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Dr Kirk and Humberto answer patron and member questions. March 20, 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

John Slattery joins us this week to talk about his latest role in the Netflix series 'Vladimir', his many great stories of working with some incredible Hollywood legends, and of course, 'Mad Men'. Learn more about your ad choices. Visit podcastchoices.com/adchoices

[Rerun] Dr. Kirk Honda speaks with John Moffitt about surviving sex trafficking. September 16, 2019This 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

Tomasz Nadrowski is the author of “Mineral War: China's Quest for Weapons of Mineral Destruction.” In this episode, host Bill Powers interviews Tomasz to understand the nature of this mineral war so that investors can discern the best profit opportunities. Nadrowski shares that China has quasi-monopolized and weaponized critical mineral supply chains, forcing the West to rebuild upstream-to-downstream value chains where geopolitics can matter as much as geology. He describes his mining and hedge fund background, his fund's focus on rare earths, battery materials, and specialty metals, and the need to assess offtake, processing capacity, and government policy. Tomasz argues effective policy requires three levers: upstream reference prices, protection via tariffs, and downstream incentives to adopt Western/allied materials instead of cheap Chinese supply; he criticizes cost-plus pricing while viewing the MP Materials deal as a market signal lowering capital costs. The discussion covers tungsten (China's ~82% control), top monopolies (heavy rare earths, gallium, flake graphite), gallium and germanium sourcing, China's Africa deal structure and debt effects, China's control of nickel via Indonesia, and trading/exit discipline amid high volatility. 00:00 Intro 00:20 Meet the Guest 00:52 Mining to Hedge Funds 02:32 Mineral War Thesis 03:45 How the Fund Invests 06:14 Government Grants Angle 08:09 Price Floors Debate 10:26 Tariffs and Incentives 12:21 Tungsten Spotlight 14:29 Why China Restricts Exports 17:18 China in Africa Playbook 19:51 Africa Debt Reckoning 21:49 What to Call This System 22:51 China Debt Dilemma 23:51 Critical Minerals Ranking 24:24 Why Gallium Matters 26:49 Germanium Supply and Stockpiles 28:36 US Policy Whiplash 30:23 Nickel Indonesia China Proxy 32:11 Competing with China Standards 35:05 Investing Exit Strategy Tomasz's book: https://www.amazon.com/Mineral-War-Chinas-Weapons-Destruction/dp/B0GHDYRLZK Tomasz's LinkedIn: https://www.linkedin.com/in/nadrowski Tomasz's fund: https://www.amvestterraden.com/ Sign up for our free newsletter and receive interview transcripts, stock profiles and investment ideas: http://eepurl.com/cHxJ39 This was not a sponsored 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 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/

A prolonged oil disruption is pushing gas prices higher. Arunima Sinha from our U.S. and Global Economics team joins Head of U.S. Policy Strategy Ariana Salvatore to discuss what that means for consumer spending, inflation expectations and the U.S. midterm elections.Read more insights from Morgan Stanley.----- Transcript -----Arunima Sinha: Welcome to Thoughts on the Market. I'm Arunima Sinha from Morgan Stanley's U.S. and Global Economics Teams.Ariana Salvatore: And I'm Ariana Salvatore, Head of U.S. Policy Strategy.Arunima Sinha: Today – what are the implications of the ongoing oil disruption for the U.S. consumer?It's Wednesday, March 18th at 10am in New York.Ariana, let's start with where we are in week three of this particular oil disruption and what you are thinking about in terms of what the paths to resolution could look like.Ariana Salvatore: Yeah. Great place to start. So, I would say before we get into what the resolution could look like, we need to think about how long could this conflict possibly last? And that's the most relevant question for investors as well. And there I would say there's very little conviction just because of the uncertainty associated with this conflict. But I'm keeping my eye on three different things.The first is a clearer prioritization of the objectives tied to the conflict. The Trump administration has laid out a number of different goals for this conflict, some of which are shorter in nature than others. The second thing I think we're looking at – that's really important – is traffic at the Strait of Hormuz. And there, the Trump administration has spoken about insurance, you know, naval escorts – all of these things that we think will take some time to really come to fruition. And at the time that we're recording this, it seems that we're still getting about low single digit number of tankers through the strait on a daily basis. So that's the second thing.The third point I would make is any type of escalation is really critical here. So, whether it's vertical – meaning different types of weapons used, different types of targets being hit. Or horizontal escalation, broadening out into different proxies and, and more so throughout the region. Those are really important indicators, and right now all of these things are pointing to a slightly longer-term conflict than I think most people expected at the start.Now, in terms of what that means for markets, for domestic gasoline prices, all these are really important questions that I'm sure we're going to get into. But what we should note is that the president has spoken about a number of policy offsets to mitigate those price increases, ranging from the Treasury actually loosening up some of the sanctions on Russia to sell some oil. You know, we've heard some talk of invoking the Jones Act waiver. That's a temporary fix.On net, we think that these policy offsets are not going to really be enough to mitigate that supply loss that we're getting. That's a 20 million barrel per day loss. Some of these efforts mainly will, kind of, target about 7 or 8 million barrels per day. You're still in a deficit of about 10 to 13 [million]. And that's really meaningful for markets, for consumption as you well know, and everything else in between.Arunima Sinha: That's really helpful perspective, Ariana. And it's also a useful segue to think about the note that we jointly put out a few days ago. And just thinking about what this means for the U.S. consumer. And there, I think there's the first point to start with is that the consumer is now going to be living through the third supply shock in about five years. So, after COVID, after tariffs, here comes the next. And I think this particular oil shock is going to be somewhat different from tariffs in the sense that this is going to hit consumers at the front end and directly. This is not something that is going to have to pass through business costs. And some of them could be absorbed by businesses and not fully passed on to the consumer. So, I think that's an important point.The second point here is that in terms of the share of spending of gasoline out of total spend, we are at pretty low numbers. We're somewhere in the 2 to 3 percent range. So, it could give a little bit of a cushion. So, the longer-term average can be somewhere about 4 percent. So, there could be some cushion. But we know that consumers have already been stretched by, sort of, several years of high prices.And so, the way that we thought about what some of the channels could be for how higher oil prices, which translate into higher gas prices, could matter for the consumer. I think there are, sort of, three to identify.The first one is that it is really just a hit to your real purchasing power because this is a type of good that is actually really hard to substitute away from. And you could look through some of it, at the start. So maybe in the first month you don't react very much. You pull down on some savings; you take out a little bit of short-term credit.But the longer it lasts, the bigger the consumption response is going to be. And the second channel then to identify is – you start to build up some precautionary savings motives because there's this uncertainty that's also lasting for some time. And what do you pull back on? You'll typically pull back on discretionary types of spending.And so, we sized out this impact to say that if oil prices were to be about 50 percent higher and they last for two to three quarters, it could hit real personal spending growth by about 40 [basis points] after 12 months. And most of that is really just coming from the impact on good spending, specifically through durable goods.So, there could be some meaningful impact to real consumer spending in the U.S., if this shock were to go on longer. And the last point I would just say is, you know, how do inflation expectations move? Because that's an important point for the Fed and it's an important point for just people who are thinking about their spending decisions over the next year or so.And one interesting thing I think came out in the University of Michigan survey that came out this Friday; and this was a preliminary survey. About half of it was conducted before the conflict started, and half of it was after the conflict started. And what we saw was that inflation expectations in the year ahead, so the 12-month-ahead expectations that had been trending down, paused.So, they are no longer trending down. And, in its release, the University of Michigan noted that for the responses that were collected after the conflict started, inflation expectations did tick up. And interestingly, the strains were the most for the bottom income cohort. So, they saw a bigger uptick in inflation expectations. They actually also saw a bigger uptick in their unemployment expectations over the next year.Ariana Salvatore: So, Arunima, if I can ask, we've been talking a lot about the K-shape economy this year, right? So, consumption really being led by the upper; let's call it the upper income cohort. When we think about this translation to consumption, like you said, more of the stresses on the lower income side, how do you square that with the economic impact that you guys are expecting?Arunima Sinha: The way that I would square it is the longer it lasts and the greater the, sort of, uncertainty in asset markets – that might actually begin to weigh on the upper income consumer as well. So that might make some of those wealth effects less supportive, than what we have seen, over most of 2025. Just given where consumption has been running in terms of its pace.So not only might we see a bigger strain on the lower-income cohorts as we see this shock lasting longer, we might actually see some pressures not through the direct spending channel on gas, but really just, you know, how it's impacting their balance sheets.Ariana Salvatore: And that's a really important point because it also, to me, resonates with the concept of affordability, which has been a really key political topic for the past few months, I would say.And the way we're thinking about this is, like I mentioned, there are limited policy offsets that can be used to mitigate the potential increase in domestic gasoline prices. And that matters a lot for the midterm elections. Typically voters don't really rank foreign policy as a top issue when it comes to their choice for candidates – in midterm elections and elections in general.But once you see that feed through to, you know, inflation, cost of living, job expectations, that's when it starts to really matter for people. And what we've been saying, it's not a perfect rule of thumb, but looking back at the past few elections. If gasoline prices here in the U.S. are something like $3 a gallon, that tends to be pretty good for the incumbent party. [$]4 [a gallon], let's say it's a little bit more politically challenging. And [$]5 [a gallon], you know, is when you kind of get into that even more challenging territory for the administration and for Republicans in Congress.So again, not a perfect benchmark, but something that we'll be keeping an eye on too as this conflict evolves.Arunima Sinha: Ok! So, we'll be keeping an eye on how that oil disruption plays out and matters for the U.S. consumer.Ariana Salvatore: Thanks 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. 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 and Collin Miller yammer at length about the Oscar movies this year. March 18, 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

