Podcasts about Scrivener

Simon and Rachel speak with Doug Naylor, who co-created the hit 1990s science-fiction comedy "Red Dwarf". After abandoning his university studies in psychology in Manchester, Doug spent the better part of a year visiting Manchester Central Library, reading film and TV scripts and teaching himself the mechanics of comedy writing; unbeknownst to his parents, who thought he was still pursuing his degree. After breaking into radio comedy, he became the head writer and script editor on the 1980s satirical puppet show "Spitting Image". He co-wrote the novelty hit "The Chicken Song", which topped the British charts for three weeks in 1986, and he has also published several novels. We spoke to Doug about breaking into the world of comedy, creating "Red Dwarf" and his new children's novel, "Sin Bin Island".  In addition to the standard audio format, the podcast is now available in video. You can check us out on YouTube under Always Take Notes.  Join us on April 21st as we interview Michael Morpurgo at the Lantern Theatre in Bristol. You can get your tickets here.  We've made another update for those ⁠⁠⁠⁠⁠⁠⁠⁠who support the podcast on the crowdfunding site Patreon⁠⁠⁠⁠⁠⁠⁠⁠. We've added 40 pages of new material to the package of successful article pitches that goes to anyone who supports the show with $5 per month or more, including new pitches to the New York Times, the Washington Post and the BBC. The whole compendium now runs to a whopping 160 pages. For Patreons who contribute $10/month we're now also releasing bonus mini-episodes. Thanks to our sponsor, Scrivener, the first ten new signs-ups at $10/month will receive a lifelong license to Scrivener worth £55/$59.99 (seven are left). This specialist word-processing software helps you organise long writing projects such as novels, academic papers and even scripts. Other Patreon rewards include signed copies of the podcast book and the opportunity to take part in a monthly call with Simon and Rachel.A new edition of “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is available now. The updated version now includes insights from over 100 past guests on the podcast, with new contributions from Harlan Coben, Victoria Hislop, Lee Child, Megan Nolan, Jhumpa Lahiri, Philippa Gregory, Jo Nesbø, Paul Theroux, Hisham Matar and Bettany Hughes. You can order it via ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Waterstones⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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.

What does it mean to reconnect to one's ancestral homeland?Thursday on Midday Edition, we hear from the director of a new documentary, "Dear Alaska," which explores reconnection and interconnection through the lens of the Indigenous Tlingit people of the Pacific Northwest and San Diego's Native community.Then, the Old Globe is currently staging a new adaptation of Herman Melville's 1853 short story "Bartleby, the Scrivener." KPBS arts reporter Beth Accomando sits down with the playwrights.Guests:Moriah Hayes/Keeyées Tláa, director, "Dear Alaska"Noah Brody, playwright, Fiasco TheaterPaul L. Coffey, playwright, Fiasco Theater

On the Self-Publishing with ALLi podcast, Howard Lovy speaks with Cameron Sutter, founder of Plottr, about how visual planning tools can help authors organize ideas, structure their books, and move more confidently from concept to finished manuscript. Sutter explains how Plottr's timeline, scene cards, templates, and series planning features allow writers to see their stories at a glance, spot gaps in plot or character development, and rearrange scenes as their ideas evolve. The conversation also covers tools for capturing ideas on the go, integrating with writing software like Scrivener and Word, and maintaining consistency across multi-book series. Find more author advice, tips, and tools at our Self-publishing Author Advice Center, with a huge archive of nearly 2,000 blog posts and a handy search box to find key info on the topic you need. And, if you haven't already, we invite you to join our organization and become a self-publishing ally.

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.

What does it take to turn real life into a book readers can't put down?In this episode, I talk with Dr. Amanda Edgar, award-winning author, ghostwriter, and founder of Page and Podium Press, about the craft and business of memoir and prescriptive nonfiction. Amanda shares how she helped document firsthand stories from the summer of 2020 for a follow-up to her 2018 Black Lives Matter book, and why she measures success not just in sales, but in impact and ongoing conversations.We also get practical. Amanda explains what ghostwriting really involves—from interviews and research to collaborative outlining and preserving a client's voice. She discusses timelines, her 3,000-words-per-week writing cadence, tools like Scrivener, and why her press avoids AI-generated prose to protect authenticity and trust.For aspiring ghostwriters, Amanda shares business advice: start with a few projects, set up your contracts and LLC, and choose a marketing channel you actually enjoy—her YouTube strategy brings in steady organic leads.Finally, we talk about the emotional side of memoir writing: interviewing people about painful experiences, honoring their stories, and knowing which projects align with your values. Amanda also previews two upcoming books, including a guide to her Memoir Method and her own deeply personal memoir about surviving a hidden abusive relationship.If you're interested in memoir, ghostwriting, or writing books that make an impact, this episode is for you.Have a comment? Text me!Support the show

Hallo! Diese Folge wurde am Veröffentlichungstag erst aufgenommen, deswegen gibt sich jetzt niemand die Mühe hier einen informativen und/oder unterhaltsamen Text zu schreiben. Sonst dauert es noch länger, bis man endlich loshören kann. Bitteschön, gern geschehen!

John Garrison Marks is a historian, whose latest book is Thy Will Be Done: George Washington's Legacy of Slavery and the Fight for American Memory. Show notes: John Garrison Marks Thy Will Be Done: George Washington's Legacy of Slavery and the Fight for American Memory DEVONthink Charles Sumner: Conscience of a Nation Learn more about Scrivener, and check out the ebook Take Control of Scrivener. If you like the podcast, please follow it on Apple Podcasts or your favorite podcast app. Leave a rating or review, and tell your friends. And check out past episodes of Write Now with Scrivener.

Rachel and Simon speak with the author and academic Mary Beard. Mary is a professor emerita of classics at Cambridge University and the Classics editor of the Times Literary Supplement. She has written more than 20 books, including "Pompeii" (the winner of the Wolfson History Prize in 2008), "Confronting the Classics", "SPQR: A History of Ancient Rome" and "Women & Power: A Manifesto". Several of her titles have been bestsellers and her work has been published in more than 35 languages. Mary has also presented many television documentaries, such as "Meet the Romans with Mary Beard" and "Inside Culture". She is a fellow of the British Academy and in 2018 she received a damehood for "services to the study of classical civilisations". We spoke to Mary about her early interest in learning Latin and Greek; moving from an academic career to writing and broadcasting for a wider audience; and her new book, "Talking Classics". Join us on April 21st as we interview Michael Morpurgo at the Lantern Theatre in Bristol. You can get your tickets via Live Nation.  We've made another update for those ⁠⁠⁠⁠⁠⁠⁠⁠who support the podcast on the crowdfunding site Patreon⁠⁠⁠⁠⁠⁠⁠⁠. We've added 40 pages of new material to the package of successful article pitches that goes to anyone who supports the show with $5 per month or more, including new pitches to the New York Times, the Washington Post and the BBC. The whole compendium now runs to a whopping 160 pages. For Patreons who contribute $10/month we're now also releasing bonus mini-episodes. Thanks to our sponsor, Scrivener, the first ten new signs-ups at $10/month will receive a lifelong license to Scrivener worth £55/$59.99 (seven are left). This specialist word-processing software helps you organise long writing projects such as novels, academic papers and even scripts. Other Patreon rewards include signed copies of the podcast book and the opportunity to take part in a monthly call with Simon and Rachel. A new edition of “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is available now. The updated version now includes insights from over 100 past guests on the podcast, with new contributions from Harlan Coben, Victoria Hislop, Lee Child, Megan Nolan, Jhumpa Lahiri, Philippa Gregory, Jo Nesbø, Paul Theroux, Hisham Matar and Bettany Hughes. You can order it via ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Waterstones⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

