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It's that time again. Even numbered years are book reviews, odd-numbered years are non-book reviews, so you're limited to books for now. Write a review of a book. There's no official word count requirement, but previous finalists and winners were often between 2,000 and 10,000 words. There's no official recommended style, but check the style of last time's finalists and winners or my ACX book reviews (1, 2, 3) if you need inspiration. Please limit yourself to one entry per person or team. Then send me your review through this Google Form. The form will ask for your name, email, the title of the book, and a link to a Google Doc. The Google Doc should have your review exactly as you want me to post it if you're a finalist. Don't include your name or any hint about your identity in the Google Doc itself, only in the form. I want to make this contest as blinded as possible, so I'm going to hide that column in the form immediately and try to judge your docs on their merit. (does this mean you can't say something like "This book about war reminded me of my own experiences as a soldier" because that gives a hint about your identity? My rule of thumb is that if I don't know who you are, and the average ACX reader doesn't know who you are, you're fine. I just want to prevent my friends or Internet semi-famous people from getting an advantage. If you're in one of those categories and think your personal experience would give it away, please don't write about your personal experience.) Please make sure the Google Doc is unlocked and I can read it. By default, nobody can read Google Docs except the original author. You'll have to go to Share, then on the bottom of the popup click on "Restricted" and change to "Anyone with the link". If you send me a document I can't read, I will probably disqualify you, sorry. Readers will vote for the ~10 finalists this spring, I'll post one finalist per week through the summer, and then readers will vote for winners in late summer/early fall. First prize will get at least $2,500, second prize at least $1,000, third prize at least $500; I might increase these numbers later on. All winners and finalists will get free publicity (including links to any other works they want me to link to), free ACX subscriptions, and sidebar links to their blog. And all winners will get the right to pitch me new articles if they want (sample posts by Lars, Brandon, Daniel, etc). In past years, most reviews have been nonfiction on technical topics. Depending on whether that's still true, I might do some mild affirmative action for reviews in nontraditional categories - fiction, poetry, and books from before 1900 are the ones I can think of right now, but feel free to try other nontraditional books. I won't be redistributing more than 25% of finalist slots this way. Your due date is May 20th. Good luck! If you have any questions, ask them in the comments. And remember, the form for submitting entries is here. https://www.astralcodexten.com/p/book-review-contest-rules-2026

[Rerun] What is psychodynamic therapy? How does it work exactly? Dr. Kirk Honda presents his favorite therapy model. December 30, 2015 This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/KIRK to get 10% off your first month.Support us by... Become a member: https://www.youtube.com/channel/UCOUZWV1DRtHtpP2H48S7iiw/joinBecome a patron: https://www.patreon.com/PsychologyInSeattleContact us/more info... Email: https://www.psychologyinseattle.com/contactAbout Dr. Kirk: https://www.psychologyinseattle.com/about-dr-kirk-hondaWebsite: https://www.psychologyinseattle.comGet stuff... Merch: https://psychologyinseattle-shop.fourthwall.com/KIRKgram (like Cameo): https://www.psychologyinseattle.com/kirkgramThe Psychology In Seattle Podcast ®Trigger Warning: This episode may include topics such as assault, trauma, and discrimination. If necessary, listeners are encouraged to refrain from listening and care for their safety and well-being. Disclaimer: The content provided is for educational, informational, and entertainment purposes only. Nothing here constitutes personal or professional consultation, therapy, diagnosis, or creates a counselor-client relationship. Topics discussed may generate differing points of view. If you participate (by being a guest, submitting a question, or commenting) you must do so with the knowledge that we cannot control reactions or responses from others, which may not agree with you or feel unfair. Your participation on this site is at your own risk, accepting full responsibility for any liability or harm that may result. Anything you write here may be used for discussion or endorsement of the podcast. Opinions and views expressed by the host and guest hosts are personal views. Although we take precautions and fact check, they should not be considered facts and the opinions may change. Opinions posted by participants (such as comments) are not those of the hosts. Readers should not rely on any information found here and should perform due diligence before taking any action. For a more extensive description of factors for you to consider, please see www.psychologyinseattle.com

[Rerun] Dr. Kirk Honda diagnoses nearly all the characters of Game of Thrones.00:02:05 Aerys II Targaryen 00:24:50 Alliser Thorne 00:31:00 Arya Stark 00:51:16 Bran Stark 00:53:48 Brienne of Tarth 01:00:41 Cersei Lannister 01:17:00 Daenerys Targaryen 01:20:24 Grandmaester Pycelle 01:23:34 Gregor Clegane 01:25:40 Jamie Lannister 01:29:17 Jaqen H'ghar 01:30:55 Joffrey Baratheon 01:36:02 Jon Snow 01:46:22 Jorah Mormont 01:47:45 Lysa Arryn 01:53:13 Melisandre 01:55:30 Oberyn Martell 01:56:55 Petyr Baelish 02:01:11 Ramsay Bolton 02:05:53 Robin Arryn 02:07:42 Sansa Stark 02:09:41 Sandor Clegane 02:13:19 Stannis Baratheon 02:14:32 Theon Greyjoy 02:21:28 Tyrion Lannister 02:29:22 Tywin LannisterJuly 17, 2017This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/KIRK to get 10% off your first month.Support us by... Become a member: https://www.youtube.com/channel/UCOUZWV1DRtHtpP2H48S7iiw/joinBecome a patron: https://www.patreon.com/PsychologyInSeattleContact us/more info... Email: https://www.psychologyinseattle.com/contactAbout Dr. Kirk: https://www.psychologyinseattle.com/about-dr-kirk-hondaWebsite: https://www.psychologyinseattle.comGet stuff... Merch: https://psychologyinseattle-shop.fourthwall.com/KIRKgram (like Cameo): https://www.psychologyinseattle.com/kirkgramThe Psychology In Seattle Podcast ®Trigger Warning: This episode may include topics such as assault, trauma, and discrimination. If necessary, listeners are encouraged to refrain from listening and care for their safety and well-being. Disclaimer: The content provided is for educational, informational, and entertainment purposes only. Nothing here constitutes personal or professional consultation, therapy, diagnosis, or creates a counselor-client relationship. Topics discussed may generate differing points of view. If you participate (by being a guest, submitting a question, or commenting) you must do so with the knowledge that we cannot control reactions or responses from others, which may not agree with you or feel unfair. Your participation on this site is at your own risk, accepting full responsibility for any liability or harm that may result. Anything you write here may be used for discussion or endorsement of the podcast. Opinions and views expressed by the host and guest hosts are personal views. Although we take precautions and fact check, they should not be considered facts and the opinions may change. Opinions posted by participants (such as comments) are not those of the hosts. Readers should not rely on any information found here and should perform due diligence before taking any action. For a more extensive description of factors for you to consider, please see www.psychologyinseattle.com

Judy Blume is one of the most beloved and influential authors of the last century, whose books, including Are You There God? It's Me, Margaret., Forever, Tales of a Fourth Grade Nothing and Summer Sisters, have helped generations of readers navigate growing up. In this conversation from May 2025, Blume sits down with Jenna at Books & Books in Key West, the nonprofit independent bookstore she co-founded, to reflect on a career that spans 29 books, more than 92 million copies sold and translations in 40 languages. Plus, she opens up about her creative process, her connection to readers and the legacy she continues to build. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Our analysts Andrew Sheets and Martijn Rats discuss why a prolonged disruption of oil flow through the Strait of Hormuz would be unprecedented—and nearly impossible for the market to absorb.Read more insights from Morgan Stanley.----- Transcript -----Andrew Sheets: Welcome to Thoughts on the Market. I'm Andrew Sheets, Global Head of Fixed Income Research at Morgan Stanley.Martijn Rats: I'm Martijn Rats, Head of Commodity Research at Morgan Stanley.Andrew Sheets: Today on the program we're going to talk about why investors everywhere are tracking ships through the Strait of Hormuz.It's Wednesday, March 11th at 2pm in London.Andrew Sheets: Martijn, the oil market, which is often volatile, has been historically volatile over the last couple of weeks following renewed military conflict between the United States and Iran.Now, there are a lot of different angles to this, but the oil market is really at the center of the market's focus on this conflict. And so, I think before we get into the specifics, I think it's helpful to set some context. How big is the global oil market and where does the Persian Gulf, the Strait of Hormuz fit within that global picture?Martijn Rats: Yeah, so the global oil consumption is a little bit more than a 100 million barrels a day. But that splits in two parts. There is a pipeline market and there is a seaborne market. And when it comes to prices, the seaborne market is really where it's at. If you're sitting in China, you're buying oil from the Middle East, all of a sudden, it's not available. Sure, if there is a pipeline that goes from Canada into the United States, that doesn't really help you all that much.Andrew Sheets: So, it's the oil on the ships that really matters.Martijn Rats: It's the oil on ships that is the flexible part of the market that we can redirect to where the oil is needed. And that is also the market where prices are formed. The seaborne market is in the order of 60 million barrels a day. So, only a subset of the 100 [million]. Now relative to that 60 million barrel a day, the Strait of Hormuz flows about 20 [million]. So, the Strait of Hormuz is responsible for about a third of seaborne supply, which is, of course, very large and therefore, you know, very critical to the system.Andrew Sheets: And I think an important thing we should also discuss here, which we were just discussing earlier today on another call, is – this is a market that could be quite sensitive to actually quite small disruptions in oil. So, can you give just some sense of sensitivity? I mean, in normal times, what sort of disruptions, in terms of barrels of oil, kind of, move markets; get investors' attention?Martijn Rats: Yeah, look, this is part of why this situation is so unusual, and oil analysts really sort of struggle with this. Look normally, at relative to the 100 million barrels a day of consumption, we care about supply demand imbalances of a couple of 100,000 barrels a day. That becomes interesting.If that, increases to say 1 million barrel a day, over- or undersupplied, you can expect prices to move. You can expect them to move by meaningful amounts. We can write research; the clients can trade. You have a tradable idea in front of you. When that becomes 2 to 3 million barrels a day, either side, you have major historical market moving events.So, in [20]08-09, oil famously fell from over 100 [million] down to something like 30 [million], on the basis that the oil market was 2-2.5 million barrel day oversupplied for two quarters. In 2022, we all thought – this actually never happened, but we all thought that Russia was going to lose about 3 million barrel day of supply. And on that basis, just on the basis of the expectation alone, Brent went to $130 per barrel. So, 2-3 [million] either side you have historically large moves. Now we're talking about 20 [million].Andrew Sheets: And I think that's what's so striking. I mean, again, I think investors, people listening to this, they can do that arithmetic too. If this is a market where 2 to 3 million barrels a day have caused some of the largest moves that we've seen in history, something that's 20 [million] is exceptional. And I think it's also fair to say this type of closure of the Strait [of Hormuz] is something we haven't seen before.Martijn Rats: No, which also made it very hard to forecast, by the way. Because the historical track records did not point in that direction, and yet here we are. The historical track record – look, you can look at other major disruptions historically.The largest disruption in the history of the oil market is the Suez Crisis in the mid-1950s that took away about 10 percent of global oil consumption. This is easily double that. So really unusual. If you look at supply and demand shocks of this order of magnitude, you can think about COVID. In April 2020, for one month, at the peak of COVID, when we're all sitting at home. Nobody driving, nobody flying. Yeah, we lost very briefly 20 million barrels a day of demand. Now we're losing 20 million barrels a day of supply. So, look, the sign is flipped, but it's in the same order of magnitude. And yeah, these are unusual events that you wouldn't actually, sort of, forecast them that easily. But that is what is in front of us at the moment.Andrew Sheets: So, I think the next kind of logical question is if shipping remains disrupted, and I'd love for you to talk a little bit about, you know, you're sitting there with satellite maps on your screen tracking shipping, which is – a development. But, you know, what are the options that are available in the region, maybe globally to temporarily balance this supply and create some offset?Martijn Rats: Yeah. So, like of course when we have a big disruption like this one, of course the market is going to try to solve for this. There are a few blocks that we can work with. I'll run you through them one by one, including some of the numbers. But very quickly you arrive at the conclusion that this is; this puzzle – we can't really solve it.Like in 2022, the market was very stressed. We thought Russia was going to lose 3 million barrels a day of supply, but we could move things around in our supply demand model. Russia oil goes to China and India. Oil that they buy, we can get in Europe, we can move stuff around to kind of sort of solve a puzzle.This puzzle is very, very difficult to solve. So, through the Strait of Hormuz, 15 million barrels a day have crude, 5 million barrels a day of refined product, 20 million barrels a day in total. What can we do?Well, the biggest offset, is arguably the Saudi EastWest pipeline. Saudi Arabia has a pipeline that effectively allows it to ship oil to the Red Sea at the Port of Yanbu, where it can be evacuated on tankers there. That pipeline has a capacity of 7 million barrels a day. We think it was probably already flowing at something like 3 million barrels a day. So, there's probably an incremental 4 [million] that can become available through that. That's the biggest block, that we can see of workaround capacity, so to say.After that the numbers do get smaller. The UAE has a pipeline that goes through Fujairah that's also beyond the Strait of Hormuz. We think there is maybe 0.5 million barrel a day of capacity there. Then you're basically, sort of, done within the region, and you have to look globally for other sources of oil.If there are sanctions relief, maybe on Russian oil, you can find a 0.5 million barrel day there. Here, there and everywhere. 100,000 barrels a day, 200,000 barrels a day. But the numbers get…Andrew Sheets: It's still not… So, if you kind of put all of those, you know, kind of, almost in a best-case scenario relative to the 20 million that's getting disrupted.Martijn Rats: If you add another one or two from a massive SPR release, the fastest release from SPR…Andrew Sheets: That's the Strategic Petroleum Reserve.Martijn Rats: Yeah, exactly. Earlier today, we got an announcement, that the IEA is proposing to release 400 million barrels from Strategic Reserve across its member countries. That is a very large number. But – and that is important. But more important is how fast can it flow because the extraction rate from these tanks is not infinite. The fastest ever rate of SPR release is only 1.3 million barrels a day. Now, maybe the circumstances are so extraordinary, we can do better than that and we can get it to 2 [million]. But beyond that, you're really in very, very uncharted territory.So maybe in the region, work around sanctions relief, SPR release, we can probably find like 7 million barrels a day out of a problem that is 20 [million]. You're left with another 13 [million]. The 13 [million] is four times what we thought Russia would lose. So, you're left with this conclusion: Look, this really needs to come to an end.Andrew Sheets: And the other rebalancing mechanism, which again, you know, when we come back to markets and forecasting, this is obviously price. And, you know, you talk about this idea of demand destruction, which I think we could paraphrase as – the price is higher so people use less of it and then you can rebalance the market that way.But give us just a little sense of, you know, as you and your team are sitting there modeling, how do you think about, kind of, the price of oil? Where it would need to go to – to potentially rebalance this the other way.Martijn Rats: Yeah, that price is very high. So, what it's a[n] really interesting analysis to do is to look at the historical frequency distribution of inflation adjusted oil prices.You take 20 years of oil prices. You convert it all in money of the day, adjusted for inflation, and then simply plot the frequency distribution. What you get is not one single bell curve centered around the middle with some variation around the midpoint. You get, sort of, two partially overlapping bell curves.There is a slightly larger one, which is, sort of, the normal regime. Lower prices, 60, 70, 80 bucks. There's a lot of density there in the frequency distribution, that's where we are normally. What's interesting is that actually, if you go from there to higher prices, there are prices that are actually very rare in inflation adjusted terms.Like a [$] 100-110. In nominal terms, we might feel that that has happened. In inflation adjusted terms, these prices are extremely rare. They are way rarer than prices that live even further to the right. [$]130, 140.The oil market has this other regime of these very high prices. If you go back in history, when did those prices prevail? They always prevailed in periods where we asked the same question. What is the demand destruction price? And yeah, to erode demand by a somewhat meaningful quantity, yeah, you end up in that regime. These very high prices, like [$]130. And it's… It's not a gradual scale. You sort of at one point shoot through these levels and that's where you then end up.Andrew Sheets: It's quite, quite serious stuff.Martijn Rats: Well, yeah. Also, because we can casually say in the oil market, ‘Oh, demand erosion has to be the answer.' But we don't erode demand in isolation. Like, you know, diesel is trucking. Yeah, jet is flying. NAFTA is petrochemicals.Andrew Sheets: These are real core parts of economic activity.Martijn Rats: It's all GDP.Andrew Sheets: So maybe Martijn, in conclusion, let me give you a slightly different scenario. Let's say that the conflict goes on for another couple of weeks, but then there is a resolution. Traffic goes back to normal. Walk us through a little bit of what that would mean. You know, kind of how long does it take to get back to normal in a market like this?Martijn Rats: Yeah. So, if you say, weeks, I would say that is an uncomfortable period of time actually.Andrew Sheets: Feel free to use a slightly different scenario.Martijn Rats: If you say days. Let's say next week something happens, the whole thing comes soon to end. Look, then we will have logistical supply chain issues. But look, we can work through that.There is at the moment somewhat of an air pocket in the global oil supply chain. There should be oil tankers on their way to refineries for arrival in April and May that currently are not. So, we will have hiccups and things need to be rerouted and we draw on some inventories here or there, but… And that will keep commodity prices tense, I would imagine. The equity market will probably look through it.We'll have a month or six weeks, not more than two months, I would imagine of logistical issues to sort out. Look, of course, if that, you know, doesn't happen, then we're back in the scenario that we discussed. But yeah, look, that that's equally true. If it's short, we can sort of live with a disruption.Andrew Sheets: It's fair to say that this is a situation where days really matter, where weeks make a big difference.Martijn Rats: Oh, totally. Look, the oil industry has built in various, sort of, compensatory measures, I think. You know, inventories along the supply chains. But nothing of the scale that can work with this. I mean, this is truly yet another order of magnitude.Andrew Sheets: Martijn, thank you for taking the time to talk.Martijn Rats: My pleasure.Andrew Sheets: And thank you as always for your time. If you find Thoughts on the Market useful, let us know by leaving review wherever you listen. And also tell a friend or colleague about us today.Important note regarding economic sanctions. This report references jurisdictions which may be the subject of economic sanctions. Readers are solely responsible for ensuring that their investment activities are carried out in compliance with applicable laws.

