he has harvested. Please enjoy this episode of Project Quiver on Salish Wolf with Christopher Applewhaite.          Episode Links: https://www.instagram.com/oshosibows/Project Quiver at Anchor Point ExpeditionsSummary:In this conversation, Todd and Christopher Applewhaite delve into the art of bow carving, exploring its therapeutic benefits, the challenges of sourcing wood, and the intimate connection to nature that comes with hunting. Christopher shares his personal journey into bow making, the importance of community support, and his aspirations for the future of his craft. The discussion highlights the craftsmanship involved in bow making, the tools and techniques used, and the ethical considerations surrounding hunting practices.Show Notes:Christopher Applewhaite is a bowyer and archery enthusiast.His journey into bow carving began as a personal interest and evolved into a family project.Bow carving serves as a therapeutic outlet for many, including Christopher.The connection to nature is a significant aspect of hunting and bow making.Community support is vital in the bow making craft.Sourcing quality wood for bow making is becoming increasingly challenging.Tools like draw knives and rasps are essential in the bow carving process.Hunting with traditional bows offers a unique and intimate experience with nature.Sustainability and ethical practices are important in hunting.Christopher aims to continue improving his craft and sharing it with others.Chapters:00:00 Introduction to Christopher Applewhaite03:41 The Journey of Bow Carving06:46 Therapeutic Aspects of Bow Making and Archery09:33 Personal Background and Connection to Nature12:33 The Craft of Bow Making15:34 Community and Collaboration in Bow Making18:30 Challenges of Sourcing Bow Wood21:42 Tools and Techniques in Bow Carving24:34 Hunting Experiences and Practices27:40 Sustainability and Ethical Hunting30:29 Future Aspirations in Bow Making33:39 Conclusion and Final Thoughts

This time I'm joined by the incredible artist Paul Scott Canavan to discuss his path towards painting Magic cards from the highlands of Scotland! Casual Magic is brought to you by Quiver deckboxes and cases, the magic marketplace Mana Pool, and by my patrons at patreon.com/shivamb. Thank you for your support!

This week I'm joined by Magic's great raconteur, Brian David-Marshall, to talk about his new game Cataclysm Arcade! Casual Magic is brought to you by Quiver deckboxes and cases, the magic marketplace Mana Pool, and by my patrons at patreon.com/shivamb. Thank you for your support!

Paul Comstock is a legendary bowyer who began carving more than 40 years ago. Along with coauthors of The Traditional Bowyer's Bible, he helped spark a resurgence in primitive archery and bow making. Prior to contributing to all 4 volumes of the Bowyer's Bible, Paul wrote the popular book The Bent Stick. He has served as a mentor and role model for many of today's most respected bowyers, and he continues to carve bows from his home in Ohio. Please enjoy this episode of Project Quiver on Salish Wolf with Paul Comstock.          Episode Links: The Traditional Bowyer's BibleProject Quiver at Anchor Point ExpeditionsSummary:In this conversation, Todd and Comstock delve into the intricacies of bow making, focusing on the Perry Reflex bow design, the differences between wooden and laminated bows, and the importance of tillering and testing bow performance. Comstock shares personal experiences and insights on how to effectively measure and adjust bow performance, emphasizing the significance of attention to detail in the bow-making process. The discussion also touches on common misconceptions in archery and the value of traditional techniques in modern bow making.Show Notes:The Perry Reflex bow design is unique and effective.Thickness taper is crucial for bow performance.Fiberglass laminated bows have different characteristics than wooden bows.Confusion exists about what constitutes a wooden bow.Using hickory backings requires careful consideration of bow length.Measuring bow performance is essential for safety and effectiveness.Tiller process can be done without elaborate equipment.Attention to detail is key in bow making.Proof testing can help ensure bow integrity.Success in bow making comes from experience and careful practice.Chapters:00:00 Initial Clarifications09:32 Understanding the Perry Reflex Bow15:24 Wooden vs. Laminated Bows26:21 Measuring and Testing Bow Performance32:58 Tiller Process and Techniques42:35 Final Thoughts on Bow Making and Proof Testing