​ ⁨@GospelSimplicity⁩  This Was Really Three Debates in One (and they all got mixed together) https://youtu.be/diirFfP2Kgg?si=WKGLIfheVeagT1l9  ⁨@GlennLouryShow⁩  Ex-Professor Exposes the Woke Money Machine | Glenn Loury, John McWhorter & Tyler Austin Harper https://youtu.be/J_T5SPbm5hU?si=MQH8XI1Gr1gRTMie Jesse Jackson's Legacy | Glenn Loury & John McWhorter | The Glenn Show https://youtu.be/nBJvV-qunao?si=GGfIMi8J9TJdwiCn https://x.com/PaulVanderKlay/status/2026719617981550859  ⁨@SpeakLifeMedia⁩  Epic Debate or Failure to Communicate: Alex O'Connor vs Glen Scrivener https://youtu.be/8vEVOLSynho?si=EReGhbXCsDsmWiS0  ⁨@justinbrierley⁩   ⁨@CosmicSkeptic⁩   ⁨@SpeakLifeMedia⁩  Alex O'Connor & Glen Scrivener DEBATE morality, freedom, slavery & the Bible | Uncommon Ground https://youtu.be/-ZnVNM8lkGw?si=09EILRwM6dkgkRhK https://youtube.com/shorts/HdygYyLTBZg?si=qm43ZZBURB9eekg4 The Secular Koranic and Jewish Mission to the Corner https://youtu.be/5dzmbMKD2c4?si=GLLcMe9TOXsGYtoO Is it Wise to be a Sex Worker? How would you know? Was Job Wise? Is it about Feelings? https://youtu.be/xsC6gJY6UIE?si=SnfWvoyvcl0WuqEY https://youtube.com/shorts/M_pjjB-SlmA?si=cio496pC5N57nE-Q  What is the TLC? ("This little corner of the Internet" also know as "the corner" https://youtu.be/Y3vqSjywot8?si=IVS3bnriwje5syPO https://www.livingstonescrc.com/give Paul Vander Klay clips channel https://www.youtube.com/channel/UCX0jIcadtoxELSwehCh5QTg https://www.meetup.com/sacramento-estuary/ My Substack https://paulvanderklay.substack.com/ Bridges of meaning https://discord.gg/mtKUnMKS Estuary Hub Link https://www.estuaryhub.com/ There is a video version of this podcast on YouTube at http://www.youtube.com/paulvanderklay To listen to this on ITunes https://itunes.apple.com/us/podcast/paul-vanderklays-podcast/id1394314333  If you need the RSS feed for your podcast player https://paulvanderklay.podbean.com/feed/  All Amazon links here are part of the Amazon Affiliate Program. Amazon pays me a small commission at no additional cost to you if you buy through one of the product links here. This is is one (free to you) way to support my videos.  https://paypal.me/paulvanderklay Blockchain backup on Lbry https://odysee.com/@paulvanderklay https://www.patreon.com/paulvanderklay Paul's Church Content at Living Stones Channel https://www.youtube.com/channel/UCh7bdktIALZ9Nq41oVCvW-A To support Paul's work by supporting his church give here. https://tithe.ly/give?c=2160640 https://www.livingstonescrc.com/give  

Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donateBartleby, the Scrivener (version 2)Herman Melville (1819 - 1891)Bartleby, the Scrivener: A Story of Wall Street is a novella by the American novelist Herman Melville (1819–1891). It first appeared anonymously in two parts in the November and December 1853 editions of Putnam's Magazine, and was reprinted with minor textual alterations in his The Piazza Tales in 1856. ( Summary by Wikipedia )Read by Bob NeufeldGenre(s): General FictionLanguage: EnglishKeyword(s): melville , wall street , bartleby Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donate

​ @justinbrierley   @CosmicSkeptic   @SpeakLifeMedia  Alex O'Connor & Glen Scrivener DEBATE morality, freedom, slavery & the Bible | Uncommon Ground  @faturechi   Iran Update https://www.youtube.com/live/rj8OfbADx2M?si=47dTfOIcXBkjtOke Secularity and the Old World: De Nieuwe Wereld TV Interview https://youtu.be/68-Pt-wkeKI?si=gieHoQ0rpFirc62D  @drpeterboghossian  Cameraman Has MELTDOWN Over Conversation About Islamic Immigration https://youtu.be/XOkbzylZurA?si=Mi14qkjJWwH6fndR  @redeemed_zoomer  Why are some evangelicals going Catholic/Orthodox? w/ Keith Foskey and Matt Whitman https://youtu.be/8fUDOEX6frU?si=lvh9QphHszxrtlrc https://www.newyorker.com/culture/the-weekend-essay/losing-faith-in-atheism https://www.newyorker.com/culture/the-weekend-essay/losing-faith-in-atheism  What is the TLC? ("This little corner of the Internet" also know as "the corner" https://youtu.be/Y3vqSjywot8?si=IVS3bnriwje5syPO https://www.livingstonescrc.com/give Register for the Estuary/Cleanup Weekend https://lscrc.elvanto.net/form/94f5e542-facc-4764-9883-442f982df447 Paul Vander Klay clips channel https://www.youtube.com/channel/UCX0jIcadtoxELSwehCh5QTg https://www.meetup.com/sacramento-estuary/ My Substack https://paulvanderklay.substack.com/ Bridges of meaning https://discord.gg/mtKUnMKS Estuary Hub Link https://www.estuaryhub.com/ There is a video version of this podcast on YouTube at http://www.youtube.com/paulvanderklay To listen to this on ITunes https://itunes.apple.com/us/podcast/paul-vanderklays-podcast/id1394314333  If you need the RSS feed for your podcast player https://paulvanderklay.podbean.com/feed/  All Amazon links here are part of the Amazon Affiliate Program. Amazon pays me a small commission at no additional cost to you if you buy through one of the product links here. This is is one (free to you) way to support my videos.  https://paypal.me/paulvanderklay Blockchain backup on Lbry https://odysee.com/@paulvanderklay https://www.patreon.com/paulvanderklay Paul's Church Content at Living Stones Channel https://www.youtube.com/channel/UCh7bdktIALZ9Nq41oVCvW-A To support Paul's work by supporting his church give here. https://tithe.ly/give?c=2160640 https://www.livingstonescrc.com/give  

Simon and Rachel speak to Jacques Testard, the founder and publisher of Fitzcarraldo Editions, an independent house based in London that, since its establishment in 2014, has won four Nobel Prizes for literature. Jacques's Nobel winners are Svetlana Alexievich (2015), Olga Tokarczuk (2018), Annie Ernaux (2022) and Jon Fosse (2023). Prior to setting up Fitzcarraldo, Jacques co-founded The White Review, a literary magazine launched in 2011. He's also published work by Claire-Louise Bennett, Jon Lee Anderson and Fernanda Melchor. We spoke to Jacques about setting up Fitzcarraldo and releasing its first book in 2014, its extraordinary success with literary prizes, including the Nobel, and the economics of running a small publishing house.In addition to the standard audio format, the podcast is now available in video. You can check us out on YouTube under Always Take Notes.  Join us on April 21st as we interview Michael Morpurgo at the Lantern Theatre in Bristol. You can get your tickets here.  We've made another update for those ⁠⁠⁠⁠⁠⁠⁠⁠who support the podcast on the crowdfunding site Patreon⁠⁠⁠⁠⁠⁠⁠⁠. We've added 40 pages of new material to the package of successful article pitches that goes to anyone who supports the show with $5 per month or more, including new pitches to the New York Times, the Washington Post and the BBC. The whole compendium now runs to a whopping 160 pages. For Patreons who contribute $10/month we're now also releasing bonus mini-episodes. Thanks to our sponsor, Scrivener, the first ten new signs-ups at $10/month will receive a lifelong license to Scrivener worth £55/$59.99 (seven are left). This specialist word-processing software helps you organise long writing projects such as novels, academic papers and even scripts. Other Patreon rewards include signed copies of the podcast book and the opportunity to take part in a monthly call with Simon and Rachel. A new edition of “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is available now. The updated version now includes insights from over 100 past guests on the podcast, with new contributions from Harlan Coben, Victoria Hislop, Lee Child, Megan Nolan, Jhumpa Lahiri, Philippa Gregory, Jo Nesbø, Paul Theroux, Hisham Matar and Bettany Hughes. You can order it via ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Waterstones⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Brad Bigelow has written a biography of the neglected author Virginia Faulkner. Show notes: Brad Bigelow Virginia Faulkner - A Life in Two Acts The Neglected Books Page The Space Age Pop Music Page A Dance to the Music of Time - musicoftime.com [A Dance to the Music of Time audiobook](Audible.com) Reading Pilgrimage Pilgrimage Paul Metcalf – Coffee House Press Learn more about Scrivener, and check out the ebook Take Control of Scrivener. If you like the podcast, please follow it on Apple Podcasts or your favorite podcast app. Leave a rating or review, and tell your friends. And check out past episodes of Write Now with Scrivener.