Dr Kirk Honda and Humberto Castaneda dive deep into the psychology of Columbine shooting. March 11, 2026This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/KIRK to get 10% off your first month.Support us by... Become a member: https://www.youtube.com/channel/UCOUZWV1DRtHtpP2H48S7iiw/joinBecome a patron: https://www.patreon.com/PsychologyInSeattleContact us/more info... Email: https://www.psychologyinseattle.com/contactAbout Dr. Kirk: https://www.psychologyinseattle.com/about-dr-kirk-hondaWebsite: https://www.psychologyinseattle.comGet stuff... Merch: https://psychologyinseattle-shop.fourthwall.com/KIRKgram (like Cameo): https://www.psychologyinseattle.com/kirkgramThe Psychology In Seattle Podcast ®Trigger Warning: This episode may include topics such as assault, trauma, and discrimination. If necessary, listeners are encouraged to refrain from listening and care for their safety and well-being. Disclaimer: The content provided is for educational, informational, and entertainment purposes only. Nothing here constitutes personal or professional consultation, therapy, diagnosis, or creates a counselor-client relationship. Topics discussed may generate differing points of view. If you participate (by being a guest, submitting a question, or commenting) you must do so with the knowledge that we cannot control reactions or responses from others, which may not agree with you or feel unfair. Your participation on this site is at your own risk, accepting full responsibility for any liability or harm that may result. Anything you write here may be used for discussion or endorsement of the podcast. Opinions and views expressed by the host and guest hosts are personal views. Although we take precautions and fact check, they should not be considered facts and the opinions may change. Opinions posted by participants (such as comments) are not those of the hosts. Readers should not rely on any information found here and should perform due diligence before taking any action. For a more extensive description of factors for you to consider, please see www.psychologyinseattle.com

Let's see how much we can pack in! Today, we're diving into the egg controversy and what omega-6 testing, feed supplementation, and egg license numbers actually mean. We also discuss insulin resistance, dark circles and eyesight after 40, salt choices, and share nuanced thoughts on GLP-1s. It's a big-picture conversation about food transparency, metabolism, and midlife shifts.Timestamps:[1:35] Welcome [12:10] Egg conversion[30:07] Can we do a dive into insulin resistance? It sounds easy, but it's overwhelming I'm not sure where to start.[46:21] I have dark circles under the eyes every morning after waking up even if I feel like I got the best sleep ever. Is there something deeper happening?[56:07] Now that I'm 40, I'm realizing my eyesight is not what it was. Are there any ways to heal your eyes without getting glasses, will readers make my eyesight worse, and I would love recommendations for readers with blue light blockers.[1:05:19] I still use table salt with iodine because I'm not sure of another sufficient source of iodine. I'd love to use natural salt. What are your thoughts?[1:11:40] What do y'all think about GLP-1's, specifically as a treatment for PCOS?Episode Links:Instagram Reel: how to shop for eggs Noelle's SubstackStefani's SubstackSponsors:Go to drinklmnt.com/wellfed and use code WELLFED to get a free 8-pack with any drink mix purchase!Go to boncharge.com/WELLFED and use coupon code WELLFED to save 15% off any order.Go to http://mdlogichealth.com/smartbrain, and use coupon code WELLFED for 10% off.Go to wellminerals.us/creatine and use code WELLFED to get 10% off your order.

Dr Kirk Honda and Humberto Castaneda dive deep into the psychology of Columbine shooting. March 10, 2026This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/KIRK to get 10% off your first month.Support us by... Become a member: https://www.youtube.com/channel/UCOUZWV1DRtHtpP2H48S7iiw/joinBecome a patron: https://www.patreon.com/PsychologyInSeattleContact us/more info... Email: https://www.psychologyinseattle.com/contactAbout Dr. Kirk: https://www.psychologyinseattle.com/about-dr-kirk-hondaWebsite: https://www.psychologyinseattle.comGet stuff... Merch: https://psychologyinseattle-shop.fourthwall.com/KIRKgram (like Cameo): https://www.psychologyinseattle.com/kirkgramThe Psychology In Seattle Podcast ®Trigger Warning: This episode may include topics such as assault, trauma, and discrimination. If necessary, listeners are encouraged to refrain from listening and care for their safety and well-being. Disclaimer: The content provided is for educational, informational, and entertainment purposes only. Nothing here constitutes personal or professional consultation, therapy, diagnosis, or creates a counselor-client relationship. Topics discussed may generate differing points of view. If you participate (by being a guest, submitting a question, or commenting) you must do so with the knowledge that we cannot control reactions or responses from others, which may not agree with you or feel unfair. Your participation on this site is at your own risk, accepting full responsibility for any liability or harm that may result. Anything you write here may be used for discussion or endorsement of the podcast. Opinions and views expressed by the host and guest hosts are personal views. Although we take precautions and fact check, they should not be considered facts and the opinions may change. Opinions posted by participants (such as comments) are not those of the hosts. Readers should not rely on any information found here and should perform due diligence before taking any action. For a more extensive description of factors for you to consider, please see www.psychologyinseattle.com

SubtitleIn this Episode Christy Wilhelmy, founder of Garden Nerd and author of multiple gardening books, returns to discuss her upcoming novel Bolting to Seed. The book is the sequel to her debut garden novel Garden Variety and blends gardening education with a cozy mystery storyline set in a community garden. Christy shares how real-life community garden experiences inspired her fiction, how she structures a mystery novel, and why she chose to independently publish the sequel through Kickstarter. Along the way, she highlights how storytelling can inspire people to start gardening, even if they've never grown food before.Our Guest: Christy is the founder of Garden Nerd, the ultimate resource for garden nerds, where she publishes newsletters, her popular blog. Top ranked podcast and YouTube videos. She also specializes in small space, organic vegetable garden design, consulting, and classes. Between 50 and 70% of her family's produce comes from her garden of less than 300 square feet. She is the author of High Yield Small Space Organic Gardening, 400 plus Tips for Organic Gardening Success, Grow Your Own Mini Fruit Garden and her debut novel Garden variety.Key TopicsChristy WilhelmyGarden NerdBolting to Seed novelGarden Variety novelCommunity gardens as storytelling inspirationIndependent publishing and Kickstarter campaignsCozy mystery genreGardening education embedded in fictionSmall space organic vegetable gardeningScrivener writing softwareThrips damage on citrus and nectarinesBeneficial insects and insectary plantsLacewings and minute pirate bugsBiological pest control in gardensKey Questions AnsweredHow did Christy Wilhelmy move from gardening books into writing fiction?Christy spent more than 27 years gardening in a community garden and realized the setting was full of unique personalities and stories. She began collecting ideas over time and eventually turned those experiences into her debut novel Garden Variety, a rom-com set in a Los Angeles community garden.What is the new novel Bolting to Seed about?The sequel takes place a year after Garden Variety and focuses on late spring and summer in the same community garden. The story blends gardening lessons with a cozy mystery: a murder occurs, and the characters must solve the case while navigating community garden life.Why did Christy decide to self-publish the new book?After her agent shopped the manuscript to traditional publishers for nearly a year, she learned that publishers were hesitant to buy sequels unless the first book was a major bestseller. Rather than wait indefinitely, she chose independent publishing to maintain creative control and move the project forward.How does Christy structure a mystery novel?She approaches writing as a “planner.” She outlines the story in advance, maps out character arcs, and lists key scenes that must happen to move the plot forward. Using Scrivener, she writes scenes separately and rearranges them until the structure works, filling in gaps and transitions as the story develops.How are gardening lessons included in the novel?Christy intentionally makes a list of gardening topics she wants to teach—usually around ten lessons—and integrates them naturally into the storyline. At the end of the book, readers will also find a growing guide summarizing the key gardening takeaways.What is the Kickstarter campaign supporting?The Kickstarter helps cover the expenses of independent publishing, including editing, cover design, layout, printing, and marketing. Supporters can pledge at different levels to receive rewards like signed books, custom seed packets, tote bags, virtual launch party tickets, and even cameo appearances in future novels.How can beneficial insects help manage thrips damage?Thrips can scar citrus and other fruit during the flowering stage. Encouraging beneficial insects like lacewings and minute pirate bugs through insectary plantings can help control thrips populations naturally.Episode HighlightsChristy shares how decades in a community garden inspired her first novel.Bolting to Seed shifts genres from romantic comedy to a cozy mystery.The sequel introduces new characters and a detective investigating a garden-related murder.Readers can learn gardening techniques while following the story.Christy explains the difference between “planner” and “pantser” writing styles.Independent publishing allows her to design the book exactly how she wants.The Kickstarter campaign includes creative rewards such as appearing in a future novel.Beneficial insect habitats can naturally manage pests like thrips.ResourcesGarden Nerd — https://gardennerd.comKickstarter campaign for Bolting to Seed — https://gardennerd.comPodcast show notes — https://urbanfarm.org/BoltingTwoSeed Need a little bit of advice or just a feedback on your design for your yard or garden?The Urban Farm Team is offering consults over the phone or zoom. Get the benefits of a personalized garden and yard space analysis without the cost of trip charges.You can chat with Greg or choose one of the senior members of our Urban Farm team to get permaculture based feedback.Click HERE to learn more!*Disclosure: Some of the links in our podcast show notes and blog posts are affiliate links and if you go through them to make a purchase, we will earn a nominal commission at no cost to you. We offer links to items recommended by our podcast guests and guest writers as a service to our audience and these items are not selected because of the commission we receive from your purchases. We know the decision is yours, and whether you decide to buy something is completely up to you.

Bill Powers interviews resource fund manager Adrian Day about market volatility tied to war in Iran, comparisons to the late 1970s, and positioning in gold, oil, and commodities. Day argues the U.S. is moving into stagflation as employment and retail weaken while inflation remains stubborn, citing issues with unemployment data, rising credit card debt, and consumers trading down. He explains gold often rises before geopolitical events and then sells off as profits are taken, while remaining bullish on gold over the next 6–12 months. On oil, he says the oil stocks have rerated and are not especially cheap, so he has been selling oil stocks recently. Day expects commodities to benefit from underinvestment cycles and discusses copper supply constraints, demand risks from EVs and data centers, and his investment in Lara Exploration. 00:00 Intro 00:29 War Iran and 70s Echoes 01:42 Why Gold Shrugs Off War 04:12 Long Term Gold Bull Case 04:49 Oil Setup and ESG Headwinds 07:31 Stagflation Jobs and Spending 13:57 Inflation Reality Check 16:00 Commodities and Supply Cycles 18:27 Copper Shortage and Substitution 20:14 EVs Data Centers Demand Debate 25:11 Copper Investing and Recycling 28:00 How to Play Gold Stocks 35:37 Lara Exploration Thesis 39:44 Website Resources and Wrap Up https://adriandayassetmanagement.com/ Sign up for our free newsletter and receive interview transcripts, stock profiles and investment ideas: http://eepurl.com/cHxJ39 Mining Stock Education (MSE) offers informational content based on available data but it does not constitute investment, tax, or legal advice. It may not be appropriate for all situations or objectives. Readers and listeners should seek professional advice, make independent investigations and assessments before investing. MSE does not guarantee the accuracy or completeness of its content and should not be solely relied upon for investment decisions. MSE and its owner may hold financial interests in the companies discussed and can trade such securities without notice. If you buy stock in a company featured on MSE, for your own protection, you should assume that it is MSE's owner personally selling you that stock. MSE is biased towards its advertising sponsors which make this platform possible. MSE is not liable for representations, warranties, or omissions in its content. By accessing MSE content, users agree that MSE and its affiliates bear no liability related to the information provided or the investment decisions you make. Full disclaimer: https://www.miningstockeducation.com/disclaimer/

Episode 2.89Mark's Sandwiches: How the Gospel of Mark Uses Interruptions to Teach TheologyIn this episode of Narrative Juxtaposition: How the Bible Speaks Through Story Placement, Michael and Zach examine one of the most distinctive literary techniques in the Gospel of Mark—often called the “Markan sandwich.”Readers frequently notice that Mark begins one story, suddenly interrupts it with another, and then returns to the original narrative. At first glance the structure can feel abrupt or even chaotic. But when read carefully, these interruptions reveal deliberate narrative design. Mark places one story inside another so that each interprets the other.We explore several of the clearest examples. In Mark 5, the healing of the bleeding woman interrupts the urgent mission to save Jairus's daughter, showing that faith remains meaningful even when God's timing includes delay. In Mark 11, the cursing of the fig tree frames the cleansing of the temple, revealing the fig tree as a symbolic judgment on fruitless religion. And in Mark 6, the joyful mission of the Twelve is interrupted by the execution of John the Baptist, reminding readers that faithful proclamation often leads to suffering.Throughout the episode we show how Mark communicates theology not primarily through explanation but through narrative placement. The Gospel's structure forces the reader to slow down and hold multiple scenes together, allowing the stories themselves to interpret one another.By paying attention to how the stories are arranged, readers begin to see that the interruptions are not distractions—they are the interpretation.Find our videocast here: https://youtu.be/MmElw3Zd0fAMerch here: https://take-2-podcast.printify.me/Music from #Uppbeat (free for Creators!):⁠https://uppbeat.io/t/reakt-music/deep-stone⁠License code: 2QZOZ2YHZ5UTE7C8Find more Take 2 Theology content at http://www.take2theology.com