Caleb Flies is a first responder in Oklahoma. He is the owner of Ravenclaw Archery and the host of the Primitive Archery Podcast where he interviews bowyers and archers. He is a passionate traditional bow hunter and regularly competes in 3D archery tournaments. Please enjoy this episode of Project Quiver on Salish Wolf with Caleb Flies.Episode Links: https://www.ravenclawarchery.com/https://www.instagram.com/the_primitive_archery_podcast/https://www.instagram.com/calebflies/https://www.instagram.com/ravenclaw_archery/⁠Project Quiver⁠ at Anchor Point ExpeditionsSummary:In this engaging conversation, Todd and Caleb explore the world of archery and bow making, discussing everything from personal experiences during the holidays to the intricacies of bow design and the community surrounding traditional archery. Caleb shares his journey into bow building, the materials he uses, and the importance of archery in his life, particularly in relation to hunting. The discussion also covers the business side of bow making, tournament shooting, and the significance of events like the Oklahoma Self-Bow Jamboree (OJAM). Throughout the conversation, Caleb emphasizes the passion and craftsmanship involved in creating bows, as well as the importance of preserving the tradition of archery.Show Notes: Todd and Caleb discuss their holiday experiences and family gatherings.Caleb shares insights about his book project on bow making.The conversation highlights the collaboration among bowyers and the learning process.Caleb explains his journey into bow building and the passion behind it.The discussion covers the materials used in bow making and their significance.Caleb emphasizes the importance of archery in his life and its connection to hunting.The business aspect of bow making is explored, including order management.Caleb shares his hunting experiences and techniques for processing game.The conversation touches on tournament shooting and the community surrounding it.OJAM is highlighted as a significant event for bow building and community engagement.Chapters:00:00 Introduction and Holiday Catch-Up02:53 The Book Project: A Journey with Bowyers05:59 Archery Passion: From Hunting to Bow Building08:50 Bow Design: Traditional vs. Primitive12:12 Ravenclaw Archery: The Business of Bow Making14:58 Materials and Techniques in Bow Making17:59 Hunting Experiences and Bow Performance21:00 Tournament Shooting: The Competitive Edge24:03 The Future of Archery and Professional Shooters25:57 The Business of Archery27:46 Ojam: A Community of Bow Makers30:14 Tradition and the Future of Primitive Archery31:37 Balancing Passion and Profession33:34 The Art and Patience of Bow Making39:35 Sustainability and Wood Sourcing46:16 Hunting Practices and Experiences53:35 Connecting with the Archery Community

This time we're joined by pro Magic player Ryan Condon, member of team Sanctum of All to discuss the merits of competitive play, and what it's like being on the Pro Tour! Casual Magic is brought to you by Quiver deckboxes and cases, Mana Pool, and by my patrons at patreon.com/shivamb. Thank you for your support!

This week I have the award winning writer of the Judge Dredd comics, Arthur Wyatt, on to talk about Magic and storytelling! Casual Magic is brought to you by Quiver deckboxes and cases, Mana Pool, and by my patrons at patreon.com/shivamb. Thank you for your support!

Magic's data fiend Sierkovitz returns to the show to discuss his journey through Magic, and the surprising political history of his family! Casual Magic is brought to you by Quiver deckboxes and cases, Mana Pool, and by my patrons at patreon.com/shivamb. Thank you for your support!

Starting off 2026 with a delightful conversation with multiplatform content star Joel of Joel are Magic! Casual Magic is brought to you by Quiver deckboxes and cases, Mana Pool, and by my patrons at patreon.com/shivamb. Thank you for your support!

This week we explore fan art and final fantasy cubes with Interesting MTG Art from bluesky! Casual Magic is brought to you by Archidekt, Quiver, Mana Pool, and by my patrons at patreon.com/shivamb. Thank you for your support!

On this episode of Ask, Tell, Confess, the Coven get real about Bunnie's upcoming book tour and how they're making it anything but a typical live show. The conversation takes a wild turn as they dive into listener-submitted Yelp-style reviews—including a brutal takedown of a cheating husband and a “house review” that turns out to be a literal prison cell. With humor and honesty, they unpack accountability in relationships and the ripple effects of addiction on individuals and families, and invite listeners to submit their own stories for future episodes.Watch Full Episodes & More:YouTubeSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Want to Start or Grow a Successful Business? Schedule a FREE 13-Point Assessment with Clay Clark Today At: www.ThrivetimeShow.com   Join Clay Clark's Thrivetime Show Business Workshop!!! Learn Branding, Marketing, SEO, Sales, Workflow Design, Accounting & More. **Request Tickets & See Testimonials At: www.ThrivetimeShow.com  **Request Tickets Via Text At (918) 851-0102   See the Thousands of Success Stories and Millionaires That Clay Clark Has Helped to Produce HERE: https://www.thrivetimeshow.com/testimonials/ Download A Millionaire's Guide to Become Sustainably Rich: A Step-by-Step Guide to Become a Successful Money-Generating and Time-Freedom Creating Business HERE: www.ThrivetimeShow.com/Millionaire   See Thousands of Case Studies Today HERE: www.thrivetimeshow.com/does-it-work/