Join hosts J.D. Barker, Christine Daigle, Jena Brown, and Kevin Tumlinson as they discuss the week's entertainment news, including stories about Anthropic, IPG, and what's happening in the book market. Then, stick around for a chat with Oliver Evensen!Oliver Evensen: For nearly four years, Oliver has been helping writers thrive. He tests tools, strategies, and systems to save you time and share what actually works. Whether you're starting out or leveling up, his goal is to give you the confidence and resources to focus on what matters—your writing.Join us live on Feb 5 @ 1pm ET! https://bit.ly/WIPLive226Meeting ID: 867 0031 3844 | Passcode: 851563 Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this episode Rachel and Simon speak to Nicole Vanderbilt, managing director of Bookshop.org in the UK. She joined Bookshop - an online bookseller set up to financially support independent bookshops - at its launch in November 2020; since then it has raised almost £5 million for over 600 local retailers. As well as selling physical books, Bookshop.org sells e-books and plans to launch audiobooks in 2026. It also offers a trade-in scheme, called Bookloop, for secondhand books. We spoke to Nicole about Bookshop's status as the "ethical alternative to Amazon", how her background in finance and tech has shaped her approach to publishing, and about the challenges of getting people to read. In addition to the standard audio format, the podcast is now available in video. You can check us out on YouTube under Always Take Notes. We've made another update for those ⁠⁠⁠⁠⁠⁠⁠⁠who support the podcast on the crowdfunding site Patreon⁠⁠⁠⁠⁠⁠⁠⁠. We've added 40 pages of new material to the package of successful article pitches that goes to anyone who supports the show with $5 per month or more, including new pitches to the New York Times, the Washington Post and the BBC. The whole compendium now runs to a whopping 160 pages. For Patreons who contribute $10/month we're now also releasing bonus mini-episodes. Thanks to our sponsor, Scrivener, the first ten new signs-ups at $10/month will receive a lifelong license to Scrivener worth £55/$59.99 (seven are left). This specialist word-processing software helps you organise long writing projects such as novels, academic papers and even scripts. Other Patreon rewards include signed copies of the podcast book and the opportunity to take part in a monthly call with Simon and Rachel. A new edition of “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is available now. The updated version now includes insights from over 100 past guests on the podcast, with new contributions from Harlan Coben, Victoria Hislop, Lee Child, Megan Nolan, Jhumpa Lahiri, Philippa Gregory, Jo Nesbø, Paul Theroux, Hisham Matar and Bettany Hughes. You can order it via ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Waterstones⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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

Louise Southerden joins Let's Talk Memoir for a conversation about building a tiny home in Australia by hand during the Covid pandemic, being a travel writer for much of her career, choosing freedom over security, writing about exes, struggling with how much backstory to put in, narrative arc and the hero's journey, firming up a timeline, wanting to be fair in depicting loved ones, taking care of and pacing ourselves while we're writing, creating the life that we want to live inside with words, being led by how the story wants to be told, and her new memoir TINY: A Memoir About Love, Letting Go and a Very Small House. Info/Registration for Ronit's 10-Week Memoir Class Memoir Writing: Finding Your Story https://www.pce.uw.edu/courses/memoir-writing-finding-your-story Also in this episode: -using Scrivener -the freelance writing life -what one really needs to be happy   Books mentioned in this episode:  -Tracks by Robyn Davidson -Unfinished Woman by Robyn Davidson -Wifedom by Anna Funder -The Little Red Writing Book by Mark Tredinnick  -Things I Learned From Falling by Claire Nelson   Louise Southerden is an Australian author and award-winning travel writer who has spent more than 25 years travelling all over the world and won the Australian Travel Writer of the Year award a record five times. She's the author of five non-fiction books including Surf's Up, the world's first surfing guide for women; a working holiday guide to Japan, where she once lived for a year and a half; an anthology of her best adventure travel tales; and her latest, TINY: A memoir about love, letting go and a very small house, published by Hardie Grant Explore. Originally from Sydney, Louise now lives and writes in her tiny home by the sea in northern NSW, Australia.   Connect with Louise: Website: https://www.noimpactgirl.com/ More info about TINY on Louise's Substack: https://noimpactgirl.substack.com/p/tiny-a-memoir-about-love-letting-af1 TINY on Amazon: https://www.amazon.com/Tiny-Memoir-About-Letting-Small/dp/174117922X/ref=tmm_pap_swatch_0?_encoding=UTF8&dib_tag=se&dib=eyJ2IjoiMSJ9.cDx-4ItRYaLsBKW5vu1dfQ.Pozgks-L91kJZfC4hCxsGFIuB_FqZlo7oJW31ra3GYU&qid=1755581587&sr=8-1 Living Big in a Tiny House episode: https://www.youtube.com/watch?v=ipAxKp5fbvQ  Substack: https://noimpactgirl.substack.com/  FB: https://www.facebook.com/noimpactgirl/# Fishpond: https://www.fishpond.com/Books/Tiny-Louise-Southerden/9781741179224   – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, Poets & Writers, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories.  She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and teaches memoir through the University of Washington's Online Continuum Program and also independently. She launched Let's Talk Memoir in 2022, lives in Seattle with her family of people and dogs, and is at work on her next book.   More about Ronit: https://ronitplank.com Subscribe to Ronit's Substack: https://substack.com/@ronitplank   Follow Ronit: https://www.instagram.com/ronitplank/ https://www.facebook.com/RonitPlank https://bsky.app/profile/ronitplank.bsky.social