[Rerun] Dr. Kirk, Humberto and Collin talk about diversity in movies.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

Seasoned resource investing expert Ed Baer returns to MSE and offers speculators candid advice. Ed discusses current resource-sector opportunities amid recent commodity enthusiasm and subsequent pullbacks. Baer explains why he got involved with Mogotes Metals in the Vicuna district near major projects and outlines aggressive drilling plans amid lab delays. He also assesses a current loser in his portfolio, Pan Global. Ed Baer currently serves as CEO and Executive Member of the Board of Directors for the private resource investment company DNA Gold Corp. Mr. Baer has extensive experience in strategic planning and business development, spanning over 30 years in the natural resources sector. In his capacity as Interim Chairman and CEO of European Goldfields Ltd., he effected the transformation of the company through strategic initiatives that leveraged his project management, financing and capital markets experience. Mr. Baer also served in a senior corporate development capacity to Greystar Resources Ltd., and held senior executive positions and a directorship with TVX Gold Inc. Having served in senior executive and corporate development positions for junior and mid-tier precious metals companies, he has a demonstrated record in the transformation and successful building and turnaround of соmраnіеѕ. Mr. Baer holds a Master of Laws (LLM) from Osgoode Hall Law School and a Master of Science (Leadership) with Distinction from Northeastern University. He is a member of the Institute of Corporate Directors and obtained the ICD.D designation in 2009. 00:00 Intro 00:46 Euphoria in junior miners 03:11 Reality Check Pullbacks 04:42 Why Gold and Copper 07:09 Financing Window Tightens 07:47 Flow Through Skepticism 09:03 Mogotes Metals Origin Story 10:01 Vicuna District Big Picture 11:43 Drilling Plans and Lab Delays 13:06 Jurisdiction and Due Diligence 14:23 Taking Profits Not Greedy 16:42 Handling Losers: Pan Global 19:31 MRE Timing and Credibility 21:01 Calling Institutions for Clarity 22:08 Opportunity Cost Reality 23:19 Walking Away from Arrogance 24:23 Use Realistic Metal Prices 25:51 Background Checks and Governance 29:00 Options RSUs And Pay Abuse 31:10 Useless Board Seats 33:34 Eike Batista Lesson 36:58 Thunder Bay Due Diligence 39:30 Why Promos Fade Online 40:18 How To Reach Ed Ed Baer's private investment company: https://www.dnagoldcorp.com/ Sign up for our free newsletter and receive interview transcripts, stock profiles and investment ideas: http://eepurl.com/cHxJ39 This was not a sponsored 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 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/

Dr Kirk and Bob answer patron emails. March 16, 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