In this episode of The Growing Readers Podcast, host Bianca Schulze welcomes acclaimed children's book author and retired philosophy professor Claudia Mills to discuss her hilarious, heartfelt new middle grade novel, Calliope Callisto Clark and the Search for Wisdom.Claudia shares how her decades of teaching philosophy finally collided with her lifelong passion for children's literature—and how a girl with a very big name, a very big personality, and a very beloved dog became the perfect vessel for bringing Socrates, Plato, and Epictetus to young readers.From writing one hour a day with an hourglass to championing the humanities at a time when they're under siege, Claudia reveals why wisdom truly belongs to everybody, how she crafted a character who genuinely needs philosophy rather than just stumbling upon it, and why Epictetus—a formerly enslaved Stoic philosopher—might be the most relevant thinker for an eleven-year-old living today. Whether you're a parent of a kid who's been called "too much," an educator looking to bring critical thinking into the classroom through story, or a reader who has ever felt like they're living their own Greek tragedy, this conversation is a warm and wise celebration of seekers everywhere.Read the transcript on ⁠The Children's Book Review (coming soon)⁠.Highlights:Dinner with a Philosopher: Why Claudia would invite Epictetus over Socrates or Plato—and what that reveals about the heart of the bookThe Hourglass Method: How writing exactly one hour a day—timed with an actual hourglass—has powered 60+ books over decades, and why stopping is just as important as startingA Character Who Really Needs the Wisdom: Why Callie's high emotional stakes—lose the philosophy, lose the dog—made her the ideal guide through big philosophical questionsAncient Ideas, Modern Kids: How the Ring of Gyges, Socratic ignorance, and Epictetus's two-bucket theory of control translate naturally into an eleven-year-old's very real problemsThe Philosophy Club: Why Claudia designed an adult mediator into the story—and how even the most reluctant seekers end up finding their way inSTEAMH, Not STEAM: Claudia's passionate case for putting the humanities back at the center of education—and why philosophy is the original critical thinking courseA Love Letter to Seekers: What a Kirkus review got exactly right, and why the community of people asking hard questions might be the most powerful community of allNotable Quotes:"True wisdom is learning how to live well." —Claudia Mills"Philosophers are the grownups who keep on asking the questions the other grownups have stopped asking." —Claudia MillsBooks Mentioned:Calliope Callisto Clark and the Search for Wisdom by Claudia Mills: ⁠Amazon⁠ or ⁠Bookshop.org⁠The Lost Language by Claudia Mills: ⁠Amazon⁠ or ⁠Bookshop.org⁠The Last Apple Tree by Claudia Mills: ⁠Amazon⁠ or ⁠Bookshop.org⁠About Claudia Mills:Claudia Mills is the author of more than 60 books for young readers, including the After-School Superstars chapter book series and the middle grade novels The Lost Language and The Last Apple Tree. A professor emerita of philosophy at the University of Colorado Boulder, she brings a philosopher's love of big questions and a lifelong reader's ear for language to every book she writes. Calliope Callisto Clark and the Search for Wisdom is a Junior Library Guild Gold Standard Selection. Visit https://www.claudiamillsauthor.com/Download the Calliope Callisto Clark and the Search for Wisdom Discussion Guide here.Credits:Host: Bianca SchulzeGuest: Claudia MillsAudio Editor: Kelly RinkProducer: Bianca Schulze

Dr Kirk Honda and Humberto Castaneda dive deep into the psychology of Columbine shooting. March 9, 2026 This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/KIRK to get 10% off your first month.Support us by... Become a member: https://www.youtube.com/channel/UCOUZWV1DRtHtpP2H48S7iiw/joinBecome a patron: https://www.patreon.com/PsychologyInSeattleContact us/more info... Email: https://www.psychologyinseattle.com/contactAbout Dr. Kirk: https://www.psychologyinseattle.com/about-dr-kirk-hondaWebsite: https://www.psychologyinseattle.comGet stuff... Merch: https://psychologyinseattle-shop.fourthwall.com/KIRKgram (like Cameo): https://www.psychologyinseattle.com/kirkgramThe Psychology In Seattle Podcast ®Trigger Warning: This episode may include topics such as assault, trauma, and discrimination. If necessary, listeners are encouraged to refrain from listening and care for their safety and well-being. Disclaimer: The content provided is for educational, informational, and entertainment purposes only. Nothing here constitutes personal or professional consultation, therapy, diagnosis, or creates a counselor-client relationship. Topics discussed may generate differing points of view. If you participate (by being a guest, submitting a question, or commenting) you must do so with the knowledge that we cannot control reactions or responses from others, which may not agree with you or feel unfair. Your participation on this site is at your own risk, accepting full responsibility for any liability or harm that may result. Anything you write here may be used for discussion or endorsement of the podcast. Opinions and views expressed by the host and guest hosts are personal views. Although we take precautions and fact check, they should not be considered facts and the opinions may change. Opinions posted by participants (such as comments) are not those of the hosts. Readers should not rely on any information found here and should perform due diligence before taking any action. For a more extensive description of factors for you to consider, please see www.psychologyinseattle.com