In an episode recorded live at EA Festival, Simon and Rachel speak with the science writer Frank Close. Frank is emeritus professor of theoretical physics at the University of Oxford and is the only professional scientist to have won the Association of British Science Writers Prize on three occasions. His 22 books include "The Cosmic Onion", "Trinity" and "Elusive". Frank is also a fellow of the Royal Society and winner of their Michael Faraday Prize for excellence in science communication. We spoke to Frank about the challenges of writing about physics for a lay audience, his fascination with the history of nuclear weapons, and his latest book, "Destroyer of Worlds".  Alongside listening to us in audio as usual, the podcast is now available on video. You can check us out on YouTube under Always Take Notes. We've made another update for those ⁠⁠⁠⁠⁠⁠⁠⁠who support the podcast on the crowdfunding site Patreon⁠⁠⁠⁠⁠⁠⁠⁠. We've added 40 pages of new material to the package of successful article pitches that goes to anyone who supports the show with $5 per month or more, including new pitches to the New York Times, the Washington Post and the BBC. The whole compendium now runs to a whopping 160 pages. For Patreons who contribute $10/month we're now also releasing bonus mini-episodes. Thanks to our sponsor, Scrivener, the first ten new sign-ups at $10/month will receive a lifelong license to Scrivener worth £55/$59.99 (seven are left). This specialist word-processing software helps you organise long writing projects such as novels, academic papers and even scripts. Other Patreon rewards include signed copies of the podcast book and the opportunity to take part in a monthly call with Simon and Rachel.A new edition of “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is available now. The updated version now includes insights from over 100 past guests on the podcast, with new contributions from Harlan Coben, Victoria Hislop, Lee Child, Megan Nolan, Jhumpa Lahiri, Philippa Gregory, Jo Nesbø, Paul Theroux, Hisham Matar and Bettany Hughes. You can order it via ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Waterstones⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Tessa Hulls is an artist and writer who recently won the Pulitzer Prize for her graphic memoir Feeding Ghosts. Note that the companion article for this episode on the Literature & Latte website (https://www.literatureandlatte.com/blog/write-now-with-scrivener-episode-no-58-tessa-hulls-pulitzer-prize-winning-graphic-artist-memoirist) includes some screenshots of Tessa's project. Show notes: Tessa Hulls (https://tessahulls.com/) Feeding Ghosts (https://tessahulls.com/section/463226-Current%20Project.html) Feeding Ghosts: A Graphic Memoir, by Tessa Hulls - The Pulitzer Prizes (https://www.pulitzer.org/winners/22701) Isabel Wilkerson: Caste (https://www.isabelwilkerson.com/) Kaliane Bradley: The Ministry of Time (https://www.hodder.co.uk/titles/kaliane-bradley/the-ministry-of-time/9781399743600/) Learn more about Scrivener (https://www.literatureandlatte.com/scrivener/overview), and check out the ebook Take Control of Scrivener (https://www.literatureandlatte.com/store). If you like the podcast, please follow it on Apple Podcasts (https://podcasts.apple.com/us/podcast/write-now-with-scrivener/id1568550068) or your favorite podcast app. Leave a rating or review, and tell your friends. And check out past episodes of Write Now with Scrivener (https://podcast.scrivenerapp.com).

Rachel and Simon speak to the playwright, screenwriter and novelist Moira Buffini. After training as an actor, Moira started writing for the stage; her plays include "Gabriel" (which won the Meyer-Whitworth Award in 1998), "Dinner" (nominated for an Olivier Award for Best Comedy in 2003) and "Handbagged" (winner of an Olivier Award in 2014). In 2003 Moira became a founding member of The Monsterists, a group of British writers who campaigned for "big, imaginative plays rather than naturalistic soap-opera dramas". Moira has also written extensively for film ("Jane Eyre", "The Dig") and television ("Harlots"). In 2024 Moira published "Songlight", her debut novel and the first in a trilogy for young adults; it won the YA Book Prize in 2025. We spoke to Moira about her early work in theatre, writing for the screen and her dystopian book series, "The Torch Trilogy". Alongside listening to us in audio as usual, the podcast is now available on video. You can check us out on YouTube under Always Take Notes. We've made another update for those ⁠⁠⁠⁠⁠⁠⁠⁠who support the podcast on the crowdfunding site Patreon⁠⁠⁠⁠⁠⁠⁠⁠. We've added 40 pages of new material to the package of successful article pitches that goes to anyone who supports the show with $5 per month or more, including new pitches to the New York Times, the Washington Post and the BBC. The whole compendium now runs to a whopping 160 pages. For Patreons who contribute $10/month we're now also releasing bonus mini-episodes. Thanks to our sponsor, Scrivener, the first ten new sign-ups at $10/month will receive a lifelong license to Scrivener worth £55/$59.99 (seven are left). This specialist word-processing software helps you organise long writing projects such as novels, academic papers and even scripts. Other Patreon rewards include signed copies of the podcast book and the opportunity to take part in a monthly call with Simon and Rachel.A new edition of “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is available now. The updated version now includes insights from over 100 past guests on the podcast, with new contributions from Harlan Coben, Victoria Hislop, Lee Child, Megan Nolan, Jhumpa Lahiri, Philippa Gregory, Jo Nesbø, Paul Theroux, Hisham Matar and Bettany Hughes. You can order it via ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Waterstones⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Week 39 of Ted Gioia's Immersive Humanities Course takes on nineteenth-century American literature—and to my surprise, it became one of the most enjoyable weeks so far. I went in dreading familiar names and old high-school resentments, but came out newly energized. Mark Twain's The Adventures of Huckleberry Finn (chapters 1–6) was funny, humane, and immediately engaging. Edgar Allan Poe's The Fall of the House of Usher and “The Raven” used ornate language to heighten unease, while Emily Dickinson's poems felt weightless and startlingly modern. Henry David Thoreau's Walden was quotable and provocative, if ultimately grating, and Herman Melville surprised me most of all: Bartleby, the Scrivener lingered with quiet power, and the opening of Moby-Dick left me eager for more. This week revealed a real shift in voice and sensibility—and changed my mind about American literature. I'm looking forward to going back and reading more, but first we need to move on to Week 40 and Russian Literature!

Simon and Rachel speak to the novelist Salman Rushdie, whose 17 works of fiction have been translated into over 40 languages. Salman's novels include include "Midnight's Children" – for which he won the Booker Prize in 1981, the Booker of Bookers on the 25th anniversary of the prize, and Best of the Booker on the 40th anniversary –  "Shame", "The Satanic Verses" and "The Ground Beneath her Feet". He has also written five works of non-fiction, including a memoir, "Joseph Anton", about living under a fatwa imposed in 1989 by Iranian leader Ayatollah Khomeini in response to "The Satanic Verses", and "Knife", his meditation after he was attacked on stage while giving a lecture in the US in 2022. We spoke to Salman about returning to writing after the 2022 attack, his earlier experience living under the fatwa, and his new collection of stories, "The Eleventh Hour".  In addition to the standard audio format, the podcast is now available in video. You can check us out on YouTube under Always Take Notes.  We've made another update for those ⁠⁠⁠⁠⁠⁠⁠⁠who support the podcast on the crowdfunding site Patreon⁠⁠⁠⁠⁠⁠⁠⁠. We've added 40 pages of new material to the package of successful article pitches that goes to anyone who supports the show with $5 per month or more, including new pitches to the New York Times, the Washington Post and the BBC. The whole compendium now runs to a whopping 160 pages. For Patreons who contribute $10/month we're now also releasing bonus mini-episodes. Thanks to our sponsor, Scrivener, the first ten new signs-ups at $10/month will receive a lifelong license to Scrivener worth £55/$59.99 (seven are left). This specialist word-processing software helps you organise long writing projects such as novels, academic papers and even scripts. Other Patreon rewards include signed copies of the podcast book and the opportunity to take part in a monthly call with Simon and Rachel. A new edition of “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is available now. The updated version now includes insights from over 100 past guests on the podcast, with new contributions from Harlan Coben, Victoria Hislop, Lee Child, Megan Nolan, Jhumpa Lahiri, Philippa Gregory, Jo Nesbø, Paul Theroux, Hisham Matar and Bettany Hughes. You can order it via ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Waterstones⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

How do you give your readers everything they're looking for?And your agent? You have to feed the beast don't you? (Is calling agents 'The Beast' too offensive?)It's your job as a writer to offer up precisely what your readership is looking for. Anything else and you risk losing your commercial edge.And we can't have that can we?Oh we can?Oh... OK.We met up with the wonderful Doug Johnstone, to hear how he refuses to be pigeoned-holed, writes what he likes, and just so happens to say what he like too - and yes, by that, I mean he swears quite a lot.Some great advice in this chat about the importance of loving what you write and worrying about it later. Plus lots of other entertaining advice too. Get it into your ear'oles now!And a big THANKS to Scrivener for sponsoring this season of the podcast!THANK YOU SCRIVENER!If you haven't tried Scrivener, you can sample their lovely wares for free for 30 days.OR you could just blummin well take our advice and buy a copy! and using our special code you can get 20% off!I know. Mental.You're welcome.Just go to https://www.literatureandlatte.com/ and use the code failing.Right. That's the Christmas presents sorted. Have a great festive celebration, happy new year and see you on the other side for Season 6!Buy Doug's bookshttps://orendabooks.co.uk/authors/doug-johnstoneMore Doug:https://dougjohnstone.com/ Hosted on Acast. See acast.com/privacy for more information.