What makes a character so compelling that readers will forgive almost anything about the plot? How do you move beyond vague flaws and generic descriptions to create people who feel pulled from real life? In this solo episode, I share 15 actionable tips for writing deep characters, curated from past interviews on the podcast. In the intro, thoughts from London Book Fair [Instagram reel @jfpennauthor; Publishing Perspectives; Audible; Spotify]; Insights from a 7-figure author business [BookBub]. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn This episode has been created from previous episodes of The Creative Penn Podcast, curated by Joanna Penn, as well as chapters from How to Write a Novel: From Idea to Book. Links to the individual episodes are included in the transcript below. In this episode: Master the ‘Believe, Care, Invest' trifecta, how to hook readers on the very first page Define the Dramatic Question: Who is your character when the chips are down? Absolute specificity. Why “she's controlling” isn't good enough Understand the Heroine's Journey, strength through connection, not solo action Use ‘Metaphor Families' to anchor dialogue and give every character a distinctive voice Find the Diagnostic Detail, the moments that prove a character is real Writing pain onto the page without writing memoir Write diverse characters as real people, not stereotypes or plot devices Give your protagonist a morally neutral ‘hero' status. Compelling beats likeable. Build vibrant side characters for series longevity and spin-off potential Use voice as a rhythmic tool Link character and plot until they're inseparable Why discovery writers can write out of order and still build deep character Find the sensory details that make characters live and breathe More help with how to write fiction here, or in my book, How to Write a Novel. Writing Characters: 15 Tips for Writing Deep Character in Your Fiction In today's episode, I'm sharing fifteen tips for writing deep characters, synthesised from some of the most insightful interviews on The Creative Penn Podcast over the past few years, combined with what I've learned across more than forty books of my own. I'll be referencing episodes with Matt Bird, Will Storr, Gail Carriger, Barbara Nickless, and Sarah Elisabeth Sawyer. I'll also draw on my own book, How to Write a Novel, which covers these fundamentals in detail. Whether you're writing your first novel or your fiftieth, whether you're a plotter or a discovery writer like me, these tips will help you create characters that readers believe in, care about, and invest in—and keep coming back for more. Let's get into it. 1. Master the ‘Believe, Care, Invest' Trifecta When I spoke with Matt Bird on episode 624, he laid out the three things you need to achieve on the very first page of your book or in the first ten minutes of a film. He calls it “Believe, Care, and Invest.” First, the reader must believe the character is a real person, somehow proving they are not a cardboard imitation of a human being, not just a generic type walking through a generic plot. Second, the reader must care about the character's circumstances. And third, the reader must invest in the character's ability to solve the story's central problem. Matt used The Hunger Games as his primary example, and it's brilliant. On the very first page, we believe Katniss's voice. Suzanne Collins writes in first person with a staccato rhythm—lots of periods, short declarative sentences—that immediately grounds us in a survivalist mentality. We care because Katniss is starving. She's protecting her little sister. And we invest because she is out there bow hunting, which Matt pointed out is one of the most badass things a character can do. She even kills a lynx two pages in and sells the pelt. We invest in her resourcefulness and grit before the plot has even begun. Matt was very clear that this has nothing to do with the character being “likable.” He said his subtitle, Writing a Hero Anyone Will Love, doesn't mean the character has to be a good person. He described “hero” as both gender-neutral and morally neutral. A hero can be totally evil or totally good. What matters is that we believe, care, and invest. He demonstrated this beautifully by breaking down the first ten minutes of WeCrashed, where the characters of Adam and Rebekah Neumann are absolutely not likable, but we are completely hooked. Adam steals his neighbour's Chinese food through a carefully orchestrated con involving an imaginary beer. It's not admirable behaviour, but the tradecraft involved, as Matt put it—using a term from spy movies—makes us invest in him. We see a character trying to solve the big problem of his life, which is that he's poor and wants to be rich, and we want to see if he can pull it off. Actionable step: Go to the first page of your current work in progress. Does it achieve all three? Does the reader believe this is a real person with a distinctive voice? Do they care about the character's circumstances? And do they invest in the character's ability to handle what's coming? If even one of those three is missing, that's your revision priority. 2. Define the Dramatic Question: Who Are They Really? Will Storr, author of The Science of Storytelling, came on episode 490 and gave one of the most powerful frameworks I've ever heard for character-driven fiction. He explained that the human brain evolved language primarily to swap social information—in other words, to gossip. We are wired to monitor other people, to ask the question: who is this person when the chips are down? That's what Will calls the Dramatic Question, and it's what he believes lies at the heart of all compelling storytelling. It's not a question about plot. It's a question about the character's soul. And every scene in your novel should force the character to answer it. His example of Lawrence of Arabia is unforgettable. The Dramatic Question for the entire film is: who are you, Lawrence? Are you ordinary or are you extraordinary? At the beginning, Lawrence is a cocky, rebellious young soldier who believes his rebelliousness makes him superior. Every iconic scene in that three-hour film tests that belief. Sometimes Lawrence acts as though he truly is extraordinary—leading the Arabs into battle, being hailed as a god—and sometimes the world strips him bare and he sees himself as ordinary. Because it's a tragedy, he never overcomes his flaw. He doubles down on his belief that he's extraordinary until he becomes monstrous, culminating in that iconic scene where he lifts a bloody dagger and sees his own reflection with horror. Will also used Jaws to demonstrate how this works in a pure action thriller. Brody's dramatic question is simple: are you going to be old Brody who is terrified of the water, or new Brody who can overcome that fear? Every scene where the shark appears is really asking that question. And the last moment of the film isn't the shark blowing up. It's Brody swimming back through the water, saying he used to be scared of the water and he can't imagine why. Actionable step: Write down the Dramatic Question for your protagonist in a single sentence. Is it “Are you ordinary or extraordinary?” or “Are you brave enough to love again?” or “Will you sacrifice your principles for survival?” If you can't answer this with specificity, your character might still be a sketch rather than a person. 3. Get rid of Vague Flaws, and use Absolute Specificity This was one of Will Storr's most important points. He said that vague thinking about characters is really the enemy. When he teaches workshops and asks writers to describe their character's flaw, most of them say something like “they're very controlling.” And Will's response is: that's not good enough. Everyone is controlling. How are they controlling? What's the specific mechanism? He gave the example of a profile he read of Theresa May during the UK's Brexit chaos. Someone who knew her said that Theresa May's problem was that she always thinks she's the only adult in every room she goes into. Will said that stopped him in his tracks because it's so precise. If you define a character with that level of specificity, you can take them and put them in any genre, any situation—a spaceship, a Victorian drawing room, a school playground—and you will know exactly how they're going to behave. The same applies to Arthur Miller's Willy Loman in Death of a Salesman, as Will described it: a man who believes absolutely in capitalistic success and the idea that when you die, you're going to be weighed on a scale, just as God weighs you for sin, but now you're weighed for success. That's not a vague flaw. That's a worldview you can drop into any story and watch it combust. Will made another counterintuitive point that I found really valuable: writers often think that piling on multiple traits will create a complex character, but the opposite is true. Starting with one highly specific flaw and running it through the demands of a relentless plot is what generates complexity. You end up with a far more nuanced, original character than if you'd started with a laundry list of vague attributes. Actionable step: Take your protagonist's flaw and pressure-test it. Is it specific enough that you could place this character in any situation and predict their behaviour? If you're stuck at “she's stubborn” or “he's insecure,” keep pushing. What kind of stubborn? What kind of insecure? Find the diagnostic sentence—the Theresa May level of precision. 4. Understand the Heroine's Journey: Strength Through Connection Gail Carriger came on episode 550 to discuss her nonfiction book, The Heroine's Journey, and it completely reframed how I think about some of my own fiction. Gail explained that the core difference between the Hero's Journey and the Heroine's Journey comes down to how strength and victory are defined. The Hero's Journey is about strength through solo action. The hero must be continually isolated to get stronger. He goes out of civilisation, faces strife alone, and achieves victory through physical prowess and self-actualisation. The Heroine's Journey is the opposite. The heroine achieves her goals by activating a network. She's a delegator, a general. She identifies where she can't do something alone, finds the people who can help, and portions out the work for mutual gain. Gail put it simply: the heroine is very good at asking for help, which our culture tends to devalue but which is actually a powerful form of strength. Crucially, Gail stressed that gender is irrelevant to which journey you're writing. Her go-to examples are striking: the recent Wonder Woman film is practically a beat-for-beat hero's journey—Gilgamesh on screen, as Gail described it. Meanwhile, Harry Potter, both the first book and the series as a whole, is a classic heroine's journey. Harry's power comes from his network—Dumbledore's Army, the Order of the Phoenix, his friendships with Ron and Hermione. He doesn't defeat Voldemort alone. He defeats Voldemort because of love and connection. This distinction has real practical consequences for writers. If you're writing a hero's journey and you hit writer's block, Gail said, the solution is usually to isolate your hero further and pile on more strife. But if you're writing a heroine's journey, the solution is probably to throw a new character into the scene—someone who has advice to offer or a skill the heroine lacks. The actual solutions to writer's block are different depending on which narrative you're writing. As I reflected on my own work, I realised that my ARKANE thriller protagonist, Morgan Sierra, follows a hero's journey—she's a solo operative, a lone wolf like Jack Reacher or James Bond. But my Mapwalker fantasy series follows a heroine's journey, with Sienna and her group of friends working together. I hadn't consciously chosen those paths; the stories led me there. But understanding the framework helps me write more intentionally now. Actionable step: Identify which journey your protagonist is on. Does your character gain strength by being alone (hero) or by building connections (heroine)? This will inform every plot decision you make, from how they face obstacles to how your story ends. 5. Use ‘Metaphor Families' to Anchor Dialogue and Voice One of the most practical techniques Matt Bird shared on episode 624 is the idea of assigning each character a “metaphor family”—a specific well of language that they draw from. This gives each character a distinctive voice that goes beyond accent or dialect. Matt explained how in The Wire, one of the most beloved TV shows of all time, every character has a different metaphor family. What struck him was that Omar, this iconic character, never utters a single curse word in the entire series. His metaphor family is pirate. He talks about parlays, uses language that feels like it belongs in Pirates of the Caribbean, and it creates this incredible ironic counterpoint against his urban setting. It tells us immediately that this is a character who sees himself in a tradition of people that doesn't match his immediate surroundings. Matt also referenced the UK version of The Office, where Gareth works at a paper company but aspires to the military. So all of his language is drawn from a military metaphor family. He doesn't talk about filing and photocopying; he talks about tactics and discipline and being on the front line. This tells us that the character has a life and dreams beyond the immediate scene—and it's the gap between aspiration and reality that makes him both funny and believable. He pointed out that a metaphor family sometimes comes from a character's background, but it's often more interesting when it comes from their aspirations. What does your character want to be? What world do they fantasise about inhabiting? That's where their language should come from. In Star Wars, Obi-Wan Kenobi is a spiritual hermit, but his metaphor family is military. He uses the language of generals and commanders, and that ironic counterpoint is part of what makes him feel so rich. Actionable step: Assign each of your main characters a metaphor family. It could be based on their job, their background, or—more interestingly—their secret aspirations. Then go through your dialogue and make sure each character is consistently drawing from that well of language. If two characters sound the same when you strip away the dialogue tags, this is the fix. 6. Find the Diagnostic Detail: The Diagonal Toast Avoid clichéd character tags—the random scar, the eye patch, the mysterious limp—unless they serve a deep narrative purpose. Matt Bird on episode 624 was very funny about this: he pointed out that Nick Fury, Odin, and eventually Thor all have