How do you capture something as enormous and personal as the feeling of “home” in a book? How can you navigate the chaotic discovery period in writing something new? With Roz Morris. In the intro, KU vs Wide [Written Word Media]; Podcasts Overtake Radio, book marketing implications [The New Publishing Standard]; Tips for podcast guests; The Vatican embraces AI for translation, but not for sermons [National Catholic Reporter]; NotebookLM; Self-Publishing in German; Bones of the Deep. This episode is sponsored by Publisher Rocket, which will help you get your book in front of more Amazon readers so you can spend less time marketing and more time writing. I use Publisher Rocket for researching book titles, categories, and keywords — for new books and for updating my backlist. Check it out at www.PublisherRocket.com This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Roz Morris is an award-nominated literary fiction author, memoirist, and previously a bestselling ghostwriter. She writes writing craft books for authors under the Nail Your Novel brand, and is also an editor, speaker, and writing coach. Her latest travel memoir is Turn Right at the Rainbow: A Diary of House-Hunting, Happenstance & Home. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How being an indie author has evolved over 15 years, from ebooks-only to special editions, multi-voice audiobooks and tools to help with everything Why “home” is such a powerful emotional theme and how to turn personal experiences into universal memoir Practical craft tips on show-don't-tell, writing about real people, and finding the right book title The chaotic discovery writing phase — why some books take seven years and why that's okay Building a newsletter sustainably by finding your authentic voice (and the power of a good pet story) Low-key book marketing strategies for memoir, including Roz's community-driven “home” collage campaign You can find Roz at RozMorris.org. Transcript of the interview with Roz Morris JOANNA: Roz Morris is an award-nominated literary fiction author, memoirist, and previously a bestselling ghostwriter. She writes writing craft books for authors under the Nail Your Novel brand, and is also an editor, speaker, and writing coach. Her latest travel memoir is Turn Right at the Rainbow: A Diary of House-Hunting, Happenstance & Home. Welcome back to the show, Roz. ROZ: Hi, Jo. It's so lovely to be back. I love that we managed to catch up every now and again on what we're doing. We've been doing this for so long. JOANNA: In fact, if people don't know, the first time you came on this show was 2011, which is 15 years. ROZ: I know! JOANNA: It is so crazy. I guess we should say, we do know each other in person, in real life, but realistically we mainly catch up when you come on the podcast. ROZ: Yes, we do, and by following what we're doing around the web. So I read your newsletters, you read mine. JOANNA: Exactly. So good to return. You write all kinds of different things, but let's first take a look back. The first time you were on was 2011, 15 years ago. You've spanned traditional and indie, you've seen a lot. You know a lot of people in publishing as well. What are the key things you think have shifted over the years, and why do you still choose indie for your work? ROZ: Well, lots of things have shifted. Some things are more difficult now, some things are a lot easier. We were lucky to be in right at the start and we learned the ropes and managed to make a lot of contacts with people. Now it's much more difficult to get your work out there and noticed by readers. You have to be more knowledgeable about things like marketing and promotions. But that said, there are now much better tools for doing all this. Some really smart people have put their brains to work about how authors can get their work to the right readers, and there's also a lot more understanding of how that can be done in the modern world. Everything is now much more niche-driven, isn't it? People know exactly what kind of thriller they like or what kind of memoir they like. In the old days it was probably just, “Well, you like thrillers,” and that could be absolutely loads of things. Now we can find far better who might like our work. The tools we have are astonishing. To start with, in about 2011, we could only really produce ebooks and paperbacks. That was it. Anything else, you'd have to get a print run that would be quite expensive. Now we can get amazing, beautiful special editions made. We can do audiobooks, multi-voice audiobooks. We can do ebooks with all sorts of enhancements. We can even make apps if we want to. There's absolutely loads that creators can do now that they couldn't before, so it's still a very exciting world. JOANNA: When we first met, there was still a lot of negativity here in the UK around indie authors or self-publishing. That does feel like it's shifted. Do you think that stigma around self-publishing has changed? ROZ: I think it has really changed, yes. To start with, we were regarded as a bit of the Wild West. We were just tramping in and making our mark in places that we hadn't been invited into. Now it's changed entirely. I think we've managed to convince people that we have the same quality standards. Readers don't mind—I don't think the readers ever minded, actually, so long as the book looked right, felt right, read right. It's much easier now. It's much more of a level playing field. We can prove ourselves. In fact, we don't necessarily have to prove ourselves anymore. We just go and find readers. JOANNA: Yes, I feel like that. I have nothing to prove. I just get on with my work and writing our books and putting them out there. We've got our own audiences now. I guess I always think of it as perhaps not a shadow industry, but almost a parallel industry. You have spanned a lot of traditional publishing and you still do editing work. You know a lot of trad pub authors too. Do you still actively choose indie for a particular reason? ROZ: I do. I really like building my own body of work, and I'm now experienced enough to know what I do well, what I need advice with, and help with. I mean, we don't do all this completely by ourselves, do we? We bring in experts who will give us the right feedback if we're doing a new genre or a genre that's new to us. I choose indie because I like the control. Because I began in traditional publishing—I was making books for other people—I just learned all the trades and how to do everything to a professional standard. I love being able to apply that to my own work. I also love the way I can decide what I'm going to write next. If I was traditionally published, I would have to do something that fitted with whatever the publisher would want of me, and that isn't necessarily where my muse is taking me or what I've become interested in. I think creative humans evolve throughout their lives. They become interested in different things, different themes, different ways of expressing themselves. I began by thinking I would just write novels, and now I've found myself writing memoirs as well. That shift would have been difficult if someone else was having to make me fit into their marketing plans or what their imprint was known for. But because I've built my own audience, I can just bring them with me and say, “You might like this. It's still me. I'm just doing something different.” JOANNA: I like that phrase: “creative humans.” That's what we are. As you say, I never thought I would write a memoir, and then I wrote Pilgrimage, and I think there's probably another one on its way. We do these different things over time. Let's get into this new book, Turn Right at the Rainbow. It's about the idea of home. I've talked a lot about home on my Books And Travel Podcast, but not so much here. Why is home such an emotional topic, for both positive and negative reasons? Why did you want to explore it? ROZ: I think home is so emotional because it grows around you and it grows on you very slowly without you really realising it. As you are not looking, you suddenly realise, “Oh, it means such a lot.” I love to play this mind game with myself—if you compare what your street looks like to you now and how it looked the first time you set eyes on it, it's a world of difference. There are so many emotional layers that build up just because of the amount of time we spend in a place. It's like a relationship, a very slow-growing friendship. And as you say, sometimes it can be negative as well. I became really fascinated with this because we decided to move house and we'd lived in the same house for about 30 years, which is a lot of time. It had seen a lot of us—a lot of our lives, a lot of big decisions, a lot of good times, a lot of difficult times. I felt that was all somehow encapsulated in the place. I know that readers of certain horror or even spiritual fiction will have this feeling that a place contains emotions and pasts and all sorts of vibes that just stay in there. When we were going around looking at a house to buy, I was thinking, “How do we even know how we will feel about it?” We're moving out of somewhere that has immense amounts of feelings and associations, and we're trying to judge whether somewhere else will feel right. It just seemed like we were making a decision of cosmic proportions. It comes down so much to chance as well. You're not only just deciding, “Okay, I'd like to buy that one,” and pressing a button like on eBay and you've won it. It doesn't happen like that. There are lots of middle steps. The other person's got to agree to sell to you, not do the dirty on you and sell to someone else. You've got all sorts of machinations going on that you have no idea about. And you only have what's on offer—you only get an opportunity to buy a place because someone else has decided to let it go. All this seemed like immense amounts of chance, of dice rolling. I thought, yet we end up in these places and they mean so much to us. It just blew my mind. I thought, “I've got to write about this.” JOANNA: It's really interesting, isn't it? I really only started using the word “home” after the pandemic and living here in Bath. We had luckily just bought a house before then, and I'd never really considered anywhere to be a home. I've talked about this idea of third culture kids—people who grow up between cultures and don't feel like there's a home anywhere. I was really interested in your book because there's so much about the functional things that have to happen when you move house or look for a house, and often people aren't thinking about it as deeply as you are. So did you start working on the memoir as you went to see places, or was it something you thought about when you were leaving? Was it a “moving towards” kind of memoir or a “sad nostalgia” memoir? ROZ: Well, it could have been very sad and nostalgic because I do like to write really emotional things, and they're not necessarily for sharing with everybody, but I was very interested in the emotions of it. I started keeping diaries. Some of them were just diaries I'd write down, some of them were emails I'd send to friends who were saying, “How's it going?” And then I'd find I was just writing pieces rather than emails, and it built up really. JOANNA: It's interesting, you said you write emotional things. We mentioned nostalgia, and obviously there are memories in the home, but it's very easy to say a word like “nostalgia” and everyone thinks that means different things. One of the important things about writing is to be very specific rather than general. Can you give us some tips about how we can turn big emotions into specific written things that bring it alive for our readers? ROZ: It's really interesting that you mention nostalgia, because what we have to be careful of is not writing just for ourselves. It starts with us—our feelings about something, our responses, our curiosities—but we then have to let other people in. There's nothing more boring than reading something that's just a memoir manuscript that doesn't reach out to anyone in any way. It's like looking through their holiday snaps. What you have to do is somehow find something bigger in there that will allow everyone to connect and think, “Oh, this is about me too,” or “I've thought this too.” As I said, we start with things that feel powerful and important for us, and I think we don't necessarily need to go looking for them. They emerge the more deeply we think about what we're writing. We find they're building. Certainly for me, it's what pulls me back to an idea, thinking, “There's something in this idea that's really talking to me now. What is it?” Often I'll need to go for walks and things to let the logical mind turn off and ideas start coming in. But I'll find that something is building and it seems to become more and more something that will speak to others rather than just to me. That's one way of doing it—by listening to your intuition and delving more and more until you find something that seems worth saying to other people. But you could do it another way. If you decided you wanted to write a book about home, and you'd already got your big theme, you could then think, “Well, how will I make this into something manageable?” So you start with something big and build it into smaller-scale things that can be related to. You might look at ideas of homes—situations of people who have lost their home, like the kind of displacement we see at the moment. Or we might look at another aspect, such as people who sell homes and what they must feel like being these go-betweens between worlds, between people who are doing these immense changes in their lives. Or we might think of an ecological angle—the planet Earth and what we're doing to it, or our place in the cosmos. We might start with a thing we want to write about and then find, “How are we going to treat it?” That usually comes down to what appeals to us. It might be the ecological side. It might be the story of a few estate agents who are trying to sell homes for people. Or it might be like mine—just a personal story of trying to move house. From that, we can create something that will have a wider resonance as well as starting with something that's personally interesting to you. The big emotions will come out of that wider resonance. JOANNA: Trying to go deeper on that— It's the “show, don't tell” idea, isn't it? If you'd said, “I felt very sad about leaving my house” or “I felt very sad about the prospect of leaving my house,” that is not a whole book. ROZ: Yes. It's why you felt sad, how you felt sad, what it made you think of. That's a very good point about “show, don't tell,” which is a fundamental writing technique. It basically tells people exactly how you feel about a particular thing, which is not the same as the way anyone else would feel about it—but still, curiously, it can be universal and something that we can all tap into. Funnily enough, by being very specific, by saying, “I realised when we'd signed the contract to sell the house that it wasn't ours anymore, and it had been, and I felt like I was betraying it,” that starts to get really personal. People might think, “Yes, I felt like that too,” or “I hadn't thought you'd feel like that, but I can understand it.” Those specifics are what really let people into the journey that you're taking them on. JOANNA: And isn't this one of the challenges, that we're not even going to use a word like “sad,” basically. ROZ: Yes. It's like, who was it who said, “Don't tell me if they got wet—tell me how it felt to get wet in that particular situation.” Then the reader will think, “Oh yes, they got wet,” but they'll also have had an experience that took them somewhere interesting. JOANNA: Yes. Show me the raindrops on the umbrella and the splashing through the puddles. I think this is so important with big emotions. Also, when we say nostalgia—we've talked before about Stranger Things and Kate Bush and the way Stranger Things used songs and nostalgia. Oh, I was watching Derry Girls—have you seen Derry Girls? ROZ: No, I haven't yet. JOANNA: Oh, it's brilliant. It's so good. It's pretty old now, but it's a nineties soundtrack and I'm watching going, “Oh, they got this so right.” They just got it right with the songs. You feel nostalgic because you feel an emotion that is linked to that music. It makes you feel a certain way, but everyone feels these things in different ways. I think that is a challenge of fiction, and also memoir. Certainly with memoir and fiction, this is so important. ROZ: Yes, and I was just thinking with self-help books, it's even important there because self-help books have to show they understand how the reader is feeling. JOANNA: Yes, and sometimes you use anecdotes to do that. Another challenge with memoir—in this book, you're going round having a look at places, and they're real places and there are real people. This can be difficult. What are things that people need to be wary of if using real people in real places? Do you need permissions for things? ROZ: That book was particularly tricky because, as you said, I was going around real places and talking about real people. With most of them, they're not identifiable. Even though I was specific about particular aspects of particular houses, it would be very hard for anyone to know where those houses were. I think possibly the only way you would recognise it is if that happened to be your own house. The people, similarly—there's a lot about estate agents and other professionals. They were all real incidents and real things that happened, but no one is identifiable. A very important thing about writing a book like this is you're always going to have antagonists, because you have to have people who you're finding difficult, people who are making life a bit difficult for you. You have to present them in a way that understands what it's like to be them as well. If you're writing a book where your purpose is to expose wrongdoing or injustices, then you might be more forthright about just saying, “This is wrong, the way this person behaved was wrong.” You might identify villains if that's appropriate, although you'd have to be very careful legally. This kind of book is more nuanced. The antagonists were simply people who were trying to do the right thing for them. You have to understand what it's like to be them. Quite a lot of the time, I found that the real story was how ill-equipped I sometimes felt to deal with people who were maybe covering something up, or maybe not, but just not expressing themselves very clearly. Estate agents who had an agenda, and I was thinking, “Who are they acting for? Are they acting for me, or are they acting for someone else that we don't even know about?” There's a fair bit of conflict in the book, but it comes from people being people and doing what they have to do. I just wanted to find a good house in an area that was nice, a house I could trust and rely on, for a price that was right. The people who were selling to me just wanted to sell the house no matter what because that was what they needed to do. You always have to understand what the other person's point of view is. Often in this kind of memoir, even though you might be getting very frustrated, it's best to also see a bit of a ridiculous side to yourself—when you're getting grumpy, for instance. It's all just humans being humans in a situation where ultimately you're going to end up doing a life-changing and important thing. I found there's quite a lot of humour in that. We were shuffling things around and, as I said, we were eventually going to be making a cosmic change that would affect the place we called home. I found that quite amusing in a lot of ways. I think you've got to be very levelheaded about this, particularly about writing about other people. Sometimes you do have to ask for permission. I didn't have to do that very much in this book. There were people I wrote about who are actually friends, who would recognise themselves and their stories. I checked that they didn't mind me quoting particular things, and they were all fine with that. In my previous memoir, Not Quite Lost, I actually wrote about a group of people who were completely identifiable. They would definitely have known who they were, and other people would have known who they were. There was no hiding them. They were the people near Brighton who were cryonicists—preserving dead bodies, freezing them, in the hope that they could be revived at a much later date when science had solved the problem that killed them. I went to visit this group of cryonicists, and I'd written a diary about it at the time. Then I followed up when I was writing the book to find out what happened to them. I thought, I've simply got to contact them and tell them I'm going to write this. “I'll send it to you, you give me your comments,” and I did. They gave me some good comments and said, “Oh, please don't put that,” or “Let me clarify this.” Everything was fine. So there I did actually seek them out and check that what I was going to write was okay. JOANNA: Yes, in that situation, there can't be many cryonicists in that area. ROZ: They really were identifiable. JOANNA: There's probably only one group! But this is really interesting, because obviously memoir is a personal thing. You're curating who you are as well in the book, and your husband. I think it's interesting, because I had the problem of “Am I giving away too much about myself?” Do you feel like with everything you've written, you've already given away everything about yourself by now? Are you just completely relaxed about being personal, for yourself and for your husband? ROZ: I think I have become more relaxed about it. My first memoir wasn't nearly as personal as yours was. You were going to some quite difficult places. With Turn Right at the Rainbow, I was approaching some darker places, actually, and I had to consider how much to reveal and how much not to. But I found once I started writing, the honesty just took over. I thought, “This is fine. I have read plenty of books that have done this, and I've loved them. I've loved getting to know someone on that deeper level.” It was just something I took my example from—other writers I'd enjoyed. JOANNA: Yes. I think that's definitely the way memoir has to happen, because it can be very hard to know how to structure it. Let's come to the title. Turn Right at the Rainbow. Really great title, and obviously a subtitle which is important as well for theme. Talk about where the title came from and also the challenges of titling books of any genre. You've had some other great titles for your novels—at least titles I've thought, “Oh yes, that's perfect.” Titling can be really hard. ROZ: Oh, thank you for that. Yes, it is hard. Ever Rest, which was the title of my last novel, just came to me early on. I was very lucky with that. It fitted the themes and it fitted what was going on, but it was just a bolt from the blue. I found that also with Turn Right at the Rainbow, it was an accident. It slipped out. I was going to call it something else, and then this incident happened. “Turn Right at the Rainbow” is actually one of the stories in the book. I call it the title track, as if it's an album. We were going somewhere in the car and the sat nav said, “Turn right at the rainbow.” And Dave and I just fell about, “What did it just say?!” It also seemed to really sum up the journey we were on. We were looking for rainbows and pots of gold and completely at the mercy of chance. It just stayed with me. It seemed the right thing. I wrote the piece first and then I kept thinking, “Well, this sounds like a good title.” Dave said it sounded like a good title. And then a friend of mine who does a lot of beta reading for me said, “Oh, that is the title, isn't it?” When several people tell you that's the title, you've got to take notice. But how we find these things is more difficult, as you said. You just work and work at it, beating your head against the wall. I find they always come to me when I'm not looking. It really helps to do something like exercise, which will put you in a bit of a different mind state. Do you find this as well? JOANNA: Yes, I often like a title earlier on that then changes as the book goes. I mean, we're both discovery writers really, although you do reverse outlines and other things. You have a chaotic discovery phase. I feel like when I'm in that phase, it might be called something, and then I often find that's not what it ends up being, because the book has actually changed in the process. ROZ: Yes, very much. That's part of how we realise what we should be writing. I do have working titles and then something might come along and say, “This seems actually like what you should call it and what you've been working towards, what you've been discovering about it.” I think a good title has a real sense of emotional frisson as well. With memoir, it's easier because we can add a subtitle to explain what we mean. With fiction, it's more difficult. We've got to really hope that it all comes through those few words, and that's a bit harder. JOANNA: Let's talk about your next book. On your website it says it might be a novel, it might be narrative nonfiction, and you have a working title of Four. I wondered if you'd talk a bit more about this chaotic discovery writing phase when we just don't know what's coming. I feel like you and I have been doing this long enough—you longer than me—so maybe we're okay with it. But newer writers might find this stage really difficult. Where's the fun in it? Why is it so difficult? And how can people deal with it? ROZ: You've summed that up really well. It's fun and it's difficult, and I still find it difficult even after all these years. I have to remind myself, looking back at where Ever Rest started, because that was a particularly difficult one. It took me seven years to work out what to do with it, and I wrote three other books in the meantime. It just comes together in the end. What I find is that something takes root in my mind and it collects things. The title you just picked out there—the book with working title of Four—it's now two books. One possibly another memoir and one possibly fiction. It's evolving all the time. I'm just collecting what seems to go with it for now and thinking, “That belongs with it somehow. I don't yet know how, but my intuition is that the two work well together.” There's a harmony there that I see. In the very early stages, that's what I find something is. Then I might get a more concrete idea, say a piece of story or a character, and I'll have the feeling that they really fit together. Once I've got something concrete like that, I can start doing more active research to pursue the idea. But in the beginning, they're all just little twinkles in the eye and you just have to let them develop. If you want to get started on something because you feel you want to get started and you don't feel happy if you're not working on something, you could do a far more active kind of discovery. Writing lists. Lists are great for this. I find lists of what you don't want it to be are just as helpful as what you do want it to be because that certainly narrows down a lot and helps you make good choices. You've got a lot of choices to make at the beginning of a book. You've got to decide: What's it going to be about? What isn't it going to be about? What kind of characters am I interested in? What kind of situations am I interested in? What doesn't interest me about this situation? Very important—saves you a lot of time. What does interest me? If you can start by doing that kind of thing, you will find that you start gathering stuff that gets attracted to it. It's almost like the world starts giving it to you. This is discovery writing, but it's also chivvying it along a bit and getting going. It does work. Joanna: I like the idea of listing what you don't want it to be. I think that's very useful because often writers, especially in the early stages—or even not, I still struggle with this—it's knowing what genre it might actually be. With Bones of the Deep, which is my next thriller, it was originally going to be horror and I was writing it, and then I realised one of the big differences between horror and thriller is the ending and how character arcs are resolved and the way things are written. I was just like, “Do you know what? I actually feel like this is more thriller than horror,” and that really shaped the direction. Even though so much of it was the same, it shaped a lot about the book. It's always hard talking about this stuff without giving spoilers, but I think deciding, “Okay, this is not a horror,” actually helped me find my way back to thriller. ROZ: Yes, I do know what you mean. That makes perfect sense to me, with no spoilers either. It's so interesting how a very broad-strokes picture like that can still be very helpful. Just trying to make something a bit different from the way you've been envisaging it can lead to massive breakthroughs. “Oh no, it's not a thriller—I don't have to be aiming for that kind of effect.” Or try changing the tone a little bit and see if that just makes you happier with what you're making, more comfortable with it. JOANNA: You mentioned the seven years that Ever Rest took. We should say the title is in two words—”Ever” and “Rest”—but it is also about Everest the mountain in many ways. That's why it's such a perfect title. If that took seven years and you were doing all this other stuff and writing other books along the way, how do you keep your research under control? How do you do that? I still use Scrivener projects as my main research place. How do you do your research and organisation? ROZ: A lot of scraps of paper. My desk is massive. It used to be a dining table with leaves in it. It's spread out to its fullest length, and it's got heaps of little pieces of paper. I know what's on them all, and there are different areas, different zones. I'm very much a paper writer because I like the tangibility of it. I also like the creativity of taking a piece of paper and tearing it into an odd shape and writing a note on that. It seems as sort of profound and lucky as the idea. I really like that. I do make text files and keep notes that way. Once something is starting to get to a phase where it's becoming serious, it will then be a folder with various files that discuss different aspects of it. I do a lot of discussing with myself while writing, and I don't necessarily look at it all again. The writing of it clarifies something or allows me to put something aside and say, “No, that doesn't quite belong.” Gradually I start to look at things, look at what I've gathered, and think, “How does this fit with this?” And it helps to look away as well. As I said with finding titles, sometimes the right thing is in your subconscious and it's waiting to just sail in if you look at it in a different way. There's a lot to be said for working on several ideas, not looking at some of them for a while, then going back and thinking, “Oh, I know what to do with this now.” JOANNA: Yes. My Writing the Shadow, I was talking about that when we met, and that definitely took about a decade. ROZ: Yes. JOANNA: I kept having to come back to that, and sometimes we're just not ready. Even as experienced writers, we're not ready for a particular book. With Bones of the Deep, I did the trip that it's based on in 1999. Since I became a writer, I've thought I have to use that trip in some way, and I never found the right way to use it. I came at it a couple of times and it just never sat right with me. Then something on this master's course I'm doing around human remains and indigenous cultures just suddenly all clicked. You can't really rush that, can you? ROZ: You absolutely can't. It's something you develop a sense for, the more you do—whether something's ready or whether you should just let it think about itself for a while whilst you work on something else. It really helps to have something else to work on because I panic a bit if I don't have something creative to do. I just have to create, I have to make things, particularly in writing. But I also like doing various little arty things as well. I need to always have something to be writing about or exploring in words. Sometimes a book isn't ready for that intense pressure of being properly written. So it helps to have several things that I can play with and then pick one and go, “Okay, now I'm going to really perform this on the page.” JOANNA: Do you find that nonfiction—because you have some craft books as well—do you find the nonfiction side is quite different? Can you almost just go and write a nonfiction book or work on someone else's project? Does that use a different kind of creativity? ROZ: Yes, it does. Creativity where you're trying to explain something to creative people is totally different from creativity where you're trying to involve them in emotions and a journey and nuances of meaning. They're very different, but they're still fun. So, yes, I am an editor as well, and that feeds my creativity in various unexpected ways. I'll see what someone has done and think, “Oh, that's very interesting that they did that.” It can make me think in different ways—different shapes for stories, different kinds of characters to have. It really opens your eyes, working with other creative people. JOANNA: I wanted to return to what you said at the beginning, that it is more difficult these days to get our work noticed. There's certainly a challenge in writing a travel memoir about home. What are you doing to market this book? What have you learned about book marketing for memoir in particular that might help other people? ROZ: Partly I realised it was quite a natural progression for me because in my newsletter I always write a couple of little pieces. I think they're called “life writing.” Just little things that have happened to me. That's sort of like memoir, creative nonfiction, personal essays. I was quite naturally writing that sort of thing to my newsletter readers, and I realised that was already good preparation for the kind of way that I would write in a memoir. As for the actual campaign, I actually came up with an idea which quite surprised me because I didn't think I was good at that. I'm making a collage of the word “home” written in lots of different handwriting, on lots of different things, in lots of different languages. I'm getting people to contribute these and send them to me, and I'm building them into a series of collages that's just got the word “home” everywhere. People have been contributing them by sending them by email or on Facebook Messenger, and I've been putting them up on my social platforms. They look stunning. It's amazing. People are writing the word “home” on a post-it or sticking it to a picture of their radiator. Someone wrote it in snow on her car when we had snow. Someone wrote it on a pottery shard she found in her drive when she bought the house. She thought it was mysterious. There are all these lovely stories that people are telling me as well. I'm making them into little artworks and putting them up every day as the book comes to launch. It's so much fun, and it also has a deeper purpose because it shows how home is different for all of us and how it builds as uniquely as our handwriting. Our handwriting has a story. I should do a book about that! JOANNA: That's a weird one. Handwriting always gets me, although it'd be interesting these days because so many people don't handwrite things anymore. You can probably tell the age of someone by how well-developed their handwriting is. ROZ: Except mine has just withered. I can barely write for more than a few minutes. JOANNA: Oh, I know what you mean. Your hand gets really tired. ROZ: We used to write three-hour exams. How did we do that? JOANNA: I really don't know. JOANNA: Just coming back on that. You mentioned mainly you're doing your newsletter and connecting with your own community. You've done podcasts with me and with other people. But I feel like in the indie community, the whole “you must build your newsletter” thing is described as something quite frantic. How have you built a newsletter in a sustainable manner? ROZ: I've built it by finding what suited me. To start with I thought, “What will I put in it? News, obviously.” But I wasn't doing that much that was newsworthy. Then I began to examine what news could actually be. The turning point really happened when I wrote the first memoir, Not Quite Lost: Travels Without a Sense of Direction. I thought, “I have to explain to people why I'm writing a memoir,” because it seemed like a very audacious thing to do—”Read about me!” I thought I had to explain myself. So I told the story of how I came to think about writing such an audacious book. I just found a natural way to tell stories about what I was doing creatively. I thought, “I like this. I like writing a newsletter like this.” And it's not all me, me, me. It's “I'm discovering this and it makes me think this,” and it just seems to be generally about life, about little questions that we might all face. From then, I found I really enjoyed writing a newsletter because I felt I had something to say. I couldn't put lists of where I was speaking, what I was teaching, what special offers I had, because that wasn't really how my creative life worked. Once I found something I could sustainably write about every month, it really helped. Oh, it also helps to have a pet, by the way. JOANNA: Yes, you have a horse! ROZ: I've got a horse. People absolutely love hearing the stories about my ongoing relationship with this horse. Even if they're not horsey, they write to me and say, “We just love your horse.” It helps to have a human interest thing going on like that. So that works for me. Everyone's got different things that will work for them. But for me, it builds just a sense of connection, human connection. I'm human, making things. JOANNA: In terms of actually getting people signed up—has it literally just been over time? People have read your book, signed up from the link at the back? Have you ever done any specific growth marketing around your newsletter? ROZ: I tried a little bit of growth marketing. I have a freebie version of one of my Nail Your Novel books and I put that on a promotion site. I got lots of newsletter signups, but they sort of dwindled away. When I get unsubscribes, it's usually from that list, because it wasn't really what they came for. They just came for a free book of writing tips. While I do writing tips on my blog—I'm still doing those—it wasn't really what my newsletter was about. What I found was that that wasn't going to get people who were going to be interested long-term in what I was writing about in my newsletter. Whatever you do, I found, has got to be true to what you are actually giving them. JOANNA: Yes, I think that's really key. I make sure I email once every couple of weeks. And you welcome the unsubscribes. You have to welcome them because those people are not right for you and they're not interested in what you're doing. At the end of the day, we're still trying to sell books. As much as you're enjoying the connection with your audience, you are still trying to sell Turn Right at the Rainbow and your other books, right? ROZ: Absolutely, yes. And as you say, someone who decides, “No, not for me anymore,” and that's good. There are still people who you are right for. JOANNA: Mm-hmm. ROZ: I do market my newsletter in a very low-key way. I make a graphic every month for the newsletter, it's like a magazine cover. “What's in it?” And I put that around all my social media. I change my Facebook page header so it's got that on it, my Bluesky header. People can see what it's like, what the vibe is, and they know where to find it if they're interested. I find that kind of low-key approach works quite well for what I'm offering. It's got to be true to what you offer. JOANNA: Yes, and true for a long-term career, I think. When I first met you and your husband Dave, it was like, “Oh, here are some people who are in this writing business, have already been in it for a while.” And both of you are still here. I just feel like— You have to do it in a sustainable way, whether it's writing or marketing or any of this. The only way to do it is to, as you said, live as a creative human and not make it all frantic and “must be now.” ROZ: Yes. I mean, I do have to-do lists that are quite long for every week, but I've learned to pace myself. I've learned how often I can write a good blog post. I could churn out blog posts that were far more frequent, but they wouldn't be as good. They wouldn't be as properly thought through. In the old days with blogs, you had an advantage if you were blogging very frequently, I think you got more noticed by Google because you were constantly putting up fresh content. But if that's not sustainable for you, it's not going to do you any good. Now there's so much content around that it's probably fine to post once a month if that is what you're going to do and how you're going to present the best of yourself. I see a lot on Substack—I've recently started Substack as well—I see people writing every other day. I think they're good, that's interesting, but I don't have time to read it. I would love to have the time, but I don't. So there's actually no sin in only posting once a month—one newsletter a month, one blog post a month, one Substack a month. That's plenty. People will still find that enough if they get you. JOANNA: Fantastic. So where can people find you and your books and everything you do online? ROZ: My website is probably the easiest place, RozMorris.org. JOANNA: Brilliant. Well, thank you so much for your time, Roz. As ever, that was great. ROZ: Thank you, Jo.The post Writing Emotion, Discovery Writing, And Slow Sustainable Book Marketing With Roz Morris first appeared on The Creative Penn.