In the final segment of the 2025 Holiday Gift Guide, Kelly Guimont, Jim Rea, Chuck Joiner, Brian Flanigan-Arthurs, and Kirk McElhearn out with bigger comfort and productivity picks: a portable lamp with battery power, a TSA-friendly Leatherman, along with a charging station, a long-running text utility, and a travel accessory for cramped flights. (Part 3)  This edition of MacVoices is supported by MacVoices Magazine, our free magazine on Flipboard. Updated daily with the best articles on the web to help you do more with your Apple gear and adjacent tech, access MacVoices Magazine content on Flipboard, on the web, or in your favorite RSS reader. Show Notes: Chapters: [0:00] Part 3 intro and “last one” setup[1:17] Philips Hue Go portable smart lamp (battery + programmable)[3:43] Leatherman Style P3: bladeless, purse-friendly multi-tool[5:40] “EDC” barrette tool: everyday carry hair clip that opens packages[9:50] Panelist sign-offs and where to find them[10:10] Anker MagGo 3-in-1 charging station for phone/watch/earbuds[16:18] Type It For Me 7: text expansion for speed and accuracy[20:20] Airplane phone holder mount: hands-free viewing in tight seats[24:56] Take Control books + Scrivener coaching mention[27:17] Final reflections, master gift list reminders, holiday thanks[28:23] Outro and support links Links: Brian Flanigan-Arthurs: Anker MagGo 3 in 1 iPhone 17 Charging Station, MagSafe-Compatible Wireless Charger Stand, Qi2 Certified 15W Foldable Charger for iPhone 17/16/15/14/13/12, AirPods, Apple Watch Ultra(Adapter Included)https://amzn.to/4oPXniM Jim Rea: Philips Hue Go Smart Portable Table Lamphttps://amzn.to/3L2kkBp Kelly Guimont: LEATHERMAN, Skeletool CX, 7-in-1 Lightweight, Minimalist Multi-Tool for Everyday Carryhttps://amzn.to/4acmR6j Iridescent Tactical Hair Clips 2.0, 4 Pack - Multitool Snap Barrettes - SUS301 Stainless Steel Multi-Functional Keychain Multi Tool - Nail File, Serrated Edge, Raptor Claw - Kippah Tacticlipshttps://amzn.to/4pIxZwA West Coast Paracord Utility Hair Cliphttps://amzn.to/4q9Hzs2 Kirk McElhearn: TypeIt4Me in the Mac App Storehttps://apps.apple.com/gb/app/typeit4me-7/id6474688391?mt=12 Chuck Joiner: Perilogics 2025 Upgraded Travel Essentials Must Haves Airplane Phone Holder Mounthttps://amzn.to/48SPJiM Support:      Become a MacVoices Patron on Patreon     http://patreon.com/macvoices      Enjoy this episode? Make a one-time donation with PayPal Connect:      Web:     http://macvoices.com      Twitter:     http://www.twitter.com/chuckjoiner     http://www.twitter.com/macvoices      Mastodon:     https://mastodon.cloud/@chuckjoiner      Facebook:     http://www.facebook.com/chuck.joiner      MacVoices Page on Facebook:     http://www.facebook.com/macvoices/      MacVoices Group on Facebook:     http://www.facebook.com/groups/macvoice      LinkedIn:     https://www.linkedin.com/in/chuckjoiner/      Instagram:     https://www.instagram.com/chuckjoiner/ Subscribe:      Audio in iTunes     Video in iTunes      Subscribe manually via iTunes or any podcatcher:      Audio: http://www.macvoices.com/rss/macvoicesrss      Video: http://www.macvoices.com/rss/macvoicesvideorss

In the final segment of the 2025 Holiday Gift Guide, Kelly Guimont, Jim Rea, Chuck Joiner, Brian Flanigan-Arthurs, and Kirk McElhearn out with bigger comfort and productivity picks: a portable lamp with battery power, a TSA-friendly Leatherman, along with a charging station, a long-running text utility, and a travel accessory for cramped flights. (Part 3)  This edition of MacVoices is supported by MacVoices Magazine, our free magazine on Flipboard. Updated daily with the best articles on the web to help you do more with your Apple gear and adjacent tech, access MacVoices Magazine content on Flipboard, on the web, or in your favorite RSS reader. Show Notes: Chapters: [0:00] Part 3 intro and "last one" setup [1:17] Philips Hue Go portable smart lamp (battery + programmable) [3:43] Leatherman Style P3: bladeless, purse-friendly multi-tool [5:40] "EDC" barrette tool: everyday carry hair clip that opens packages [9:50] Panelist sign-offs and where to find them [10:10] Anker MagGo 3-in-1 charging station for phone/watch/earbuds [16:18] Type It For Me 7: text expansion for speed and accuracy [20:20] Airplane phone holder mount: hands-free viewing in tight seats [24:56] Take Control books + Scrivener coaching mention [27:17] Final reflections, master gift list reminders, holiday thanks [28:23] Outro and support links Links: Brian Flanigan-Arthurs: Anker MagGo 3 in 1 iPhone 17 Charging Station, MagSafe-Compatible Wireless Charger Stand, Qi2 Certified 15W Foldable Charger for iPhone 17/16/15/14/13/12, AirPods, Apple Watch Ultra(Adapter Included) https://amzn.to/4oPXniM Jim Rea: Philips Hue Go Smart Portable Table Lamp https://amzn.to/3L2kkBp Kelly Guimont: LEATHERMAN, Skeletool CX, 7-in-1 Lightweight, Minimalist Multi-Tool for Everyday Carryhttps://amzn.to/4acmR6j Iridescent Tactical Hair Clips 2.0, 4 Pack - Multitool Snap Barrettes - SUS301 Stainless Steel Multi-Functional Keychain Multi Tool - Nail File, Serrated Edge, Raptor Claw - Kippah Tacticlips https://amzn.to/4pIxZwA West Coast Paracord Utility Hair Clip https://amzn.to/4q9Hzs2 Kirk McElhearn: TypeIt4Me in the Mac App Store https://apps.apple.com/gb/app/typeit4me-7/id6474688391?mt=12 Chuck Joiner: Perilogics 2025 Upgraded Travel Essentials Must Haves Airplane Phone Holder Mount https://amzn.to/48SPJiM Support:      Become a MacVoices Patron on Patreon      http://patreon.com/macvoices      Enjoy this episode? Make a one-time donation with PayPal Connect:      Web:      http://macvoices.com      Twitter:      http://www.twitter.com/chuckjoiner      http://www.twitter.com/macvoices      Mastodon:      https://mastodon.cloud/@chuckjoiner      Facebook:      http://www.facebook.com/chuck.joiner      MacVoices Page on Facebook:      http://www.facebook.com/macvoices/      MacVoices Group on Facebook:      http://www.facebook.com/groups/macvoice      LinkedIn:      https://www.linkedin.com/in/chuckjoiner/      Instagram:      https://www.instagram.com/chuckjoiner/ Subscribe:      Audio in iTunes      Video in iTunes      Subscribe manually via iTunes or any podcatcher:      Audio: http://www.macvoices.com/rss/macvoicesrss      Video: http://www.macvoices.com/rss/macvoicesvideorss