eye patches in the Marvel Cinematic Universe. Eye patches are done, he said. You cannot do eye patches anymore. Instead, look for what I'm calling the “diagonal toast” detail, after a scene Matt described from Captain Marvel. In the film, Captain Marvel is trying to determine whether Nick Fury is who he says he is. She asks him to prove he isn't a shapeshifting alien. Fury shares biographical details—his history, his mother—but then she pushes further and says, name one more thing you couldn't possibly have made up about yourself. And Fury says: if toast is cut diagonally, I can't eat it. Matt said that detail is gold for a writer because it feels pulled from a real life. You can pull it from your own life and gift it to your characters, and the reader can tell it's not manufactured. He gave another example from The Sopranos: Tony Soprano's mother won't answer the phone after dark. The show's creator, David Chase, confirmed on the DVD commentary that this came from his own mother, who genuinely would not answer the phone after dark and couldn't explain why. Matt's practical advice was to keep a journal. Write down the strange, specific things that people do or say. Mine your own life for those hyper-specific details. You just need one per book. In my own writing, I've used this approach. In my ARKANE thrillers, my character Morgan Sierra has always been Angelina Jolie in my mind—specifically Jolie in Lara Croft or Mr and Mrs Smith. And Blake Daniel in my crime thriller series was based on Jesse Williams from Grey's Anatomy. I paste pictures of actors into my Scrivener projects. It helps with visuals, but also with the sense of the character, their energy and physicality. But visual details only take you so far. It's the behavioural quirks—the diagonal toast moments—that make a character feel genuinely alive. That said, physical character tags can work brilliantly when they serve the story. As I discuss in How to Write a Novel, Robert Galbraith's Cormoran Strike is an amputee, and his pain and the physical challenges of his prosthesis are a key part of every story—it's not a cosmetic detail, it's woven into the action and the character's psychology. My character Blake Daniel always wears gloves to cover the scars on his hands, which provides an angle into his wounded past as well as a visual cue for the reader. And of course, Harry Potter's lightning-shaped scar isn't just a mark—it's a direct connection to his nemesis and the mythology of the entire series. The rule of thumb is: if the tag tells us something about the character's interior life or connects to the plot, it's earning its place. If it's just there to make the character visually distinctive, it's probably a crutch. Game of Thrones takes character tags further with the family houses, each with their own mottos and sigils. The Starks say “Winter is coming” and their sigil is a dire wolf. Those aren't just labels—they're worldview made visible. Actionable step: Start a “diagonal toast” notebook. Every time you notice something strange and specific about someone's behaviour—something that feels too real to be made up—write it down. Then gift it to a character who needs more texture. 7. Displace Your Own Trauma into the Work Barbara Nickless shared something deeply personal on episode 732 that fundamentally changed how I think about putting pain onto the page. While starting At First Light, the first book in her Dr. Evan Wilding series, she lost her son to epilepsy—something called SUDEP, Sudden Unexplained Death in Epilepsy. One day he was there, and the next day he was gone. Barbara said that writing helped her cope with the trauma, that doing a deep dive into Old English literature and the Viking Age for the book's research became a lifeline. But here's what's important: she didn't give Dr. Evan Wilding her exact trauma. Evan Wilding is four feet five inches, and Barbara described how he has to walk through a world that won't adjust to him. That's its own form of learning to cope when circumstances are beyond your control. She displaced her genuine grief into the character's different but parallel struggle. When I asked her about the difference between writing for therapy and writing for an audience, she drew on her experience teaching creative writing to veterans through a collaboration between the US Department of Defense and the National Endowment for the Arts. She said she's found that she can pour her heartache into her characters and process it through them, even when writing professionally, and that the genuine emotion is what touches readers. We've all been through our own losses and griefs, so seeing how a character copes can be deeply meaningful. I've always found that putting my own pain onto the page is the most direct way to connect with a reader's soul. My character Morgan Sierra's musings on religion and the supernatural are often my own. Her restlessness, her fascination with the darker edges of faith—those come from me. But her Krav Maga fighting skills and her ability to kill the bad guys are definitely her own. That gap between what's mine and what's hers is where the fiction lives. Barbara also said something on that episode that I wrote down and stuck on my wall. She said the act of producing itself is a balm to the soul. I've been thinking about that ever since. On my own wall, I have “Measure your life by what you create.” Different words, same truth. Actionable step: If you're carrying something heavy—grief, anger, fear, regret—consider how you might displace it into a character's different but emotionally parallel struggle. Don't copy your exact situation; transform it. The emotion will be genuine, and the reader will feel it. 8. Write Diverse Characters as Real People When I spoke with Sarah Elisabeth Sawyer on episode 673—Sarah is Choctaw and a historical fiction author honoured by the Smithsonian's National Museum of the American Indian—she offered a perspective that every fiction writer needs to hear. The key message was to move away from stereotypes. Don't write your American Indian character as the “Wise Guide” who exists solely to dispense mystic wisdom to the white protagonist. Don't limit diverse characters to historical settings, as though they only exist in the past. Place them in normal, contemporary roles. Your spaceship captain, your forensic scientist, your small-town baker—any of them can be American Indian, or Nigerian, or Japanese, and their heritage should be a lived-in part of their identity, not the sole reason they exist in the story. I write international thrillers and dark fantasy, and my fiction is populated with characters from all over the world. I have a multi-cultural family and I've lived in many places and travelled widely, so I've met, worked with, and had relationships with people from different cultures. I find story ideas through travel, and if I set my books in a certain place, then the story is naturally populated with the people who live there. As I discuss in my book, How to Write a Novel, the world is a diverse place, so your fiction needs to be populated with all kinds of people. If I only populated my fiction with characters like me, they would be boring novels. There are many dimensions of difference—race, nationality, sex, age, body type, ability, religion, gender, sexual orientation, socio-economic status, class, culture, education level—and even then, don't assume that similar types of people think the same way. Some authors worry they will make mistakes. We live in a time of outrage, and some authors have been criticised for writing outside their own experience. So is it too dangerous to try? Of course not. The media amplifies outliers, and most authors include diverse characters in every book without causing offence because they work hard to get it right. It's about awareness, research, and intent. Actionable step: Audit the cast of your current work in progress. Have you written a mono-cultural perspective for all of them? If so, consider who could bring a different background, perspective, or set of cultural specifics to the story. Not as a token addition, but as a real person with a real life. 9. Respect Tribal and Cultural Specificity Sarah Elisabeth Sawyer on episode 673 was emphatic about one thing: never treat diverse groups as monolithic. If you're writing a Native American character, you must research the specific nation. Choctaw is not Navajo, just as British is not French. Sarah described the distinct cultural markers of the Choctaw people—the diamond pattern you'll see on traditional shirts and dresses, which represents the diamondback rattlesnake. They have distinct dances and songs. She said that if she saw someone in traditional dress at a distance, she would know whether they were Choctaw based on what they were wearing. She encouraged writers who want to write specifically about a nation to get to know those people. Go to events, go to a powwow, learn about the individual culture. She noted that a big misconception is that American Indians exist only in the past—she stressed that they are still here, still living their cultures, and fiction should reflect that present reality. I took a similar approach when writing Destroyer of Worlds, which is set mostly in India. I read books about Hindu myth, watched documentaries about the sadhus, and had one of my Indian readers from Mumbai check my cultural references. For Risen Gods, set in New Zealand with a young Maori protagonist, I studied books about Maori mythology and fiction by Maori authors, and had a male Maori reader check for cultural issues. Research is simply an act of empathy. The practical takeaway is this: if you're going to include a character from a specific cultural background, do the work. Use specific cultural details rather than generic signifiers. Sarah talked about how even she fell into stereotypes when she was first writing, until her mother pointed them out. If someone from within a culture can fall into those traps, the rest of us certainly can. Do the research, try your best, ask for help, and apologise if you need to. Actionable step: If you're writing a character from a specific culture, identify three to five sensory or behavioural details that are particular to that culture—not the generic version, but the real, researched, lived-in version. Consider hiring a sensitivity reader from that community to check your work. 10. Give Your Protagonist a Morally Neutral ‘Hero' Status Matt Bird was clear about this on episode 624: the word “hero” simply means the protagonist, the person we follow through the story. It's a functional role, not a moral label. We don't have to like them. We don't even have to root for their goals in a moral sense. We just have to find them compelling enough to invest our attention in their problem-solving. Think of Succession, where every member of the Roy family is varying degrees of awful, and yet the show was utterly compelling. Or WeCrashed, where Adam Neumann is a narcissistic con artist, but we can't look away because he's trying to solve the enormous problem of building an empire from nothing, and the tradecraft he employs is fascinating. As I wrote in How to Write a Novel, readers must want to spend time with your characters. They don't have to be lovable or even likable—that will depend on your genre and story choices—but they have to be captivating enough that we want to spend time with them. A character who is trying to solve a massive problem will naturally draw investment from the audience, even if we wouldn't want to have tea with them. Will Storr extended this idea by pointing out that the audience will actually root for a character to solve their problem even if the audience doesn't actually want the character's goal to be achieved in the real world. We don't really want more billionaires, but we invested in Adam Neumann's rise because that was the problem the story posed, and our brains are wired to invest in problem-solving. This connects to something deeper: what does your character want, and why? As I explore in How to Write a Novel, desire operates on multiple levels. Take a character like Phil, who joins the military during wartime. On the surface, she wants to serve her country. But she also wants to escape her dead-end town and learn new skills. Deeper still, her father and grandfather served, and by joining up, she hopes to finally earn their respect. And perhaps deepest of all, her father died on a mission under mysterious circumstances, and she wants to find out what happened from the inside. That layering of motivation is what turns a flat character into a three-dimensional one. The audience doesn't need to be told all of this explicitly. It can emerge through action, dialogue, and the choices the character makes under pressure. But you, the writer, need to know it. You need to know what your character really wants deep down, because that desire—more than any external plot device—is what drives the story forward. And your antagonist needs the same depth. They also want something, often diametrically opposed to your protagonist, and they need a reason that makes sense to them. In my ARKANE thriller Tree of Life, my antagonist is the heiress of a Brazilian mining empire who wants to restore the Earth to its original state to atone for the destruction caused by her father's company. She's part of a radical ecological group who believe the only way to restore Nature is to end all human life. It's extreme, but in an era of climate change, it's a motivation readers can understand—even if they disagree with the solution. Actionable step: If you're struggling to make a morally grey character work, make sure their problem is big enough and their methods are specific and interesting enough that we invest in the how, even if we're ambivalent about the what. 11. Build Vibrant Side Characters Gail Carriger made a point on episode 550 that was equal parts craft advice and business strategy. In a Heroine's Journey model, side characters aren't just fodder to be killed off to motivate the hero. They form a network. And because you don't have to kill them—unlike in a hero's journey, where allies are often betrayed or removed so the hero can be further isolated—you can pick up those side characters and give them their own books. Gail said this creates a really voracious reader base. You write one series with vivid side characters, and then readers fall in love with those side characters and want their stories. So you write spin-offs. The romance genre does this brilliantly—think of the Bridgerton books, where each sibling gets their own novel. The side character in one book becomes the protagonist in the next. Barbara Nickless experienced this firsthand with her