This March, Worst Bestsellers is celebrating our neighbor to the north with our first ever Canada Month. We’re kicking it off by talking to Canadian treasure Ann Foster (host of Vulgar History, author of Rebel of the Regency:  The Scandalous Saga of Caroline of Brunswick, Britain’s Queen Without a Crown) about another Canadian treasure: Bear by Marian Engel. This book walked so that shifter romances could gallop. Listen to this episode while you’re alone in the woods. Readers advisory: Here. Footnotes: “Canada’s Most Controversial Novel” by Emily Zarevich. Kanata Classics Coming up next: Heated Rivalry by Rachel Reid.

Drownproof: Eight Life Lessons to Keep Your Head Above Water by Andy Stumpf https://www.amazon.com/Drownproof-Eight-Lessons-Above-Water/dp/125037961X Featuring a foreword by Jocko Willink! A motivational guide to success and leadership based on the author’s experience as a Navy SEAL. Drawing from his extensive military career, renowned Navy SEAL Andy Stumpf shares his hard-earned wisdom by reflecting on his own journey and offering advice to empower readers to avoid costly mistakes and navigate the complexities of life with confidence and purpose. From the grueling training programs to intense combat situations, Stumpf recounts the highs and lows, the challenges he faced, and the pivotal moments that shaped his leadership abilities. How can you take the toughest situations in your life and make them the most formative moments you've ever had? How do you take a leap of faith in your life? How can you combat fear when it comes to crush you? How can you build discipline in your life instead of building regrets? In his down-to-earth, sometimes humorous but always honest voice, Stumpf addresses these questions and more in Drownproof. Readers of Drownproof will: *Understand how they are in control of their destiny *Grasp how preparation leads to execution *See the value of planning for the worst-case scenario *Learn how to approach goals *Realize why people actually fail *Discover practical insights learned from the military that apply to all spheres of life About the author ANDY STUMPF is a former Navy SEAL with a 17-year career, including time on SEAL Team 6. He is also a public speaker, podcast host (“Cleared Hot”), and entrepreneur. He was medically retired in 2013 but continues to be active in the military community and various sports like jiu-jitsu and hunting.

If you're wondering why your email subscribers read your emails but don't actually click on anything, this episode might hit a little close to home (in the best way!).Allison breaks down why email clicks aren't just a metric, they're a behavior you need to train. Because if the first time you ask your audience to click is when you're asking them to buy, you're already behind.In this Email Empire episode, you'll learn how to intentionally build a culture of clicking inside your email funnel so sales feel like the natural next step, not a big leap. TAKEAWAYS:Clicking isn't just a performance metric, it's a trust signal. Every time a subscriber clicks, they're showing that they believe what you're sharing is worth their time and attention.The first opportunity to train click behavior starts immediately on your lead magnet's thank you page. A strategic tripwire offer can introduce your audience to taking action right away by buying from you.Delivering your lead magnet through email (not just on the thank-you page) creates an early habit of opening and clicking in your emails.A strategic Email Nurture Sequence should send readers somewhere intentionally (like short face-to-camera videos on your website) to deepen trust and build engagement.When you consistently invite small clicks before your pitch sequence, buying becomes a continuation of an existing behavior instead of a brand-new ask.LINKS YOU MIGHT FIND HELPFUL: Check out the blog post that accompanies this podcast episode for more details and resources.Listen to episode 469, The Real Metric That Drives Email Sales, and episode 471, How to Improve Your Email Click Through Rate, to learn more about email click through rates.Want to learn how to strategically set up a tripwire on your lead magnet's thank you page? Check out Tripwires That Sell!If your emails are getting opened but not clicked, VIP Week is where we fix the strategy behind that, and fast! Snag one of the 12 VIP Week spots available in 2026 by clicking here.CONNECT WITH ALLISON:Follow Allison on InstagramDID YOU HAVE AN 'AH-HA MOMENT' WHILE LISTENING TO THIS EPISODE?If you are ready to take action from listening to this episode, head to Apple Podcasts and help us reach new audiences by giving the podcast a rating and a review. Music by: www.bensound.comLicense code: 8G1GJZZDCLKGU9NRArtist: : Benjamin Tissot

EPISODE 684 - Cyndi Brec - THE THERANS SERIES, hidden truths, the weight of untold legends, and the power of preserving the past while daring to shape the futureMy name is Cyndi Brec. I love writing my heroine into dangerous webs of deception while I sip French vanilla iced coffee. I'm an avid reader turned YA fantasy romance writer with a strong background in Recreational Therapy who has penned The Therans Series. I have never thought of myself as an author, more of a storyteller. During my downtime, I started writing while caring for my husband, kids, and extended family. I'm a creative wordsmith who weaves tales that transcend the boundaries of reality—pure storytelling magic enriched by the unique lens of a dyslexic novelist. Ahead of publication, I've snagged several endorsements from notable authors and influencers: Jonas Saul, the bestselling author of the Sarah Roberts Series; Alan Warren, NBC Radio Host/Producer/Author; and Suzy Vadori, Author and critic of the Fountain Series and three-time Aurora Awards Finalist. I have also secured a 5-star rating from Readers' Favorite for The Therans: Secrets Beneath Scars and the second novel in the series, The Therans: Legends Never Die.I'm just a regular gal—storyteller, speaker, and co-host of the P English Literature podcast. I joke around, saying, "I'm a sidekick podcaster interviewing authors and serving book banter." I also speak on ‘Time Management Strategies for Authors Success: Managing Your Minutes,' aiming to inspire fellow authors to live their dreams. I champion pursuing dreams and embracing challenges, refusing to let disabilities hold me back. My faith has grown through resilience and determination.After marrying, I traveled to Europe and many of the States. However, Ohio is my home, where my husband and I have raised two great kids and several energetic dogs. My love of history was enriched by co-owning a 200-year-old historic watermill with Rich for over 20 years, which has fostered an appreciation of historical knowledge and cultivation of The Therans Series. The Watermill is the backdrop to the Theran story world and the creation of fictional creatures.Currently, I am working on an anthology and co-authoring a historical nonfiction book. This book will detail a historic Water Mill, its historical accounts, and the restoration process.Stay epic, write wild, read like it's your superpower, and never stop causing chaos with your words!Air hugs!https://www.inkerspen.com/cyndi-brechttps://cyndibrecauthor.wordpress.com/Support the show___https://livingthenextchapter.com/podcast produced by: https://truemediasolutions.ca/Coffee Refills are always appreciated, refill Dave's cup here, and thanks!https://buymeacoffee.com/truemediaca

Bill Powers interviews First Phosphate CEO John Passalacqua following PDAC, where the company received a non-repayable C$16.7M grant and highlighted government support for critical mineral supply chains. Passalacqua says the funding de-risks the company through feasibility, permitting, and toward a final investment decision, with drilling nearly complete and a feasibility study targeted for December 2026. He explains LFP batteries are largely phosphate-based and that First Phosphate's high-purity igneous phosphate resource in Quebec is rare and advantaged by proximity to infrastructure and a deep-sea port. He discusses phosphate being added to Canada's critical minerals list and related tax credits for downstream facilities, outlines a 10,000 tpa LFP CAM plant concept pending tariff clarity, and reviews U.S. market access via OTCQX and a new 10:1 ADR, along with insider share purchases and recent stock highs. 00:00 Intro 00:54 Canada Grant Impact 02:11 Drilling and Feasibility Timeline 03:02 Why LFP Needs Phosphate 04:05 Infrastructure and Location Edge 05:29 Critical Minerals List Benefits 07:55 Downstream Plant and Tariff Pause 09:03 Europe and US Strategy 10:20 OTCQX Tickers and ADR Explained 14:07 Insider Buying and Alignment 15:05 Valuation and Execution Outlook 16:53 Wrap Up and Disclaimers First Phosphate Introductory Interview: https://www.youtube.com/watch?v=eD7t1Q7OZfU Press releases discussed: https://firstphosphate.com/first-phosphate-nrcan-funding-16-7m/ https://firstphosphate.com/canada-critical-minerals-phosphate-clean-tech/ https://firstphosphate.com/first-phosphate-adr-program-fphoy-otcqx/ https://firstphosphate.com/ CSE: PHOS – FSE: KD0 – OTCQX: FRSPF – OTCQX-ADR: FPHOY Sign up for our free newsletter and receive interview transcripts, stock profiles and investment ideas: http://eepurl.com/cHxJ39 Sponsor First Phosphate pays Mining Stock Education a United States dollar ten thousand per month coverage fee. First Phosphate's forward-looking statement found in the company's presentation applies to the content of this interview. MSE offers informational content based on available data but it does not constitute investment, tax, or legal advice. It may not be appropriate for all situations or objectives. Readers and listeners should seek professional advice, make independent investigations and assessments before investing. MSE does not guarantee the accuracy or completeness of its content and should not be solely relied upon for investment decisions. MSE and its owner may hold financial interests in the companies discussed and can trade such securities without notice. If you buy stock in a company featured on MSE, for your own protection, you should assume that it is MSE's owner personally selling you that stock. MSE is biased towards its advertising sponsors which make this platform possible. MSE is not liable for representations, warranties, or omissions in its content. By accessing MSE content, users agree that MSE and its affiliates bear no liability related to the information provided or the investment decisions you make. Full disclaimer: https://www.miningstockeducation.com/disclaimer/

Readers of The Pour Over pick a topic to have explained, and Jason or Kathleen have to get Joe to understand it in less than 30 minutes… This week, Jason is explaining the Iranian Regime. Looking to support us? You can choose to pay ⁠⁠⁠⁠here⁠⁠⁠⁠ Check out our sponsors! We actually use and enjoy every single one. Cru Wild Alaskan HelloFresh Safe House Project QAVA CCCU Upside Mosh LMNT Bible Gateway Plus Life Application Study Bible Unto Compelled Podcast I Choose Love TPO Corrections Page

[Rerun] Dr. Kirk Honda discusses Minecraft therapy.This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/KIRK to get 10% off your first month.Support us by... Become a member: https://www.youtube.com/channel/UCOUZWV1DRtHtpP2H48S7iiw/joinBecome a patron: https://www.patreon.com/PsychologyInSeattleContact us/more info... Email: https://www.psychologyinseattle.com/contactAbout Dr. Kirk: https://www.psychologyinseattle.com/about-dr-kirk-hondaWebsite: https://www.psychologyinseattle.comGet stuff... Merch: https://psychologyinseattle-shop.fourthwall.com/KIRKgram (like Cameo): https://www.psychologyinseattle.com/kirkgramThe Psychology In Seattle Podcast ®Trigger Warning: This episode may include topics such as assault, trauma, and discrimination. If necessary, listeners are encouraged to refrain from listening and care for their safety and well-being. Disclaimer: The content provided is for educational, informational, and entertainment purposes only. Nothing here constitutes personal or professional consultation, therapy, diagnosis, or creates a counselor-client relationship. Topics discussed may generate differing points of view. If you participate (by being a guest, submitting a question, or commenting) you must do so with the knowledge that we cannot control reactions or responses from others, which may not agree with you or feel unfair. Your participation on this site is at your own risk, accepting full responsibility for any liability or harm that may result. Anything you write here may be used for discussion or endorsement of the podcast. Opinions and views expressed by the host and guest hosts are personal views. Although we take precautions and fact check, they should not be considered facts and the opinions may change. Opinions posted by participants (such as comments) are not those of the hosts. Readers should not rely on any information found here and should perform due diligence before taking any action. For a more extensive description of factors for you to consider, please see www.psychologyinseattle.com

Bill Powers interviews Adrian O'Brien of Midnight Sun Mining at PDAC in Toronto about the company's copper discovery in the Zambia–DRC copper belt amid competing US- and China-backed rail corridors to access regional copper. O'Brien recounts the company's transformation from a ~$20–25M market cap to ~C$300M after regaining 100% ownership of its flagship Dumbwa target, raising C$10M and later C$30.5M, building institutional support, and hiring COO Kevin Bonel (formerly Barrick) to apply a Lumwana-style exploration approach. Midnight Sun is drilling its 20 km Dumbwa target soil anomaly systematically on a grid with multiple rigs, targeting a large near-surface basement-dome copper system, awaiting many assays, and positioning as an explorer aiming for eventual M&A while also monetizing an oxide resource. https://midnightsunmining.com/ TSXV:MMA OTCQX:MDNGF 00:00 Intro 00:28 Meet Midnight Sun 01:34 From Microcap to Funded 03:29 De Risking the Story 05:14 Africa Copper Hotspot 07:41 Rail Corridors Clash 09:33 Why First Quantum Missed 12:14 Basement Dome Geology 14:37 Valuation and M&A Benchmarks 16:10 Kevin Bonel Joins 18:45 Grid Drilling Like a Major 21:34 Assay Backlog Reality 23:08 Explorer to Sale Strategy 24:12 Data Room Interest 25:09 Methodical Not Boring 26:55 Geology Twists and Bornite 28:29 What Makes a Great Hole 29:56 Lens Model and Grades 31:42 Treasury and Drill Costs 33:42 Financing Discipline 36:22 Assay Turnaround and Visual Core 37:50 Tickers and Contact Info Sign up for our free newsletter and receive interview transcripts, stock profiles and investment ideas: http://eepurl.com/cHxJ39 Sponsor Midnight Sun Mining pays MSE a United States dollar ten thousand per month coverage fee. The forward-looking statement disclaimer found in Midnight Sun's most-recent company slide deck found at www.MidnightSunMining.com applies to everything discussed in this interview. Bill Powers will not buy any MMA.v shares until five trading days after MSE's initial interview. Mining Stock Education (MSE) offers informational content based on available data but it does not constitute investment, tax, or legal advice. It may not be appropriate for all situations or objectives. Readers and listeners should seek professional advice, make independent investigations and assessments before investing. MSE does not guarantee the accuracy or completeness of its content and should not be solely relied upon for investment decisions. MSE and its owner may hold financial interests in the companies discussed and can trade such securities without notice. If you buy shares of any company featured on MSE, you should, for your own protection, assume MSE's owner is personally selling you those shares. MSE is biased towards its advertising sponsors which make this platform possible. MSE is not liable for representations, warranties, or omissions in its content. By accessing MSE content, users agree that MSE and its affiliates bear no liability related to the information provided or the investment decisions you make. Full disclaimer: https://www.miningstockeducation.com/disclaimer/

From the Desk of Lady WhistleblownDearest Gentle Reader…Every society — whether gathered in grand ballrooms or behind far more modest doors — possesses its own peculiar customs, alliances, and whispered intrigues.And where such intrigues exist, there will always be someone observing them.You may think you know where the truth resides. You may believe the stories circulating among polite company. Yet those who watch carefully often discover that the most revealing details are seldom spoken aloud.It is therefore with great delight that this humble correspondent introduces a new series of dispatches arriving from within the social circles of a most curious community.The author of these letters — known to us only as Lady Whistleblown — has chosen to remain anonymous. From her vantage point within the Ton, she has undertaken the delicate task of recording the small hypocrisies, curious coincidences, and remarkable spectacles that polite society might prefer to keep quietly out of sight.Her observations arrive as whispers carried on the breeze… though some may find they echo rather loudly once printed.Readers are, of course, free to decide for themselves whether these matters are scandal, coincidence, or simply the natural comedy of human affairs.But one thing is certain.When Lady Whistleblown writes, society listens.About This Issue:In this inaugural dispatch, Lady Whistleblown examines a most intriguing sequence of events involving the Rapid Relief Team — a charitable organization known for its impressive public presence beneath bright red tents and its well-documented enthusiasm for humanitarian relief.For a few years now, allegations of abuse raised by a former member of the Plymouth Brethren Christian Church circulated quietly in media and online spaces with little apparent legal urgency.Then, quite suddenly, a new concern emerged.Not regarding the allegations themselves… but regarding copyright.More specifically, copyright connected to a video involving a bird.The timing, as Lady Whistleblown observes with some curiosity, has raised a number of eyebrows among attentive observers.And so the first dispatch begins — with the most remarkable of coincidences, and a bird that appears to have fluttered into the centre of a rather larger story.