How can you be more relaxed about your writing process? What are some specific ways to take the pressure off your art and help you enjoy the creative journey? With Joanna Penn and Mark Leslie Lefebvre. In the intro, Spotify 2025 audiobook trends; Audible + BookTok; NonFiction Authors Guide to SubStack; OpenAI and Disney agreement on Sora; India AI licensing; Business for Authors January webinars; Mark and Jo over the years Mark Leslie LeFebvre is the author of horror and paranormal fiction, as well as nonfiction books for authors. He's also an editor, professional speaker, and the Director of Business Development at Draft2Digital. Joanna Penn writes non-fiction for authors and is an award-winning, New York Times and USA Today bestselling author of thrillers, dark fantasy, and memoir as J.F. Penn. She's also an award-winning podcaster, creative entrepreneur, and international professional speaker. Mark and Jo co-wrote The Relaxed Author in 2021. You can listen to us talk about the process here. 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 Why the ‘relaxed' author Write what you love Write at your own pace Write in a series (if you want to) Schedule time to fill the creative well and for rest and relaxation Improve your writing process — but only if it fits with your lifestyle You can find The Relaxed Author: Take the Pressure Off Your Art and Enjoy the Creative Journey on CreativePennBooks.com as well as on your favorite online store or audiobook platform, or order in your library or bookstore. You can find Mark Leslie Lefebvre and his books and podcast at Stark Reflections.ca Why the ‘relaxed' author? Joanna: The definition of relaxed is “free from tension and anxiety,” from the Latin laxus, meaning loose, and to be honest, I am not a relaxed or laid-back person in the broader sense. Back in my teens, my nickname at school was Highly Stressed. I'm a Type A personality, driven by deadlines and achieving goals. I love to work and I burned out multiple times in my previous career as an IT consultant. If we go away on a trip, I pack the schedule with back-to-back cultural things like museums and art galleries to help my book research. Or we go on adventure holidays with a clear goal, like cycling down the South-West coast of India. I can't even go for a long walk without training for another ultra-marathon! So I am not a relaxed person — but I am a relaxed author. If I wanted to spend most of my time doing something that made me miserable, I would go back to my old day job in consulting. I was paid well and worked fewer hours overall. But I measure my life by what I create, and if I am not working on a creative project, I am not able to truly relax in my downtime. There are always more things I want to learn and write about, always more stories to be told and knowledge to share. I don't want to kill my writing life by over-stressing or burning out as an author. I write what I love and follow my Muse into projects that feel right. I know how to publish and market books well enough to reach readers and make some money. I have many different income streams through my books, podcast and website. Of course, I still have my creative and business challenges as well as mindset issues, just like any writer. That never goes away. But after a decade as a full-time author entrepreneur, I have a mature creative business and I've relaxed into the way I do things. I love to write, but I also want a full and happy, healthy life. I'm still learning and improving as the industry shifts — and I change, too. I still have ambitious creative and financial goals, but I am going about them in a more relaxed way and in this book, I'll share some of my experiences and tips in the hope that you can discover your relaxed path, too. Mark: One of the most fundamental things you can do in your writing life is look at how you want to spend your time. I think back to the concept of: ‘You're often a reflection of the people you spend the most time with.' Therefore, typically, your best friend, or perhaps your partner, is often a person you love spending time with. Because there's something inherently special about spending time with this person who resonates in a meaningful way, and you feel more yourself because you're with them. In many ways, writing, or the path that you are on as a writer, is almost like being on a journey with an invisible partner. You are you. But you are also the writer you. And there's the two of you traveling down the road of life together. And so that same question arises. What kind of writer-self do you want to spend all your time with? Do you want to spend all your time with a partner that is constantly stressed out or constantly trying to reach deadlines based on somebody else's prescription of what success is? Or would you rather spend time with a partner who pauses to take a contemplative look at your own life, your own comfort, your own passion and the things that you are willing to commit to? Someone who allows that all to happen in a way that feels natural and comfortable to you. I'm a fan of the latter, of course, because then you can focus on the things you're passionate about and the things you're hopeful about rather than the things you're fearful about and those that bring anxiety and stress into your life. To me, that's part of being a relaxed author. That underlying acceptance before you start to plan things out. If the writing life is a marathon, not a sprint, then pacing, not rushing, may be the key. We have both seen burnout in the author community. People who have pushed themselves too hard and just couldn't keep up with the impossible pace they set for themselves. At times, indie authors would wear that stress, that anxiety, that rush to produce more and more, as a badge of honor. It's fine to be proud of the hard work that you do. It's fine to be proud of pushing yourself to always do better, and be better. But when you push too far — beyond your limits — you can ultimately do yourself more harm than good. Everyone has their own unique pace—something that they are comfortable with—and one key is to experiment until you find that pace, and you can settle in for the long run. There's no looking over your shoulder at the other writers. There's no panicking about the ones outpacing you. You're in this with yourself. And, of course, with those readers who are anticipating those clearly communicated milestones of your releases. I think that what we both want for authors is to see them reaching those milestones at their own paces, in their own comfort, delighting in the fact their readers are there cheering them on. Because we'll be silently cheering them along as well, knowing that they've set a pace, making relaxed author lifestyle choices, that will benefit them in the long run. “I'm glad you're writing this book. I know I'm not the only author who wants peace, moments of joy, and to enjoy the journey. Indie publishing is a luxury that I remember not having, I don't want to lose my sense of gratitude.” —Anonymous author from our survey Write what you love Joanna: The pandemic has taught us that life really is short. Memento mori — remember, you will die. What is the point of spending precious time writing books you don't want to write? If we only have a limited amount of time and only have a limited number of books that we can write in a lifetime, then we need to choose to write the books that we love. If I wanted a job doing something I don't enjoy, then I would have remained in my stressful old career as an IT consultant — when I certainly wasn't relaxed! Taking that further, if you try to write things you don't love, then you're going to have to read what you don't love as well, which will take more time. I love writing thrillers because that's what I love to read. Back when I was miserable in my day job, I would go to the bookstore at lunchtime and buy thrillers. I would read them on the train to and from work and during the lunch break. Anything for a few minutes of escape. That's the same feeling I try to give my readers now. I know the genre inside and out. If I had to write something else, I would have to read and learn that other genre and spend time doing things I don't love. In fact, I don't even know how you can read things you don't enjoy. I only give books a few pages and if they don't resonate, I stop reading. Life really is too short. You also need to run your own race and travel your own journey. If you try to write in a genre you are not immersed in, you will always be looking sideways at what other authors are doing, and that can cause comparisonitis — when you compare yourself to others, most often in an unfavorable way. Definitely not relaxing! Writing something you love has many intrinsic rewards other than sales. Writing is a career for many of us, but it's a passion first, and you don't want to feel like you've wasted your time on words you don't care about. “Write what you know” is terrible advice for a long-term career as at some point, you will run out of what you know. It should be “write what you want to learn about.” When I want to learn about a topic, I write a book on it because that feeds my curiosity and I love book research, it's how I enjoy spending my time, especially when I travel, which is also part of how I relax. If you write what you love and make it part of your lifestyle, you will be a far more relaxed author. Mark: It's common that writers are drawn into storytelling from some combination of passion, curiosity, and unrelenting interest. We probably read or saw something that inspired us, and we wanted to express those ideas or the resulting perspectives that percolated in our hearts and minds. Or we read something and thought, “Wow, I could do this; but I would have come at it differently or I would approach the situation or subject matter with my own flair.” So, we get into writing with passion and desire for storytelling. And then sometimes along the way, we recognize the critical value of having to become an entrepreneur, to understand the business of writing and publishing. And part of understanding that aspect of being an author is writing to market, and understanding shifts and trends in the industry, and adjusting to those ebbs and flows of the tide. But sometimes, we lose sight of the passion that drew us to writing in the first place. And so, writing the things that you love can be a beacon to keep you on course. I love the concept of “Do something that you love, and you'll never work a day in your life.” And that's true in some regard because I've always felt that way for almost my entire adult life. I've been very lucky. But at the same time, I work extremely hard at what I love. Some days are harder than others, and some things are really difficult, frustrating and challenging; but at the end of the day, I have the feeling of satisfaction that I spent my time doing something I believe