Dr. Evan Wilding series. She has River Wilding, Evan's adventurous brother, and Diana, the axe-throwing research assistant, and her editor has already expressed interest in a spin-off series with those characters. Barbara described creating characters she wants to spend time with, or characters who give her nightmares but also intrigue her. That's the dual test: are they interesting enough for you to write, and interesting enough for readers to demand more? As I wrote in How to Write a Novel, characters that span series can deepen the reader's relationship with them as you expand their backstory into new plots. Readers will remember the character more than the plot or the book title, and look forward to the next instalment because they want more time with those people. British crime author Angela Marsons described it as readers feeling like returning to her characters is like putting on a pair of old slippers. Actionable step: Look at your supporting cast. Is there a side character who is vivid enough to carry their own story? If not, what could you add—a specific hobby, a distinct voice, a compelling backstory—that would make readers want more of them? 12. Use Voice as a Rhythmic Tool Voice is one of the most important elements of novel writing, and Matt Bird helped me think about it in a technical, mechanical way that I found really useful. He pointed out that the ratio of periods to commas defines a character's internal reality. A staccato rhythm—lots of periods, short sentences—suggests a character who is certain, grounded, or perhaps survivalist and traumatised. Katniss in The Hunger Games has a period-heavy voice. She's in survival mode. She doesn't have time for complexity or qualification. A flowing, comma-heavy style suggests someone more academic, more nuanced, or possibly more scattered and manipulative. The character who qualifies everything, who adds sub-clauses and digressions, is a different kind of person from the character who speaks in declarations. This is something you can actually measure. Pull up a passage of your character's dialogue or internal monologue and count the periods versus the commas. If the rhythm doesn't match who the character is supposed to be, you've found a mismatch you can fix. Sentence length is the heartbeat of your character's persona. And voice extends beyond rhythm to the words themselves. As I discussed in the metaphor families tip, each character should draw from a distinctive well of language. But voice also encompasses their relationship to silence. Some characters talk around the thing they mean; others say it straight. Some are self-deprecating; others are blunt to the point of rudeness. All of these choices are character choices, not just style choices. I find it useful to read my dialogue aloud—and not just to check for naturalness, but to hear whether each character sounds distinct. If you could swap dialogue lines between two characters and nobody would notice, you have a voice problem. One practical test: cover the dialogue tags and see if you can tell who's speaking from the words alone. Actionable step: Choose a key passage from your protagonist's point of view and read it aloud. Does the rhythm match the character? A soldier under fire should not sound like a philosophy professor at a wine tasting. Adjust the ratio of periods to commas until the voice feels right. 13. Link Character and Plot Until They're Inseparable Will Storr made the case on episode 490 that the number one problem he sees in the writing he encounters—in workshops, in submissions, even in published books—is that the characters and the plots are unconnected. There's a story happening, and there are people in it, but the story isn't a product of who those people are. He said a story should be like life. In our lives, the plots are intimately connected to who we are as characters. The goals we pursue, the obstacles we face, the same problems that keep recurring—these are products of our personalities, our flaws, our specific ways of being in the world. His framework is that your plot should be designed specifically to plot against your character. You've got a character with a particular flaw; the plot exists to test that flaw over and over until the character either transforms or doubles down and explodes. Jaws is the perfect example. Brody is afraid of water. A shark shows up in the coastal town he's responsible for protecting. The entire plot is engineered to force him to confront the one thing he cannot face. Will pointed out that the whole plot of Jaws is structured around Brody's flaw. It begins with the shark arriving, the midpoint is when Brody finally gets the courage to go into the water, and the very final scene isn't the shark blowing up—it's Brody swimming back through the water. Even a film that's ninety-eight percent action is, at its core, structured around a character with a character flaw. This is the standard I aspire to in my own work, even in my action-heavy thrillers. The external plot should be a mirror of the internal struggle. When those two are aligned, the story becomes irresistible. Will also made an important point about series fiction, which is where most commercial authors live. I asked him how this works when your character can't be transformed at the end of every book because there has to be a next book. His answer was elegant: you don't cure them. Episodic TV characters like Fleabag or David Brent or Basil Fawlty never truly change—and the fact that they don't change is actually the source of the comedy. But every episode throws a new story event at them that tests and exposes their flaw. You just keep throwing story events at them again and again. That's a soap opera, a sitcom, and a book series. As I wrote in How to Write a Novel, character flaws are aspects of personality that affect the person so much that facing and overcoming them becomes central to the plot. In Jaws, the protagonist Brody is afraid of the water, but he has to overcome that flaw to destroy the killer shark and save the town. But remember, your characters should feel like real people, so never define them purely by their flaws. The character addicted to painkillers might also be a brilliant and successful female lawyer who gets up at four in the morning to work out at the gym, likes eighties music, and volunteers at the local dog shelter at weekends. Character wounds are different from flaws. They're formed from life experience and are part of your character's backstory—traumatic events that happened before the events of your novel but shape the character's reactions in the present. In my ARKANE thrillers, Morgan Sierra's husband Elian died in her arms during a military operation. This happened before the series begins, but her memories of it recur when she faces a firefight, and she struggles to find happiness again for fear of losing someone she loves once more. And then there's the perennial advice: show, don't tell. Most writers have heard this so many times that it's easy to nod and then promptly write scenes that tell rather than show. Basically, you need to reveal your character through action and dialogue, rather than explanation. In my thriller Day of the Vikings, Morgan Sierra fights a Neo-Viking in the halls of the British Museum and brings him down with Krav Maga. That fight scene isn't just about showing action. It opens up questions about her backstory, demonstrates character, and moves the plot forward. Telling would be something like: “Morgan was an expert in Krav Maga.” Showing is the reader discovering it through the scene itself. Actionable step: Look at the main plot events of your novel. For each major turning point, ask: does this scene specifically test my protagonist's flaw? If not, can you redesign the scene so that it does? The tighter the connection between character and plot, the more powerful the story. 14. The ‘Maestra' Approach: Write Out of Order If you're a discovery writer like me, you may feel like the deep character work I've been describing sounds more suited to plotters. But Barbara Nickless gave me a beautiful metaphor on episode 732 that reframes it entirely. Barbara described her evolving writing process as being like a maestra standing in front of an orchestra. Sometimes you bring in the horns—a certain theme—and sometimes you bring in the strings—a certain character—and sometimes you turn to the soloist. It's a more organic and jumping-around process than linear writing, and Barbara said she's only recently given herself permission to work this way. When I told her that I use Scrivener to write in scenes out of order and then drag and drop them into a structure later, she was genuinely intrigued. And this is how I've always worked. I'll see the story in my mind like a movie trailer—flashes of the big emotional scenes, the pivotal confrontations, the moments of revelation—and I write those first. I don't know how they hang together until quite late in the process. Then I'll move scenes around, print the whole thing out, and figure out the connective tissue. The point is that discovery writers can absolutely build deep characters. Sometimes writing the big emotional scenes first is how you discover who the character is before you fill in the rest. You don't need a twenty-page character worksheet or a 200-page outline like Jeffery Deaver. You need to be willing to follow the character into the unknown and trust that the structure will emerge. As Barbara said, she writes to know what she's thinking. That's the discovery writer's credo. And I would add: I write to know who my characters are. Actionable step: If you're stuck on your current chapter, skip it. Write the scene that's burning in your imagination, even if it's from the middle or the end. That scene might be the key to unlocking who your character really is. 15. Use Research to Help with Empathy Research shouldn't just be about factual accuracy—it's a tool for finding the sensory details that create empathy. Barbara Nickless described research as almost an excuse to explore things that fascinate her, and I feel exactly the same way. I would go so far as to say that writing is an excuse for me to explore the things that interest me. Barbara and I both travel for our stories. For her Dr. Evan Wilding books, she did deep research into Old English literature and the Viking Age. For my thriller End of Days, I transcribed hours of video from Appalachian snake-handling churches on YouTube to understand the worldview of the worshippers, because my antagonist was brought up in that tradition. I couldn't just make that up. I had to hear their language, feel their conviction, understand why they would hold venomous serpents as an act of faith. Barbara also mentioned getting to Israel and the West Bank for research, and I've been to both places too. Finding that one specific sensory detail—the smell of a particular location, the specific way an expert handles a tool, the sound of a particular kind of music—makes the character's life feel lived-in. It's the difference between a character who is described as living in a place and a character who inhabits it. As I wrote in How to Write a Novel, don't write what you know. Write what you want to learn about. I love research. It's part of why I'm an author in the first place. I take any excuse to dive into a world different from my own. Research using books, films, podcasts, and travel, and focus particularly on sources produced by people from the worldview you want to understand. Actionable step: For your next piece of character research, go beyond reading. Watch a documentary, visit a location, talk to someone who lives the experience. Find one sensory detail—a smell, a sound, a texture—that you couldn't have invented. That detail will make your character feel real. Bonus: Measure Your Life by What You Create In an age of AI and a tsunami of content, your ultimate brand protection is the quality of your human creation. Barbara Nickless said that the act of producing itself is a balm to the soul, and I believe that with every fibre of my being. Don't be afraid to take that step back, like I did with my deadlifting. Take the time to master these deeper craft skills. It might feel like you're slowing down or going backwards by not chasing the latest marketing trend, but it's the only way to step forward into a sustainable, high-quality career. Your characters are your signature. No AI can replicate the specificity of your lived experience, the emotional truth of your displaced trauma, or the sensory details you've gathered from a life of curiosity and travel. Those are yours. Pour them into your characters, and they will resonate for years to come. Actionable Takeaway: Identify the Dramatic Question for your current protagonist. Can you state it in a single sentence with the kind of specificity Will Storr described? Is it as clear as “Are you ordinary or extraordinary?” or “Are you the only adult in the room?” If you can't answer it with that kind of precision, your character might still be a sketch. Give them a diagonal toast moment today. Find the one hyper-specific detail that proves they are not an imitation of life. And then ask yourself: does your plot test your character's flaw in every major scene? If you can align those two things—a precisely defined character and a plot that exists to test them—you will have a story that readers cannot put down. References and Deep Dives The episodes I've referenced today are all available with full transcripts at TheCreativePenn.com: Episode 732 — Facing Fears, and Writing Unique Characters with Barbara Nickless Episode 673 — Writing Choctaw Characters and Diversity in Fiction with Sarah Elisabeth Sawyer Episode 624 — Writing Characters with Matt Bird Episode 550 — The Heroine's Journey with Gail Carriger Episode 490 — How Character Flaws Shape Story with Will Storr Books mentioned: The Secrets of Character: Writing a Hero Anyone Will Love by Matt Bird The Science of Storytelling by Will Storr The Heroine's Journey by Gail Carriger How to Write a Novel: From Idea to Book by Joanna Penn You can find all my books for authors at CreativePennBooks.com and my fiction and memoir at JFPennBooks.com Happy writing! How was this episode created? This episode was initiated created by NotebookLM based on YouTube videos of the episodes linked above from YouTube/TheCreativePenn, plus my text chapters on character from How to Write a Novel. NotebookLM created a blog post from the material and then I expanded it and fact checked it with Claude.ai 4.6 Opus, and then I used my voice clone at ElevenLabs to narrate it. The post Writing Characters: 15 Actionable Tips For Writing Deep Character first appeared on The Creative Penn.