Dr Kirk Honda and Humberto Castaneda dive deep into the psychology of Columbine shooting. (Intro) March 4, 2026 This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/KIRK to get 10% off your first month.Support us by... Become a member: https://www.youtube.com/channel/UCOUZWV1DRtHtpP2H48S7iiw/joinBecome a patron: https://www.patreon.com/PsychologyInSeattleContact us/more info... Email: https://www.psychologyinseattle.com/contactAbout Dr. Kirk: https://www.psychologyinseattle.com/about-dr-kirk-hondaWebsite: https://www.psychologyinseattle.comGet stuff... Merch: https://psychologyinseattle-shop.fourthwall.com/KIRKgram (like Cameo): https://www.psychologyinseattle.com/kirkgramThe Psychology In Seattle Podcast ®Trigger Warning: This episode may include topics such as assault, trauma, and discrimination. If necessary, listeners are encouraged to refrain from listening and care for their safety and well-being. Disclaimer: The content provided is for educational, informational, and entertainment purposes only. Nothing here constitutes personal or professional consultation, therapy, diagnosis, or creates a counselor-client relationship. Topics discussed may generate differing points of view. If you participate (by being a guest, submitting a question, or commenting) you must do so with the knowledge that we cannot control reactions or responses from others, which may not agree with you or feel unfair. Your participation on this site is at your own risk, accepting full responsibility for any liability or harm that may result. Anything you write here may be used for discussion or endorsement of the podcast. Opinions and views expressed by the host and guest hosts are personal views. Although we take precautions and fact check, they should not be considered facts and the opinions may change. Opinions posted by participants (such as comments) are not those of the hosts. Readers should not rely on any information found here and should perform due diligence before taking any action. For a more extensive description of factors for you to consider, please see www.psychologyinseattle.com

It's your Ill-Advised News, the stupid criminals of the day. Support the show and follow us here Twitter, Insta, Apple, Amazon, Spotify and the Edge! See omnystudio.com/listener for privacy information.

Our Deputy Global Head of Research Michael Zezas and Head of Public Policy Research Ariana Salvatore assess the potential market outcomes of the Middle East conflict, weighing its possible duration and economic impact.Read more insights from Morgan Stanley.----- Transcript -----Michael Zezas: Welcome to Thoughts on the Market. I'm Michael Zezas, Morgan Stanley's Deputy Global Head of Research. Ariana Salvatore: And I'm Ariana Salvatore, Head of Public Policy Research. Michael Zezas: Today we're discussing the escalating U.S.-Iran conflict, the market reaction, and what investors should be watching for next. It's Wednesday, March 4th at 7:30am in San Francisco. Ariana Salvatore: And 10:30am in New York. Michael Zezas: So, Ariana, I'm in San Francisco at Morgan Stanley's TMT Conference, but obviously events in the Middle East have captured everyone's attention. There's uncertainty around the conflict and really important questions about how it affects all of us. And of course, markets have to discount all sorts of future uncertainty about very specific impacts – to financial asset prices, to commodity prices – and really look at it through that narrow lens.And so, Ariana, the administration has suggested that this conflict and this campaign could last a few weeks. But also it said it could continue as long as it takes. So, what are the clearest signals investors should watch for to gauge duration? Ariana Salvatore: For now, we're focused on three main indicators. First, I would say, and most important, is clarity around the objectives. The president and others in the administration have referenced things like eliminating Iran's missile arsenal, its navy and limiting proxy activity. Those goals are broader than the earlier focus on just the nuclear programs. Each objective, of course, implies a different timeline. A narrower objective likely means a shorter engagement. Broader ambitions, conversely, would extend it. So that's the first thing. Second, obviously extremely important is traffic through the Strait of Hormuz. We'd viewed a full closure as unlikely, given the economic consequences for Iran itself. But tanker flows have at least temporarily fallen close to zero, and that's significant because production across the region has not been impaired. This is not about oil fields going offline. It's about whether or not oil can actually move. If shipping lanes normalize within weeks, markets can recalibrate. However, if flows remain materially curtailed beyond five weeks, the risks rise meaningfully. Third, the frequency of strikes and proxy activity. Sustained or escalating engagement would suggest a longer conflict. Signs of diplomacy, on the other hand, might indicate de-escalation. Michael Zezas: Right. So, let's build on that and talk about oil. And our colleague, Martijn Rats has really laid this out with a lot of different scenarios. But what we're seeing right now is that when it comes to oil, this is really a shock to the transport of it, not necessarily a shock to its production. So, oil supply exists. The question is really – can it be delivered or not? So, if tanker flows normalize and the geopolitical risk premium fades, what Martijn is saying is that global oil prices could move back towards $60 to $65 a barrel. If the logistical disruption lasts four to five weeks, then prices maybe trade in the $75 to $80 range. And if disruption extends beyond five weeks and flows are materially constrained, then you could see a situation where oil prices have to rise towards $120 or $130 a barrel. And at that level, demand destruction is what becomes the balancing mechanism in setting price for oil. So, one signal to watch is longer dated oil prices. Early month contracts can spike during geopolitical stress, but a sustained move materially above $80 to $85 [per] barrel would likely require longer dated prices to move higher as well. And that might signal that markets believe the disruption is persistent and not temporary. Ariana, what about natural gas here? How does gas situation fit into the energy story? Ariana Salvatore: As of this recording, Qatar has halted liquified natural gas production putting roughly 20 percent of global supply at risk. Prices have, as you might expect, risen sharply, which likely reflects expectations of a relatively short disruption. If exports were to resume quickly, prices could retrace. But, of course, if the outage lasts longer, prices could move meaningfully higher. Again, duration of the conflict is really critical here. Michael Zezas: So, let's bring this back to the U.S. Ariana, how does this conflict feed into the domestic, political and economic backdrop? Ariana Salvatore: When we're thinking about the midterm elections later this year, the way we see it, the clearest transmission channel is gasoline prices. Polling shows a majority of Americans oppose military action related to Iran, but voters typically prioritize domestic issues: things like inflation, cost of living, affordability over foreign policy. However, there's a very clear caveat here. If oil prices stay elevated, gasoline prices rise, and that's where this becomes politically more salient. Michael Zezas: Right, and so our economists and our chief U.S. Economist Michael Gapen has been all over this. And the way he assesses it is if oil prices remain about 10 percent higher than where they were before the conflict for several months, headline inflation would likely rise by 0.3 percent before dissipating. Historically, oil price shocks primarily affect headline inflation rather than underlying inflation. That's an important distinction that they point out. So maybe that could delay Federal Reserve rate cuts, even if policymakers ultimately look through the move. But if oil prices rise enough to weaken economic activity, particularly in the labor market or consumer spending, then our economists say the Fed could pivot toward easing despite elevated inflation. Ariana Salvatore: So, given that backdrop, what's the simple takeaway for investors in stocks or bonds? Michael Zezas: Right. So, I think we have to think about this in terms of duration of conflict and economic impact. So, if tanker flows normalize within a few weeks and oil prices move back towards that $60 to $65 range, then our economists are saying economic damage would be limited. And historically geopolitical events alone have not led to sustained volatility for U.S. equities. So, in that environment, our cross-asset team points out that stocks would likely remain supported. If instead, oil prices remain elevated long enough to push inflation higher and weigh on growth, the picture would change. A sharp and persistent rise in oil prices – that can pose a risk to the duration of the business cycle, and in that scenario, we'd expect stocks to struggle. Importantly, bonds may not provide the same diversification benefit if inflation remains sticky as a consequence of all of this. We could see stock and bond prices move in the same direction. That could challenge traditional balanced portfolios. Ariana Salvatore: And what are we seeing specifically in U.S. Treasury markets? Michael Zezas: So, as Matt Hornbach and our global macro strategy team have pointed out here, you've got two competing forces in the U.S. Treasury market. There's been some demand for safety, but investors are also focused on the risk that higher oil prices would lift inflation. So far, inflation concerns have taken precedence over growth concerns. How long that balance holds – that might depend on incoming data, especially labor market data. If you get weaker labor market data suggesting that growth could weaken, then you could see treasuries rally more meaningfully and yields come down. If you don't see that and inflation concerns dominate, then maybe you're not going to see yields come down as much. And bonds rally as much. Ariana Salvatore: So, stepping back, it seems like the key variables remain tanker traffic, longer dated oil prices and duration of the conflict itself. Michael Zezas: I think that's right. Ariana, thanks for speaking with me. Ariana Salvatore: Always a pleasure, Mike. Michael Zezas: And thanks to our listeners for joining us. We'll continue tracking developments and what they mean for markets. If you enjoy Thoughts on the Market, please take a moment to rate and review us wherever you listen and share the podcast with a friend or colleague.Important note regarding economic sanctions. This report references jurisdictions which may be the subject of economic sanctions. Readers are solely responsible for ensuring that their investment activities are carried out in compliance with applicable laws.

Dr Kirk Honda and Humberto Castaneda dive deep into the psychology of Columbine shooting. (Intro) March 3, 2026This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/KIRK to get 10% off your first month.00:00 Was there a history of abuse?13:32 What is schizotypal personality disorder?19:09 Who was Eric Harris?38:31 Eric's prior problems1:07:33 Was the dark tetrad present?Support us by... Become a member: https://www.youtube.com/channel/UCOUZWV1DRtHtpP2H48S7iiw/joinBecome a patron: https://www.patreon.com/PsychologyInSeattleContact us/more info... Email: https://www.psychologyinseattle.com/contactAbout Dr. Kirk: https://www.psychologyinseattle.com/about-dr-kirk-hondaWebsite: https://www.psychologyinseattle.comGet stuff... Merch: https://psychologyinseattle-shop.fourthwall.com/KIRKgram (like Cameo): https://www.psychologyinseattle.com/kirkgramThe Psychology In Seattle Podcast ®Trigger Warning: This episode may include topics such as assault, trauma, and discrimination. If necessary, listeners are encouraged to refrain from listening and care for their safety and well-being. Disclaimer: The content provided is for educational, informational, and entertainment purposes only. Nothing here constitutes personal or professional consultation, therapy, diagnosis, or creates a counselor-client relationship. Topics discussed may generate differing points of view. If you participate (by being a guest, submitting a question, or commenting) you must do so with the knowledge that we cannot control reactions or responses from others, which may not agree with you or feel unfair. Your participation on this site is at your own risk, accepting full responsibility for any liability or harm that may result. Anything you write here may be used for discussion or endorsement of the podcast. Opinions and views expressed by the host and guest hosts are personal views. Although we take precautions and fact check, they should not be considered facts and the opinions may change. Opinions posted by participants (such as comments) are not those of the hosts. Readers should not rely on any information found here and should perform due diligence before taking any action. For a more extensive description of factors for you to consider, please see www.psychologyinseattle.com

If you're a shy author, how do you get out of your shell to promote your stuff?   Today's top story is Power to the People; Your People. Question of the week is If you're a shy author, how do you get out of your shell to promote your stuff? Join the Sell More Books Show Afterparty group on Facebook and answer the Question of the Week in the comment section. Be sure to leave us a review on Apple Podcasts.

Author Andrew Krivak grew up hearing stories about his grandfather, who died in a coal mine collapse in the early 1900s. These stories inspired Mule Boy, a novel about a 13-year-old who survives a deadly accident at a Pennsylvania mine. The story takes place during a 24-hour period in which the boy, now an old man, reflects on what took place there. In today's episode, Krivak joins NPR's Scott Simon for a conversation about being the grandson of Slovak immigrants, the trio brought together in Mule Boy, and the way Krivak tried to mimic oral storytelling in the novel.To listen to Book of the Day sponsor-free and support NPR's book coverage, sign up for Book of the Day+ at plus.npr.org/bookofthedayTo manage podcast ad preferences, review the links below:See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

What happens when we stop treating the Bible as a sacred object and start paying attention to how we actually use it? In this conversation, theologian David Dault reflects on interpretation, responsibility, and the ethics of reading scripture in a fractured world. In this episode with Evan Rosa, Dault reflects on interpretation, responsibility, and how readers shape the meaning and moral impact of the Bible. Together they discuss the materiality of scripture, translation and betrayal, moral seriousness, scriptural reasoning across traditions, catastrophic love, and the ethical responsibility readers bear for how sacred texts are used. Episode Highlights “To assume that we know what a text is telling us is a matter of hubris.” “The Bible doesn't tell you to do anything. You as a reader decide what to do.” “Violence is always an act of interpretation.” “We never get to a place where everything is clean and everyone benefits.” “We have to take responsibility for the violence we involve ourselves in.” About David Dault David Dault is a theologian, journalist, and media producer whose work explores religion, culture, ethics, and interpretation. He is Executive Producer and host of Things Not Seen: Conversations About Culture and Faith, a nationally distributed public radio program. He teaches in the Institute of Pastoral Studies at Loyola University Chicago. Dault's scholarship focuses on hermeneutics, religion and media, and the ethical implications of how sacred texts are interpreted and used in public life. His book The Accessorized Bible examines the material forms, cultural framing, and interpretive communities that shape how people encounter scripture. He holds degrees in theology and religious studies and frequently writes and lectures on religion, politics, and culture. Helpful Links And Resources The Accessorized Bible, by David Dault https://yalebooks.yale.edu/book/9780300153125/the-accessorized-bible/ Things Not Seen: Conversations About Culture and Faith https://thingsnotseenradio.com David Dault's personal website https://www.daviddault.com/ Show Notes The Accessorized Bible—material culture of scripture, design, marketing niches, and the ways the physical form of the Bible shapes how readers interpret and use it Bible as object, medium, and cultural artifact; Marshall McLuhan and media theory—the form of a book shaping how ideas move between minds Books as technologies of imagination and identity formation; reading as a kind of “magical” transfer of ideas from one mind into another “To assume that we know what a text is telling us is a matter of hubris.” Interpretation requires caution, humility, and the recognition that texts exceed our control Making the familiar strange again; recovering the power of scripture by refusing to domesticate it or assume we fully understand it Franz Rosenzweig on preserving the alienness of sacred texts; debate with Martin Buber on translation and clarity Translation as interpretation—translators inevitably carry values, ideologies, and cultural assumptions into the text Harold Bloom's Anxiety of Influence; interpreters “misread” texts in order to wrestle with their influence and generate new meaning Reading scripture in community; trust, vulnerability, and shared responsibility among interpreters Scriptural reasoning—Jews, Christians, and Muslims reading shared stories (Noah, Abraham, Moses) together without claiming mastery over the text Tikkun olam—Jewish ethical tradition of “repairing the world”; the world is wounded and humans participate in its healing Repentance and Repair—Rabbi Danya Ruttenberg on moral accountability, restitution, and the work of restoring relationships Violence embedded in interpretation; moral action always involves choices about attention, resources, and responsibility The “flashlight” metaphor—moral attention illuminating one suffering person while another need temporarily falls into shadow Jairus's daughter and the woman with the hemorrhage—competing moral urgencies in the Gospels “We never get to a place where everything is clean and everyone benefits.” Moral action always involves tragic limitation and competing responsibilities Levinas and infinite responsibility; the ethical demand arising from the face of the person before us Moral seriousness versus performative irony; resisting discourse driven by trolling, spectacle, and dopamine-driven outrage A Bible Is A Book—dismantling the assumption that sacred texts themselves command moral action Steve Martin's The Jerk and the phone book illustration; a sniper randomly selecting a name and deciding someone should die “The Bible doesn't tell you what to do.” Readers decide what moral actions follow from a text Reader responsibility; refusing the excuse “the Bible told me to,” recognizing moral agency belongs to interpreters Scripture as “accessory to a crime”—sacred texts used as cover for violence, exclusion, or cruelty The Bible as platform—modular text shaped by study notes, editorial commentary, illustrations, and devotional framing Study Bibles, children's Bibles, niche-market editions; publishing strategies shaping the interpretive experience Platform logic—similar to Facebook or Twitter; users curate meaning from a shared medium Proof-texting and selective quotation; constructing entire moral worlds from isolated passages Hannah Arendt on responsibility; loving the world enough to accept responsibility for it James Baldwin leaving Paris after the Little Rock crisis; refusing comfort while others bear injustice “Someone should have been there with her.” Baldwin's recognition that solidarity requires leaving safety and standing beside the vulnerable Catastrophic love—risking institutions, traditions, and comfort for the sake of vulnerable bodies Matthew 25 ethics; encountering Christ among the hungry, imprisoned, and marginalized Moral seriousness as daily practice; imperfect responsibility, persistent solidarity, doing what one can today and beginning again tomorrow #Bible #ChristianBible #BiblicalInterpretation #TheologyPodcast #ChristianEthics #Hermeneutics #Scripture #FaithAndCulture #DavidDault Production Notes This podcast featured David Dault Edited and Produced by Evan Rosa Hosted by Evan Rosa Production Assistance by Noah Senthil A Production of the Yale Center for Faith & Culture at Yale Divinity School https://faith.yale.edu/about Support For the Life of the World podcast by giving to the Yale Center for Faith & Culture: https://faith.yale.edu/give