in. I've been a bookseller my entire life even though I don't sell books in brick-and-mortar bookstores anymore—that act of physically putting books in people's hands. But to this day, what I do is virtually putting books in people's hands, both as an author and as an industry representative who is passionate about the book business. I was drawn to that world via my passion for writing. And that's what continues to compel me forward. I tried to leave the corporate world to write full time in 2018 but realized there was an intrinsic satisfaction to working in that realm, to embracing and sharing my insights and knowledge from that arena to help other writers. And I couldn't give that up. For me, the whole core, the whole essence of why I get up in the morning has to do with storytelling, creative inspiration, and wanting to inspire and inform other people to be the best that they can be in the business of writing and publishing. And that's what keeps me going when the days are hard. Passion as the inspiration to keep going There are always going to be days that aren't easy. There will be unexpected barriers that hit you as a writer. You'll face that mid-novel slump or realize that you have to scrap an entire scene or even plotline, and feel like going back and re-starting is just too much. You might find the research required to be overwhelming or too difficult. There'll be days when the words don't flow, or the inspiration that initially struck you seems to have abandoned you for greener pastures. Whatever it is, some unexpected frustration can create what can appear to be an insurmountable block. And, when that happens, if it's a project you don't love, you're more likely to let those barriers get in your way and stop you. But if it's a project that you're passionate about, and you're writing what you love, that alone can be what greases the wheels and helps reduce that friction to keep you going. At the end of the day, writing what you love can be a honing, grounding, and centering beacon that allows you to want to wake up in the morning and enjoy the process as much as possible even when the hard work comes along. “For me, relaxation comes from writing what I know and love and trusting the emergent process. As a discovery writer, I experience great joy when the story, characters and dialogue simply emerge in their own time and their own way. It feels wonderful.” — Valerie Andrews “Writing makes me a relaxed author. Just getting lost in a story of my own creation, discovering new places and learning what makes my characters tick is the best way I know of relaxing. Even the tricky parts, when I have no idea where I am going next, have a special kind of charm.” – Imogen Clark Write at your own pace Mark: Writing at your own pace will help you be a more relaxed author because you're not stressing out by trying to keep up with someone else. Of course, we all struggle with comparing ourselves to others. Take a quick look around and you can always find someone who has written more books than you. Nora Roberts, traditionally published author, writes a book a month. Lindsey Buroker, fantasy indie author, writes a book a month of over 100,000 words. If you compare yourself to someone else and you try to write at their pace, that is not going to be your relaxed schedule. On the other hand, if you compare yourself to Donna Tartt, who writes one book every decade, you might feel like some speed-demon crushing that word count and mastering rapid release. Looking at what others are doing could result in you thinking you're really slow or you could think that you're super-fast. What does that kind of comparison actually get you? I remember going to see a talk by Canadian literary author Farley Mowat when I was a young budding writer. I'll never forget one thing he said from that stage: “Any book that takes you less than four years to write is not a real book.” Young teenage Mark was devastated, hurt and disappointed to hear him say that because my favorite author at the time, Piers Anthony, was writing and publishing two to three novels a year. I loved his stuff, and his fantasy and science fiction had been an important inspiration in my writing at that time. (The personal notes I add to the end of my stories and novels came from enjoying his so much). That focus on there being only a single way, a single pace to write, ended up preventing me from enjoying the books I had already been loving because I was doing that comparisonitis Joanna talks about, but as a reader. I took someone else's perspective too much to heart and I let that ruin a good thing that had brought me personal joy and pleasure. It works the same way as a writer. Because we have likely developed a pattern, or a way that works for us that is our own. We all have a pace that we comfortably walk; a way we prefer to drive. A pattern or style of how and when and what we prefer to eat. We all have our own unique comfort food. There are these patterns that we're comfortable with, and potentially because they are natural to us. If you try to force yourself to write at a pace that's not natural to you, things can go south in your writing and your mental health. And I'm not suggesting any particular pace, except for the one that's most natural and comfortable to you. If writing fast is something that you're passionate about, and you're good at it, and it's something you naturally do, why would you stop yourself from doing that? Just like if you're a slow writer and you're trying to write fast: why are you doing that to yourself? There's a common pop song line used by numerous bands over the years that exhorts you to “shake what you got.” I like to think the same thing applies here. And do it with pride and conviction. Because what you got is unique and awesome. Own it, and shake it with pride. You have a way you write and a word count per writing session that works for you. And along with that, you likely know what time you can assign to writing because of other commitments like family time, leisure time, and work (assuming you're not a full-time writer). Simple math can provide you with a way to determine how long it will take to get your first draft written. So, your path and plans are clear. And you simply take the approach that aligns with your writer DNA. Understanding what that pace is for you helps alleviate an incredible amount of stress that you do not need to thrust upon yourself. Because if you're not going to be able to enjoy it while you're doing it, what's the point? Your pace might change project to project While your pace can change over time, your pace can also change project to project. And sometimes the time actually spent writing can be a smaller portion of the larger work involved. I was on a panel at a conference once and someone asked me how long it took to write my non-fiction book of ghost stories, Haunted Hamilton. “About four days,” I responded. And while that's true — I crafted the first draft over four long and exhausting days writing as much as sixteen hours each day — the reality was I had been doing research for months. But the pen didn't actually hit the paper until just a few days before my deadline to turn the book over to my editor. That was for a non-fiction book; but I've found I do similar things with fiction. I noodle over concepts and ideas for months before I actually commit words to the page. The reason this comes to mind is that I think it's important to recognize the way that I write is I first spend a lot of time in my head to understand and chew on things. And then by the time it comes to actually getting the words onto the paper, I've already done much of the pre-writing mentally. It's sometimes not fair when you're comparing yourself to someone else to look at how long they physically spend in front of a keyboard hammering on that word count, because they might have spent a significantly longer amount of a longer time either outlining or conceptualizing the story in their mind or in their heart before they sat down to write. So that's part of the pace, too. Because sometimes, if we only look at the time spent at the ‘writer's desk,' we fool ourselves when we think that we're a slow writer or a fast writer. Joanna: Your pace will change over your career My first novel took 14 months and now I can write a first draft in about six weeks because I have more experience. It's also more relaxing for me to write a book now than it was in the beginning, because I didn't know what I was doing back then. Your pace will change per project I have a non-fiction work in progress, my Shadow Book (working title), which I have started several times. I have about 30,000 words but as I write this, I have backed away from it because I'm (still) not ready. There's a lot more research and thinking I need to do. Similarly, some people take years writing a memoir or a book with such emotional or personal depth that it needs more to bring it to life. Your pace will also shift depending on where you are in the arc of life Perhaps you have young kids right now, or you have a health issue, or you're caring for someone who is ill. Perhaps you have a demanding day job so you have less time to write. Perhaps you really need extended time away from writing, or just a holiday. Or maybe there's a global pandemic and frankly, you're too stressed to write! The key to pacing in a book is variability — and that's true of life, too. Write at the pace that works for you and don't be afraid to change it as you need to over time. “I think the biggest thing for me is reminding myself that I'm in this to write. Sometimes I can get caught up in all the moving pieces of editing and publishing and marketing, but the longer I go without writing, or only writing because I have to get the next thing done instead of for enjoyment, the more stressed and anxious I become. But if I make time to fit in what I truly love, which is the process of writing without putting pressure on myself to meet a deadline, or to be perfect, or to meet somebody else's expectations — that's when I become truly relaxed.” – Ariele Sieling Write in a series (if you want to) Joanna: I have some stand-alone books but most of them are in series, both for non-fiction and for my fiction as J.F. Penn. It's how I like to read and write. As we draft this book, I'm also writing book 12 in my ARKANE series, Tomb of Relics. It's relaxing because I know my characters, I know my world; I know the structure of how an ARKANE story goes. I know what to put in it to please my readers. I have already done the work to set up the series world and the main characters and now all I need is a plot and an antagonist. It's also quicker to write and edit because I've done it before. Of course, you need to put in the work initially so the series comes together, but once you've set that all up, each subsequent book is easier. You can also be more relaxed because you already