Can being autistic make a person a great detective? According to writer Tim Sullivan the answer is yes. He's created a main character, Detective Sargent George Cross, whose sense of justice, attention to detail and systematic approach to crime-solving gives him a distinct advantage. In an authentic portrayal of an autistic character Tim reveals why he writes about George and tells how George has become an endearing character in his books. This Cambridge-educated, screenwriter-turned-novelist demonstrates the importance of acceptance and the qualities that make autistics shine.Tim Sullivan's Websites: US  UKTim's booksSupport the showRATED IN THE TOP 0.5% GLOBALLY with more than 1.2 million downloads! If you are an autistic person who has written a book about autism or if you have a guest suggestion email me at info@theautisticwoman.com. InstagramKo-fi, PayPal, PatreonLinktreeEmail: info@theautisticwoman.comWebsite June 24-28, 2026 In Rewilding Together

Dr. DeWitt, of Learning Without Tears, joins the show to talk about the benefits of reading, offering practical, daily ways to help kids become strong readers. Learn more about your ad choices. Visit megaphone.fm/adchoices

Spring break is around the corner and that means we'll have time to reflect, reenergize, and maybe even relax. Since we are all leaders, that means we all need to invest in ourselves so that we can increase our ability to serve others. On this episode we explore six texts and a process using AI -- to help us increase the application of our learning. Leaders are Readers!    The books: Yes to Life, Viktor Frankly 13 Things Mentally Strong Women Don't Do, Amy Morin The Inner Game of Tennis, W. Timothy Gallwey The Digital Delusion, Jared Horvath Who is Government, Michael Lewis Theo of Golden, Allen Levi Plus a great new release produced at Golden Bear Studios:  Roots Run Back to You by Day Ashworth           