Antifragile Emotions: Build a Life That Gains from Disorder by Sidney Anderson Ph.D. https://www.amazon.com/Antifragile-Emotions-Build-Gains-Disorder/dp/1971262005 In Antifragile Emotions, Sidney Anderson, Ph.D. applies the concept of antifragility to emotional life, offering a transformative approach to building emotional systems that grow stronger through difficulty. Moving beyond resilience, the author shows how to develop emotional capacity that doesn't just withstand life's challenges but thrives on them. Traditional wellness advice emphasizes managing stress, processing trauma, and returning to baseline. But this approach creates fragility when life inevitably delivers loss, rejection, uncertainty, and failure. The antifragile emotional system uses controlled exposure to stressors, multiple sources of meaning, and systematic capacity building to extract value from difficulty rather than merely survive it. Drawing on research into how people respond to major life disruptions, Antifragile Emotions reveals why some people emerge from difficulty genuinely stronger while others remain fragile. It examines the emotional barbell strategy, building redundancy, “skin in the game,” hormesis, and optionality. Readers will discover how to use anger as calibration, extract information from anxiety, build life structures with no single points of failure, and develop emotional range.

In this month's Junior Mining Insights discussion, Bill Powers and Brian Leni recap the past month in junior mining with a North American focus after attending Vancouver's Metals Investor Forum and PDAC in Toronto. They evaluate Canadian government initiatives and grants around critical minerals and processing capacity, with Brian expressing skepticism but acknowledging speculative implications when support validates strong projects. Bill shares lessons from high-net-worth investors and explains the three types of junior mining “ghosts” that spook your equities. The duo further discusses investor psychology, volatility management, due diligence, management vision, and caution around the growing trend of bulk sampling. 00:00 Intro 01:06 MIF & PDAC Sentiment 04:00 Canada processing push 05:34 Politics and US ties 08:57 Government signals investing 12:44 PDAC day two crowds 15:41 Bull market and rumors 17:41 Volatility and psychology 20:58 High net worth playbook 26:33 Junior mining ghosts 29:59 Spotting Hidden Power 30:55 Using Ghost Categories 32:08 Macro Marketing Moves 35:16 Conviction Over Speculation 38:31 When Bad Actors Appear 42:41 Bulk Sampling Trend 48:22 Financing Frenzy Signals 52:05 Attributing Price Moves Brian's website: https://www.juniorstockreview.com/ Brian's YT: https://www.youtube.com/@FIELD_NOTES Bill's Twitter: https://x.com/MiningStockEdu Sign up for our free newsletter and receive interview transcripts, stock profiles and investment ideas: http://eepurl.com/cHxJ39 Mining Stock Education offers informational content based on available data but it does not constitute investment, tax, or legal advice. It may not be appropriate for all situations or objectives. Readers and listeners should seek professional advice, make independent investigations and assessments before investing. MSE does not guarantee the accuracy or completeness of its content and should not be solely relied upon for investment decisions. MSE and its owner may hold financial interests in the companies discussed and can trade such securities without notice. MSE is biased towards its advertising sponsors which make this platform possible. MSE is not liable for representations, warranties, or omissions in its content. By accessing MSE content, users agree that MSE and its affiliates bear no liability related to the information provided or the investment decisions you make. Full disclaimer: https://www.miningstockeducation.com/disclaimer/

6pm - I WAS THINKING:  A Marine Who Lost 250 Brothers in the 1983 Bombing in Beirut Shares His Perspective on War with Iran // More on Iran’s history and the global fight for energy dominance // Seattle readers share their takes on tipping 

In this episode of Classical Et Cetera we turn from fiction to Christian nonfiction books that have shaped our faith. From _Mere Christianity_ and Augustine's _Confessions_ to biographies, letters, and works on prayer and discernment, we share the books that have strengthened, challenged, and sustained us. This isn't a canon, but rather an honest conversation about the titles we return to and why they matter for classical Christian readers.   *What We're Reading* from This Episode:  "Galahad and the Grail" Malcom Guite (Leigh & Tanya) "Sense and Sensibility" Jane Austin (Tanya) "With God in Russia" Walter Ciszek (Tanya) "A Tale of Two Cities" Charles Dickens (Tanya) "No. 1 Ladies' Detective Agency" Alexander McCall (Paul) "A Confederacy of Dunces" John Kennedy Toole (Paul)

For the 18th Tales of the Legion Project, Eric and Peter discuss current Legion stories and news, such as appearances of Darkseid's Omega Legion, Superboy in Action Comics and speculations on the upcoming Legion title and membership. Also, recent Legion related purchases, reading the first appearance of Mordru in Adventure Comics, Legion trivia, and more! Timestamps: (00:38) Preamble (09:50) LSH vs New Teen Titans, the Omega Legion in current comics, and DC K.O. issue 4 (44:50) Speculations on Legion membership in the upcoming title (1:02:21) Recent Legion comic purchases (1:23:40) Legion news and reading Superboy in Action Comics (1:45:20) The first appearance of Mordru in Adventure Comics 369 and 370 and Legion related podcast listening (2:04:00) Legion trivia! (2:13:22) Wrap up and Outro Send your comments or questions to longboxreview@gmail.com or peter@thedailyrios.com. Thanks for listening! Intro theme: "Lost City" by RhoMusic https://twitter.com/ItsRhoMusic https://www.youtube.com/channel/UCm2l0TFmixfahHLxpdyV5Uw/videos

Send a textIn this episode of the Bookworthy Podcast, Valerie interviews children's author Bonnie S. Weinhardt about her Bingees series, which follows the adventures of an 11-year-old boy named Benji in the 1930s. They discuss the inspiration behind the series, the character of Benjy, and the themes of humor, faith, and decision-making in the stories. Bonnie shares her journey as a writer, the influence of her journalism background, and her future writing projects, including a young adult novel based on her life experiences.Benjy Book Series (affiliate link)Bonnie Swinehart: HomeDon't forget to join in the Middle Grade March Madness. Fill out your bracket and follow the fun as you, the reader, help BookWorthy choose the #1 Middle Grade book for ages 8-12.Follow over on YouTube Takeaways Bonnie's books aim to instill Christian values in children.The character Benji is relatable and humorous, appealing to young readers.Bonnie's journalism background helps her write concisely and engagingly.Humor is a key element in making stories memorable for children.The importance of community and support is a recurring theme in Bonnie's writing.Bonnie's writing journey began in her youth, fueled by a love for reading.The Benjy's series reflects the simplicity and challenges of childhood.Bonnie's future projects include a young adult novel based on her life.The impact of impactful books can shape a writer's perspective.Stories can provide hope and connection in difficult times.Chapters 00:00 Introduction to the Benjy's Series02:34 The Character of Benjy and His Adventures05:08 The Influence of Journalism on Writing08:00 Themes and Messages in Benjy's Stories10:27 The Importance of Humor in Writing13:00 Bonnie's Journey as a Writer15:50 Impactful Books and Their Influence18:27 Future Projects and AspirationsLet's discover great books together!Follow for more:FB: @bookworthypodcastInstagram: @bookworthy_podcastYouTube: BookWorthy Podcast - YouTubetiktok: @valeriefentress

THE CROSSROADS is a gripping, family-centered mystery for both loyal fans and newcomers. Readers love Joe Pickett—a likeable, dogged hero who always tries to do the right thing—and this time, his three daughters share the spotlight. Set against the fierce beauty of the modern West, where energy empires, cartels, and powerful families vie for control of the land, Box delivers a timely, emotionally charged thriller about family, loyalty, and the cost of standing for what's right in a world where corruption runs deep.At the heart of C.J. Box's appeal is his creation of game warden, Joe Pickett, an unlikely hero who has nonetheless become one of the most beloved protagonists in contemporary crime fiction. Joe is not a hard-drinking big-city detective or a noir antihero; he's a polite, hard-working game warden in rural Wyoming, a family man who “lives paycheck to paycheck” and is deeply fond of his wife and daughters (no brooding lone wolf clichés here). He's human and fallible – he sometimes screws up, doubts himself, or gets in over his head – but he always tries to do the right thing. That said, he's encountered some very grisly scenes and insane villains. And game wardens are unique because they can legitimately be involved in just about every major event or situation that involves the outdoors and the rough edges of the rural new west.C. J. Box is the #1 New York Times of twenty-six Joe Pickett novels, eight stand-alone novels, and a story collection. He has won the Edgar, Anthony, Macavity, Gumshoe, and two Barry awards, as well as the French Prix Calibre .38, the Western Heritage Award for Literature, and two Spur Awards. An avid outdoorsman, Box has hunted, fished, hiked, ridden, and skied throughout Wyoming and the Mountain West. He has been executive producer on shows based on his books, including ABC TV's Big Sky and Joe Pickett on Paramount+.#cjbox#speakingofwriterspodcast#authorpodcast#joepickett#bookpodcast

[Rerun] We've heard of the “Dark Triad” (Narcissism, Machiavellianism, and Psychopathy) but what about the “Light Triad” (Kantianism, Humanism, and Faith in Humanity)? Dr. Kirk takes the test and sees how “Dark” and how “Light” he is. January 1, 2020 This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/KIRK to get 10% off your first month.Support us by... Become a member: https://www.youtube.com/channel/UCOUZWV1DRtHtpP2H48S7iiw/joinBecome a patron: https://www.patreon.com/PsychologyInSeattleContact us/more info... Email: https://www.psychologyinseattle.com/contactAbout Dr. Kirk: https://www.psychologyinseattle.com/about-dr-kirk-hondaWebsite: https://www.psychologyinseattle.comGet stuff... Merch: https://psychologyinseattle-shop.fourthwall.com/KIRKgram (like Cameo): https://www.psychologyinseattle.com/kirkgramThe Psychology In Seattle Podcast ®Trigger Warning: This episode may include topics such as assault, trauma, and discrimination. If necessary, listeners are encouraged to refrain from listening and care for their safety and well-being. Disclaimer: The content provided is for educational, informational, and entertainment purposes only. Nothing here constitutes personal or professional consultation, therapy, diagnosis, or creates a counselor-client relationship. Topics discussed may generate differing points of view. If you participate (by being a guest, submitting a question, or commenting) you must do so with the knowledge that we cannot control reactions or responses from others, which may not agree with you or feel unfair. Your participation on this site is at your own risk, accepting full responsibility for any liability or harm that may result. Anything you write here may be used for discussion or endorsement of the podcast. Opinions and views expressed by the host and guest hosts are personal views. Although we take precautions and fact check, they should not be considered facts and the opinions may change. Opinions posted by participants (such as comments) are not those of the hosts. Readers should not rely on any information found here and should perform due diligence before taking any action. For a more extensive description of factors for you to consider, please see www.psychologyinseattle.com

Send a textPass the smelling salts! Readers of the Victorian Era eagerly (or furtively) set scruples aside to read Mary Elizabeth Braddon's 1862 sensation novel Lady Audley's Secret — the title of which was enough to tempt even the most puritanical schoolmarm into sneaking a peak. But it was Braddon's sumptuous prose, eye for drama and sophisticated understanding of social mores which won her the admiration of contemporaries like William Makepiece Thackery, Alfred Lord Tennyson and Robert Louis Stevenson. Booklist reviewer and television writer Kristine Huntley joins us this week to discuss Braddon's remarkable prowess in navigating scandalous secrets … including her own!Mentioned in this episode:2026 Andrew Carnegie Medals for Excellence in Fiction and Nonfiction shortlist and longlistBooklistLady Audley's Secret by Mary Elizabeth Braddon“Abducted by my Teacher” Lifetime movie“Freakish” on Hulu“Mind Games” on ABC“Two Sentence Horror Stories” on the CWThe real case that partially inspired Lady Audley's SecretJohn MaxwellAurora Floyd by Mary Elizabeth BraddonThe Woman in White by Wilkie CollinsThe Doctor's Wife by Mary Elizabeth BraddonThe Trail of the Serpent by Mary Elizabeth BraddonThree Times Dead by Mary Elizabeth BraddonDaniel Deronda by George EliotLost Ladies of Lit Episode No. 268 on Rosalind AsheSupport the showFor episodes and show notes, visit: LostLadiesofLit.comSubscribe to our substack newsletter. Follow us on instagram @lostladiesoflit. Email us: Contact — Lost Ladies of Lit Podcast

Space is a dangerous place. Even recently we learned that the entire Artemis program has been rebooted, adding more rockets and risks! In other worlds and other galaxies, “space” is full of human life, music, adventure, romance, and fantastical new worlds. Just in time for Firebreak, book 1 of the Firebird Interlude Trilogy, we're joined by longtime science fiction novelist Kathy Tyers to explore how the best space operas sing through this teeming expanse. Episode sponsors Firebreak by Kathy Tyers Realm Makers 2026 Conference & Expo The Hole-Man by Dan Dietz The Lorehaven Authorship Mission update New at Lorehaven: Andromache review, weekly reviews Subscribe free to get updates and join the Lorehaven Guild You'll get notified of monthly events, like last week's livestream. Backstory: Kathy (Tyers) Gillin Kathy Tyers sold her first novel, Firebird, to Bantam Spectra in 1986. Since its initial 1987 publication, it has been rereleased by Bethany House Publishers, Marcher Lord Press, and Enclave Publishing, and was followed by further Firebird-universe novels Fusion Fire and Crown of Fire. Kathy finished the Firebird series in 2011 and 2012 with Wind and Shadow and the messiah tale Daystar. Enclave Publishing has also re-released her early novels One Mind's Eye, Shivering World (Christy Award winner, 2019), and Crystal Witness. Now she's returning to the Firebird whorl for a new series of novels. The Firebird Interlude trilogy begins March 10 with the release of Firebreak. Kathy is also known for her Star Wars Expanded Universe novels—The Truce at Bakura and New Jedi Order: Balance Point. She lives in Montana with her husband William T. Gillin. KathyTyers.com on Facebook 1. What are the origin stories of space opera? 1818: Mary Shelley's first sci-fi-ish/horror novel Frankenstein 1830: British author Percy Greg's poetical Across the Zodiac Late 19th century: the prolific Jules Verne, across Earth and space Late 19th/early 20th century: H. G. Wells brings the humanism Early 20th century: Edgar Rice Burroughs shares pulp adventure Other written tales and film serials helped create early space opera This tradition focused not just on big ideas, but big human stories Without these tales, we might not have stories like Star Wars And that's one way that today's guest learned she liked sci-fi 2. Why do today's fans love space opera? Kathy Tyers has written harder science fiction, like Shivering World. Spaceships are cool, but many fans like human drama even more. For example, the Firebird Series is set in a far future galactic Whorl. Readers resonate with Lady Firebird and her husband Brennan. This, by the way, marks a rare example of married-couple heroes. Similarly, Star Wars has spaceships, but focuses on human heroes. Christians also see cool ideas and tech as means to human ends. Without our humanity, we become “minds of metal and wheels.” Even the best Star Trek episodes well understood this reality. 3. What might be the future of space opera? More about the Firebird Interlude series—titles, dates, speculation. Coming this June, Kathy Tyers gives a keynote at Realm Makers. Meanwhile, we may expect to March onward into big space opera. Project Hail Mary, based on Andy Weir's novel, gets early plaudits. Next up, actor Ryan Gosling and director Shawn Levy's Starfighter movie (set in the Star Wars universe) is receiving a new hope from fans. People do want futuristic, human-centric science-accented drama. And yet Christians see this not as simply “hope in the human spirit” but hope of redemption, for grace-filled humans and a future age. Com station Top question for listeners What space opera stories help you sing in joyful gratitude? Next on Fantastical Truth Kaizoku ou ni ore wa naru! Today around the world, millions of fans who love Japan's hit manga/anime series, One Piece, are rejoicing. First, because after 1,170+ chapters and nearly 30 years since 1997, creator Eiichiro Oda's pirates-with-powers story is sailing toward its final arcs. Second, because the popular anime is following soon after, breaking hiatus to resume in April. And third, because on March 10, Netflix is christening the One Piece live-action series Season 2, after 2023's Season 1 flagrantly and happily broke the “anime to live-action curse.” Why do fans (like Stephen himself) love these comical, earnest adventures of Captain Monkey D. Luffy and the Straw Hat Pirates?

Dr Kirk Honda and Humberto Castaneda dive deep into the psychology of Columbine shooting. March 2, 2026This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/KIRK to get 10% off your first month.Become a member: https://www.youtube.com/channel/UCOUZWV1DRtHtpP2H48S7iiw/joinBecome a patron: https://www.patreon.com/PsychologyInSeattleEmail: https://www.psychologyinseattle.com/contactWebsite: https://www.psychologyinseattle.comMerch: https://psychologyinseattle-shop.fourthwall.com/Instagram: https://www.instagram.com/psychologyinseattle/Facebook Official Page: https://www.facebook.com/PsychologyInSeattle/TikTok: https://www.tiktok.com/@kirk.hondaThe Psychology In Seattle Podcast ®Trigger Warning: This episode may include topics such as assault, trauma, and discrimination. If necessary, listeners are encouraged to refrain from listening and care for their safety and well-being.Disclaimer: The content provided is for educational, informational, and entertainment purposes only. Nothing here constitutes personal or professional consultation, therapy, diagnosis, or creates a counselor-client relationship. Topics discussed may generate differing points of view. If you participate (by being a guest, submitting a question, or commenting) you must do so with the knowledge that we cannot control reactions or responses from others, which may not agree with you or feel unfair. Your participation on this site is at your own risk, accepting full responsibility for any liability or harm that may result. Anything you write here may be used for discussion or endorsement of the podcast. Opinions and views expressed by the host and guest hosts are personal views. Although, we take precautions and fact check, they should not be considered facts and the opinions may change. Opinions posted by participants (such as comments) are not those of the hosts. Readers should not rely on any information found here and should perform due diligence before taking any action. For a more extensive description of factors for you to consider, please see www.psychologyinseattle.com

In this conversation, Britten welcomes TMT 2025 alums Christine Gutierrez, Kate Eastridge, and Katrine Waugh to reflect on what it was like to ride the emotional waves of The Magician's Table through the lens of the Prince of Cups. Together, they share how they found the container, what they brought to practice, and what unfolded as they entered initiation weekend, navigated vulnerability, strengthened self-trust, and emerged with deeper confidence in their magic. This episode traces the arc of saying yes, being held, and carrying the medicine forward into the world.   Topics They Cover:  How each of them found The Magician's Table: from podcast serendipity to repeated returns to the sales page to the quiet build-up of the idea that they can be a part of this bigger thing What they brought to the container (mediumship, astrology, tarot) and how their practice evolved through consistent weekly readings and exchange The initiation weekend experience and what it felt like to enter a structured, intimate space that is designed to hold you The emotional rhythm of the container: nervousness, imposter feelings, surprise and delight, strengthening self-trust, and the feeling of time outside of time The power of structure and community: being witnessed, building integrity, honing skills, and learning to hold space for others  What it felt like to close the container and why they'd say yes again (and encourage others to honor the pull if they feel it) THE DOORS TO THE 2026 MAGICIAN'S TABLE ARE NOW OPEN! The Magicians of the Class of 2026 are taking their seats!  THE DEADLINE IS WEDNESDAY NIGHT, MARCH 4! The only way to apply to TMT is to be on the mailing list. Join it now and you will receive the link to the application. About Christine Gutierrez: Christine is a certified hypnotist, performer, writer, spirit channel and mother. A student and practitioner of meditation for three decades, she creates calm, sacred spaces designed to support transformation and inner exploration. Her approach is intuitive, compassionate, and collaborative, with each journey uniquely crafted—whether guiding someone to ease anxiety, release limiting patterns, or deepen spiritual insight. Christine believes that both the subconscious and the luminous field hold hidden keys to growth and healing, waiting to be discovered. Her training includes certification as a hypnotist through the Hypnosis Motivation Institute and ongoing study in Evidence Based Hypnosis with Desiree Eckert. She has also studied spirit channeling and mediumship under the mentorship of Allison Pharmakis, founder of Medium for the Message. LINKS: http://www.theluminousfield.co https://theluminousfield.beehiiv.com/   About Kate Eastridge: With more than twenty years working behind the scenes in film and television, Kate Eastridge built a career helping bring imagined worlds to life. Before she ever stepped onto a set, she was captivated by stories of reinvention and reckoning blended with the farcical rhythm and profound questions of an existential comedy.   Drawn to stories that bend time such as Groundhog Day and Palm Springs or the sudden presence of an omniscient voice narrating one's life in Stranger Than Fiction.  Kate seeks stories about awareness. About how one's perceptions might change when we shine a light on the cycle of what's happening right now.   Kate's original fascination with astrology and use of tarot as tools for creative writing and character development led her to explore how tools of divination to prompt reflection while laughing her way through her own hero's journey.    If you feel inspired to walk with her ... you can find Kate at kateeastridge.com  or @kate.eastridge on Instagram.     About Katrine Waugh: Katrine Waugh, she/her, is devoted to the consciousness of night, the liminal spaces which fertilize our waking moments. As an Astrologer and Artist she's passionate about helping people to remember their innate belonging to this universe. She believes that each revolution of breath is a birth which offers a return to our sacred inner flame which can never be extinguished. She is the Mother of two feisty girls and runs a House keeping business called "Mama's Twelfth House Cleaning". She considers all of her roles in life to be training for deeper understanding of how to hold space for reciprocity and care. You can find Katrine in her instagram page @GeminiiWaves where a garden of offerings are being planted, tended and will soon grow.  +++   Learn More about The Magician's Table:  The Magician's Table is a 3-month container for personal growth, community connection, and practice growing one's tools as an intuitive and magical practitioner. Doors open on Sunday, February 22nd, with an early bird window and a Pick Your Tuition model offered on a first-come, first-served basis. Britten invites you to take your time attuning to the container, exploring the course page, and feeling into whether this experience is a true yes for you. Join the waitlist: ​​https://mailchi.mp/brittenlarue/tmt-2026-waitlist  Visit the course page: https://brittenlarue.com/course/the-magicians-table/    +++   Introducing the 13th Readers for 2026:  Arizona Smith: @arizonasmithhealing  Leanne Thurogood: @oftheearthesoteric Lily Hussey: @goodhussey Suprasensory Shahir: @suprasensoryshahir   +++   E M E R G E N C E  A S T R O L O G Y ⁠⁠https://brittenlarue.com/ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠@brittenlarue Order Living Astrology Join my newsletter here Check out my new podcast CRYSTAL BALLERS on Spotify, Podbean, and Apple.   +++   Podcast art: Angela George. Podcast music: Jonathan Koe.  

Deborah Goodrich Royce, author of literary psychological thrillers and a former actor, unpacks how she builds tension without forcing the outline. You will hear how sensory observation from her New York Botanical Garden work feeds scene-level detail, why she prefers a "reveal" that feels earned over a twist that feels gimmicky, and how an actor's training translates into characters with layered motives and believable self-deception. What you will learn How to pace a psychological thriller so the reader feels pulled forward, not pushed. Character-first plotting: letting voice, backstory, and contradictions shape the turns. Designing "good reveals" and planting signals that pay off cleanly later. Key topics Botanical observation as a storytelling skill (attention, pattern, detail). Character development through lived experience and emotional memory. Organic plot development: earning twists through setup, not shock value. Chapters  00:00 Introduction and Deborah's background 01:00 Why the New York Botanical Garden matters to her creative life 01:57 Creative growth through lived experience 03:09 The Lincoln quote and what it signals in the book 03:37 Identity, deception, and what thrillers let us examine 04:55 Using "signals" from real life to build believable turns 05:46 The actor's lens on role, emotion, and subtext 07:10 Writing thrillers in a fast-paced media environment 07:48 "Organic" plotting: how reveals get earned 09:18 Creative community and collaboration 12:31 Openings, pacing, and keeping readers in the scene 14:59 Starting a new project: practical tools and habits 17:30 Visualizing the story with notes and systems 18:09 Readers, book clubs, and what she learns from conversations   Want to learn with Tricia this April? Learn more: https://www.eventbrite.com/e/empathy-as-interface-rethinking-ai-in-education-tickets-1630138009669?aff=oddtdtcreator  

Readers of The Pour Over pick a topic to have explained, and Jason and Kathleen have to get Joe to understand it in less than 30 minutes… This week, they're explaining the United States Secret Service. Check out the interview with the former Secret Service agent Jason references here. Looking to support us? You can choose to pay⁠⁠⁠ ⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠. Check out our sponsors! We actually use and enjoy every single one. ⁠⁠⁠⁠ ⁠Cru⁠ ⁠Wild Alaskan⁠ ⁠HelloFresh⁠ ⁠Safe House Project⁠ ⁠Gloo⁠ ⁠QAVA⁠ ⁠CCCU⁠ ⁠Filament Bible⁠ ⁠Upside⁠ ⁠Mosh⁠ ⁠LMNT⁠ ⁠Not Just Sunday Podcast⁠ ⁠Bible Gateway Plus⁠ ⁠Life Application Study Bible⁠ ⁠Unto⁠ ⁠TPO Corrections Page⁠

Rebeccasode! Dr Kirk and Rebecca answer patron emails. February 27, 2026This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/KIRK to get 10% off your first month.Become a member: https://www.youtube.com/channel/UCOUZWV1DRtHtpP2H48S7iiw/joinBecome a patron: https://www.patreon.com/PsychologyInSeattleEmail: https://www.psychologyinseattle.com/contactWebsite: https://www.psychologyinseattle.comMerch: https://psychologyinseattle-shop.fourthwall.com/Instagram: https://www.instagram.com/psychologyinseattle/Facebook Official Page: https://www.facebook.com/PsychologyInSeattle/TikTok: https://www.tiktok.com/@kirk.hondaThe Psychology In Seattle Podcast ®Trigger Warning: This episode may include topics such as assault, trauma, and discrimination. If necessary, listeners are encouraged to refrain from listening and care for their safety and well-being.Disclaimer: The content provided is for educational, informational, and entertainment purposes only. Nothing here constitutes personal or professional consultation, therapy, diagnosis, or creates a counselor-client relationship. Topics discussed may generate differing points of view. If you participate (by being a guest, submitting a question, or commenting) you must do so with the knowledge that we cannot control reactions or responses from others, which may not agree with you or feel unfair. Your participation on this site is at your own risk, accepting full responsibility for any liability or harm that may result. Anything you write here may be used for discussion or endorsement of the podcast. Opinions and views expressed by the host and guest hosts are personal views. Although, we take precautions and fact check, they should not be considered facts and the opinions may change. Opinions posted by participants (such as comments) are not those of the hosts. Readers should not rely on any information found here and should perform due diligence before taking any action. For a more extensive description of factors for you to consider, please see www.psychologyinseattle.com(By The Daily Telegraph. Copyright holders of the image of Madeleine at three are Kate and Gerry McCann. The age-progressed image was commissioned by Scotland Yard from forensic artist Teri Blythe for release to the public. Both images have been widely disseminated by the copyright holders, and have been the subject of significant commentary., Fair use, https://en.wikipedia.org/w/index.php?curid=39861556)

Our Global Commodities Strategist Martijn Rats discusses the geopolitical drivers behind the recent spike in oil prices and outlines four Iran scenarios.Read more insights from Morgan Stanley.----- Transcript -----Welcome to Thoughts on the Market. I'm Martijn Rats, Morgan Stanley's Global Commodities Strategist.Today – what's fueling the latest oil market rally.It's Thursday, February 26th, at 3pm in London.What happens when oil prices jump, even though there's no actual shortage of oil? That's the situation we're in right now. Tensions between the U.S. and Iran have escalated again. Naturally, markets are paying attention.Over the past week, Brent crude rose about $3 to around $72 per barrel. WTI climbed into the mid-$60s. Shipping costs surged. And traders have started paying a premium for protection against a sudden oil spike – the levels we haven't seen since the early days of the Ukrainian invasion.But here's the key point: there's no clear evidence that global oil supply has tightened. Exports are still flowing. Tankers are still moving. And some near-term indicators of physical tightness have actually softened. When oil is truly scarce, buyers scramble for immediate barrels and short-term prices spike relative to future delivery. Instead, those spreads have narrowed, and physical premiums have eased.This isn't a supply shock. It's a risk premium. In simple terms, investors are buying insurance. So what could happen next? We see four broad scenarios.Before I outline them though, here's something we do not see as a core case: a prolonged closure of the Strait of Hormuz. Roughly 15 million barrels per day of crude and another 5 million of refined product moves through that corridor. A sustained shutdown would be enormously disruptive. But we think the probability is very low.Now coming back to our four scenarios. The first is straightforward. A negotiated settlement; conflict is avoided. Iranian exports continue and shipping lanes remain open. In that scenario, what unwinds is the geopolitical risk premium – which we estimate at roughly $7 to $9 per barrel. If that fades, Brent could drift back to the low-to-mid $60s, similar to past episodes where prices spiked on fear and then retraced once supply proves unaffected.Second, we could see short-lived frictions – shipping delays, higher insurance costs, temporary logistical issues. That might remove a few hundred thousand barrels per day for, say, a few weeks.. Prices could briefly spike into the $75–80 range. But balancing forces would kick in relatively quickly. For example, China has been building inventories at a steady pace. At higher prices, that stockbuilding would likely slow, helping offset temporary disruptions. That points to some further upside in prices – but then normalization.The third scenario is more serious, but still contained: localized export losses of perhaps 1 to 1.5 million barrels per day for a month or two. Prices would stay elevated longer, but spare capacity and demand adjustments could eventually stabilize the market.Now our last scenario is the more serious and considers a potential shipping shock. The real risk here isn't wells shutting down – it's shipping disruption. Global trade of crude oil depends on efficient tanker movement. If transit times were extended even modestly, effective shipping capacity could fall sharply, creating what amounts to a temporary tightening of about 2 to 3 million barrels per day – or about 6 percent of global seaborne supply. That is a logistics shock, not a production outage – but it would push prices toward early-2022-type levels, at least briefly.Now let's zoom out. Beyond geopolitics, the fundamentals look weak. OPEC+ supply is rising, and our forecasts show a sizable surplus building in 2026. Even if some of that oil ends up in China's stockpiles, a lot would still likely flow into core OECD inventories. Historically, when the market looks like this, prices tend to fall, not rise.Which brings us back to the central point. Oil isn't rallying because the world has run out of barrels. It's rallying because markets are pricing geopolitical risk. And unless that risk turns into actual, sustained disruption, insurance premiums tend to expire.Thank you for listening. If you enjoy the show, please leave us a review wherever you listen and share Thoughts on the Market with a friend or colleague today.This podcast references jurisdiction(s) or person(s) which may be the subject of economic sanctions. Readers are solely responsible for ensuring that their investment activities are carried out in compliance with applicable laws.