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, Kathleen is explaining Congressional Hearings. 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

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

Flock cameras, and other license plate reader systems, are installed all over Colorado. The technology gives law enforcement access to a new level of tracking, a reach they say has helped them solve all kinds of terrible crimes and made the state safer. But community fears that law enforcement could misuse the data and invade people's privacy, and share it with federal immigration authorities, are mounting — and getting the attention of state lawmakers. CPR's Bente Birkeland and Denverite's Andrew Kenney dig into how this kind of surveillance tech has changed in recent years, the arguments for and against it and how some Colorado lawmakers hope to restrict how law enforcement can access this data. Catch up on our latest coverage: New restrictions on police surveillance advance in state Senate Denver fires Flock, prepares to switch to new roadway surveillance system Officer faces discipline after using Flock cameras to falsely accuse Denver woman of package theft Police used Flock cameras to accuse a Denver woman of package theft. She had her own evidence Out-of-state cops had access to Denver license plate data for immigration cases for months Denver is at the center of a viral national fight over surveillance Purplish is produced by CPR News and the Capitol News Alliance, a collaboration between KUNC News, Colorado Public Radio, Rocky Mountain PBS, and The Colorado Sun, and shared with Rocky Mountain Community Radio and other news organizations across the state. Funding for the Alliance is provided in part by the Corporation for Public Broadcasting.Purplish's producer is Stephanie Wolf. Hazel Feldstein assistant produced this episode. Additional reporting from Denverite's Kiara DeMare and Kyle Harris. Megan Verlee is the executive producer. Sound design and engineering by Shane Rumsey. The theme music is by Brad Turner.

How do you grow your author platform while serving readers with the content you're already creating? My new friend Jennifer, who I connected with on PodMatch, is here to share how she's done that as host of the Front parking Spot podcast, and as a busy wife, mom and author.Jennifer's booksJennifer's website

Bill Powers interviews Shawn Khunkhun, CEO of Dolly Varden Silver, for an update on Dolly Varden's proposed merger with Contango Ore. The merger is expected to close around March 26 after shareholder votes and final court approval, with the combined company trading as CTGO on NYSE American and also listing on the TSX. Khunkhun outlines a $50M ETF/index buying “catch-up trade” expected soon after closing, and emphasizes a $50M exploration budget funded by roughly $100M cash plus cash flow from an the Alaskan Mahn Choh producing mine, alongside $14.5M debt. He provides guidance targeting a 50% increase in silver inventory toward 100M ounces, improved gold resource conversion and grade, and discusses planned growth including Lucky Shot (production by 2028) and Johnson Tract capex, potential hub-and-spoke processing, and a scenario of up to $250M free cash flow in 2027. 00:00 Intro 00:27 Merger Timeline and Approvals 02:17 Exploration Strategy and Budgets 04:25 Balance Sheet and Funding Plan 05:26 Resource Growth Guidance 06:56 Jurisdiction and Catchup Trade 10:02 ETF Rebalance and US Domicile 10:44 Grants and Permitting Upside 11:54 2027 Free Cash Flow Outlook 14:04 Valuation Framework and Comps 17:33 Capex Roadmap and Production Build 19:03 Hub and Spoke Processing Model 21:43 Silver Price Guidance and Equity Catchup 24:38 NewCo Leadership and Share Structure Learn more about the merger: https://contango-ore-to-merge-with-dolly-varden-silver.com/ Sign up for our free newsletter and receive interview transcripts, stock profiles and investment ideas: http://eepurl.com/cHxJ39 Sponsor Dolly Varden Silver Corp. pays MSE a United States dollar seven thousand per month coverage fee. The forward-looking statement disclaimer found in Dolly Varden's most-recent company slide deck found at www.DollyVardenSilver.com applies to everything discussed in this 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. 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/

A sudden loss changed everything. In this episode, I sit down with Chanoa Inez, whose life took an unexpected turn when a joyful trip overseas became the beginning of a long journey through grief, healing, and transformation. Chanoa shares how losing her partner while living abroad forced her to face deep emotional challenges and rebuild her life from the ground up. Along the way she developed a thriving copywriting career, explored the deeper roots of resilience and self-love, and eventually wrote her book Dream On to help others navigate upheaval and loss. As you listen, I believe you will hear how Chanoa discovered that joy, purpose, and even a dream life can emerge again when we learn to understand our stories, trust ourselves, and move forward with an unstoppable mindset. Highlights: ·  00:10 — Why Michael created the Unstoppable Mindset podcast to show people they are more capable than they think. ·  10:39 — How graduating during the Great Recession led Chanoa to discover freelance writing and build her copywriting career. ·  17:07 — The life-changing moment when her boyfriend unexpectedly passed away while they were living in Montenegro. ·  25:00 — How starting and growing her copywriting business helped her rebuild stability after loss. ·  36:59 — Why Chanoa decided to write her book Dream On about rebuilding life after upheaval. ·  48:55 — How Chanoa defines joy as “energized happiness” and why reconnecting to it changes everything. Top of Form Bottom of Form About the Guest: Chanoa Inez is a Los Angeles-based author, personal transformation advisor (for people) and a messaging strategist (for brands). She's passionate about helping people and businesses lean into who and what they really are so they can stand out and make a real impact. When it comes to people, she makes that happen through her programs in MAGNETIZE YOUR PERSONAL BRAND™. Chanoa helps her clients become more memorable to attract more (and better) opportunities by showing them how to lean into their true selves, position their personal brands, embrace visibility, elevate their verbal and nonverbal communication, and more. In her work supporting startups and Fortune 500 corporations alike, Chanoa helps tech, fintech, and luxury companies develop memorable brand messaging and content that clarifies their place in the market, attracts their ideal clients, and helps them stand out in a sea of industry-speak and sameness; she's a brand voice specialist too. Years after a difficult, sudden loss, Chanoa Inez realized every area of her life was still touched by the immense grief from that fateful morning in Montenegro. So she set down a path for change marked by challenging hurdles but also awe and amazing opportunities. Steeped in gratitude for her life's transformation, she couldn't wait to share the techniques and perspectives that helped her achieve more and more happiness, health, and success.  In her book Dream On: How to create the new life of your dreams after upheaval or loss, Chanoa helps readers skip years of trial and error, delivering those learnings with the momentum of her craft as a copywriter. Readers are greeted with a set of meaningful paths designed to help them achieve the new lives of their dreams with far greater speed. Ways to connect with Chanoa: Website: https://www.chanoainez.com/ LinkedIn: https://www.linkedin.com/in/chanoa/ Instagram: https://www.instagram.com/chanoainez/ About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset . Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes:

[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.

Jeff Hamilton attended Indiana University and later studied with John Von Ohlen. Hamilton was influenced by Gene Krupa, Buddy Rich, Mel Lewis, “Philly” Joe Jones, and Shelly Manne. In 1974, he got his first big break playing with the New Tommy Dorsey Orchestra. He then joined Lionel Hampton's Band until 1975 when he, along with bassist John Clayton, became members of the Monty Alexander Trio. He attained a childhood goal in 1977 when he joined Woody Herman and the Thundering Herd, with whom he made several recordings. In 1978, he was offered a position in the L.A.4. with Ray Brown, Bud Shank, and Laurindo Almeida. He recorded 6 albums with the L.A.4. From 1983-1987, he performed with Ella Fitzgerald, the Count Basie Orchestra, Rosemary Clooney, and Monty Alexander. Hamilton began his association with the Ray Brown Trio in 1988 and left in March of 1995 to concentrate on his own trio. From 1990-1995, he was also a member of the Oscar Peterson Quartet w/Herb Ellis and Ray Brown. Hamilton has toured with his own trio, the Clayton-Hamilton Jazz Orchestra, and Diana Krall. The latest CHJO recording LA Treasures was nominated for a GRAMMY. Hamilton has been on more than 300 recordings with artists such as Ray Brown, Natalie Cole, Diana Krall, Milt Jackson, Rosemary Clooney, Barbra Streisand, Mel Torme, John Pizzarelli, Dr. John, Paul McCartney, and many others. He appeared in Diana Krall's Live in Paris and Rio DVDs. He is a four time winner of Modern Drummer magazine Readers' Poll. In this episode, Jeff talks about: How the role of a mentor is to see problems and potential you can't see in yourself  Why sound is just as important as content  His thoughts on the music business vs. the drumming business The great bassists he has played with, including Ray Brown and John Clayton  His criteria for hiring band members  Playing with Akiko Tsuruga and matching the intensity of the B3 organ, “a one man big band” The importance of letting humor and joy show in his playing  ⁠⁠⁠Here's our Patreon⁠⁠⁠ ⁠⁠⁠Here's our Youtube⁠⁠⁠ ⁠⁠⁠Here's our Homepage

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

A man in Michigan was arrested and charged with destroying license plate reading cameras. https://www.lehtoslaw.com

What if the thing standing between you and a deeper connection with God this season was a simple pen and notebook? Today I'm sitting down with my new friend, author Allison Byxbe, who I connected with through PodMatch, and she's sharing inspiration from her new book, Journaling as a Spiritual Practice. Allison's bookAllison's website

Read China & the Hill on Substack China & the Hill is a weekly newsletter covering Washington DC's China-focused debates, actions, and reactions. Readers will receive a curated digest of each week's most pressing U.S.-China news and its impact on businesses and policy, and can listen to the top stories in podcast form on the U.S.-China Podcast.

This story isn't intended for young or sensitive readers. Readers who are on the lookout for trigger warnings are advised to give Worm a pass. Complete list of potential triggers: here-----------------------------------The Brockton Bay Book Club discusses J.C. McCrae's Ward live! The gang reads a portion of Ward and comes together to share our thoughts with each other and anyone who want's to participate.This week we cover Arc 13.8 - 13.z - BlackRead along herePlay along with this week's BBBC BINGO while you listen!Support us and connect with us @brocktonbaybc-----------------------------------Thank you to the sponsors that fuel our podcast: This episode of the Brockton Bay Book Club is sponsored by Made Marion. Made Marion creates custom cottagecore and ren faire clothing designed for every body. Whether you're looking for a lace up bodice, rustic apron and pinafores, or ethereal dresses, you'll find items customized for every individual's fit and design. All items are lovingly hand sewn with attention to detail and a touch of whimsy. Visit Made Marion today and transform your wardrobe with clothing that feels as enchanting as it looks. Find Made Marion on etsy, at https://www.etsy.com/shop/themademarion

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/

Korean-American writer and creator T.Y. Lee joined Al Mega on the Comic Crusaders Podcast for a fast-paced, high-energy conversation about his new graphic novel, Return of the Rooftop Koreans. The 140-page book, which successfully funded on Kickstarter, blends action, cultural identity, and humor into a bold and refreshing narrative. During the interview, Lee discussed his creative influences, the cultural significance behind the Rooftop Koreans mythos, and the personal experiences that shaped the project. Known for his unique sense of humor from dressing as a werewolf to collecting unpaid parking tickets, Lee brings the same comedic edge and originality to his storytelling. Readers can expect sharp writing, dynamic visuals, and a strong exploration of Korean-American themes. Return of the Rooftop Koreans stands as one of the most exciting indie graphic novels of the year. https://www.instagram.com/antiwokebooks https://www.facebook.com/antiwokebooks https://x.com/antiwokebooks https://www.antiwokebooks.com ðŸ"" Subscribe for more interviews, creator spotlights, and pop-culture news straight from the Comic Crusaders Universe! Thank You for Watching / Listening! We appreciate your support! Episode 632 in an unlimited series! Host: Al Mega Follow on Twitter | Instagram | Facebook: @TheRealAlMega / @ComicCrusaders Make sure to Like/Share/Subscribe if you haven't yet Rumble/Twitch: ComicCrusaders YouTube: / comiccrusadersworld Visit the official Comic Crusaders Comic Book Shop: comiccrusaders.shop Visit the OFFICIAL Comic Crusaders Swag Shop at: comiccrusaders.us Main Site: https://www.comiccrusaders.com/​​​​ Edited/Produced/Directed by Al Mega Want to create amazing live streams like ours? Then look no further than StreamYard! The BEST and EASIEST to use Streaming Solution on Earth! Check it out at: : https://streamyard.com/pal/d/6492786798886912

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

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

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

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

[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