have an audience who will (hopefully) buy the book because they bought the others. You will know approximately how many sales you'll get on launch and there will be people ready to review. Writing in a non-fiction series is also a really good idea because you know your audience and you can offer them more books, products and services that will help them within a niche. While they might not be sequential, they should be around the same topic, for example, this is part of my Books for Authors series. Financially, it makes sense to have a series as you will earn more revenue per customer as they will (hopefully) buy more than one book. It's also easier and more relaxing to market as you can set one book to free or a limited time discount and drive sales through to other books in the series. Essentially, writing a book in a series makes it easier to fulfill both creative and financial goals. However, if you love to read and write stand-alone books, and some genres suit stand-alones better than series anyway, then, of course, go with what works for you! Mark: I like to equate this to no matter where you travel in the world, if you find a McDonald's you pretty much know what's on the menu and you know what to expect. When you write in a series, it's like returning to hang out with old friends. You know their backstory; you know their history so you can easily fall into a new conversation about something and not have to get caught up on understanding what you have in common. So that's an enormous benefit of relaxing into something like, “Oh, I'm sitting down over coffee, chatting with some old friends. They're telling me a new story about something that happened to them. I know who they are, I know what they're made out of.” And this new plot, this new situation, they may have new goals, they may have new ways they're going to grow as characters, but they're still the same people that we know and love. And that's a huge benefit that I only discovered recently because I'm only right now working on book four in my Canadian Werewolf series. Prior to that, I had three different novels that were all the first book in a series with no book two. And it was stressful for me. Writing anything seemed to take forever. I was causing myself anxiety by jumping around and writing new works as opposed to realizing I could go visit a locale I'm familiar and comfortable with. And I can see new things in the same locale just like sometimes you can see new things and people you know and love already, especially when you introduce something new into the world and you see how they react to it. For me, there's nothing more wonderful than that sort of homecoming. It's like a nostalgic feeling when you do that. I've seen a repeated pattern where writers spend years writing their first book. I started A Canadian Werewolf in New York in 2006 and I did not publish it until ten years later, after finishing it in 2015. (FYI, that wasn't my first novel. I had written three and published one of them prior to that). That first novel can take so long because you're learning. You're learning about your characters, about the craft, about the practice of writing, about the processes that you're testing along the way. And if you are working on your first book and it's taking longer than planned, please don't beat yourself up for that. It's a process. Sometimes that process takes more time. I sometimes wonder if this is related to our perception of time as we age. When you're 10 years old, a day compared to your lifetime is a significant amount of time, and thinking about a year later is considering a time that is one-tenth of your life. When you have a few more decades or more under your belt, that year is a smaller part of the whole. If you're 30, a year is only one-thirtieth of your life. A much smaller piece. Just having written more books, particularly in a series, removes the pressure of that one book to represent all of you as a writer. I had initial anxiety at writing the second book in my Canadian Werewolf series. Book two was more terrifying in some ways than book one because finally, after all this time, I had something good that I didn't want to ruin. Should I leave well enough alone? But I was asked to write a short story to a theme in an anthology, and using my main character from that first novel allowed me to discover I could have fun spending more time with these characters and this world. And I also realized that people wanted to read more about these characters. I didn't just want to write about them, but other people wanted to read about them too. And that makes the process so much easier to keep going with them. So one of the other benefits that helps to relax me as a writer working on a series is I have a better understanding of who my audience is, and who my readers are, and who will want this, and who will appreciate it. So I know what worked, I know what resonated with them, and I know I can give them that next thing. I have discovered that writing in a series is a far more relaxed way of understanding your target audience better. Because it's not just a single shot in the dark, it's a consistent on-going stream. Let me reflect on a bit of a caveat, because I'm not suggesting sticking to only a single series or universe. As writers, we have plenty of ideas and inspirations, and it's okay to embrace some of the other ones that come to us. When I think about the Canadian rock trio, Rush, a band that produced 19 studio albums and toured for 40 years, I acknowledge a very consistent band over the decades. And yet, they weren't the same band that they were when they started playing together, even though it was the same three guys since Neil Peart joined Geddy Lee and Alex Lifeson. They changed what they wrote about, what they sang about, themes, styles, approaches to making music, all of this. They adapted and changed their style at least a dozen times over the course of their career. No album was exactly like the previous album, and they experimented, and they tried things. But there was a consistency of the audience that went along with them. And as writers, we can potentially have that same thing where we know there are going to be people who will follow us. Think about Stephen King, a writer who has been writing in many different subjects and genres. And yet there's a core group of people who will enjoy everything he writes, and he has that Constant Reader he always keeps in mind. And so, when we write in a series, we're thinking about that constant reader in a more relaxed way because that constant reader, like our characters, like our worlds, like our universes, is like we're just returning to a comfortable, cozy spot where we're just going to hang out with some good friends for a bit. Or, as the contemplative Rush song Time Stand Still expresses, the simple comfort and desire of spending some quality time having a drink with a friend. Schedule time to fill the creative well and for rest and relaxation Mark: What we do as writers is quite cerebral, so we need to give ourselves mental breaks in the same way we need to sleep regularly. Our bodies require sleep. And it's not just physical rest for our bodies to regenerate, it's for our minds to regenerate. We need that to stay sane, to stay alive, to stay healthy. The reality for us as creatives is that we're writing all the time, whether or not we're in front of a keyboard or have a pen in our hand. We're always writing, continually sucking the marrow from the things that are happening around us, even when we're not consciously aware of it. And sometimes when we are more consciously aware of it, that awareness can feel forced. It can feel stressful. When you give yourself the time to just let go, to just relax, wonderful things can happen. And they can come naturally, never feeling that urgent sense of pressure. Downtime, for me, is making space for those magic moments to happen. I was recently listening to Episode 556 of The Creative Penn podcast where Joanna talked about the serendipity of those moments when you're traveling and you're going to a museum and you see something. And you're not consciously there to research for a book, but you see something that just makes a connection for you. And you would not have had that for your writing had you not given yourself the time to just be doing and enjoying something else. And so, whenever I need to resolve an issue or a problem in a project I'm writing, which can cause stress, I will do other things. I will go for a run or walk the dogs, wash the dishes or clean the house. Or I'll put on some music and sing and dance like nobody is watching or listening—and thank goodness for that, because that might cause them needless anxiety. The key is, I will do something different that allows my mind to just let go. And somewhere in the subconscious, usually the answer comes to me. Those non-cerebral activities can be very restorative. Yesterday, my partner Liz and I met her daughter at the park. And while we quietly waited, the two of us wordlessly enjoyed the sights and sounds of people walking by, the river in the background, the wind blowing through the leaves in the trees above us. That moment wasn't a purposeful, “Hey, we're going to chill and relax.” But we found about five minutes of restorative calm in the day. A brief, but powerful ‘Ah' moment. And when I got back to writing this morning, I drew upon some of the imagery from those few minutes. I didn't realize at the time I was experiencing the moment yesterday that I was going to incorporate some of that imagery in today's writing session. And that's the serendipity that just flows very naturally in those scheduled and even unscheduled moments of relaxation. Joanna: I separate this into two aspects because I'm good at one and terrible at the other! I schedule time to fill the creative well as often as possible. This is something that Julia Cameron advises in The Artist's Way, and I find it an essential part of my creative practice. Essentially, you can't create from an empty mind. You have to actively seek out ways to spark ideas. International travel is a huge part of my fiction inspiration, in particular. This has been impossible during the pandemic and has definitely impacted my writing. I also go to exhibitions and art galleries, as well as read books, watch films and documentaries. If I don't fill my creative well, then I feel empty, like I will never have another idea, that perhaps my writing life is over. Some people call that writer's block but I know that feeling now. It just means I haven't filled my creative well and I need to schedule time to do that so I can create again. Consume and produce. That's the balance you need in order to keep the creative well filled and the words flowing. In terms of scheduling time to relax instead of doing book research, I find this difficult because I love to work. My husband says that I'm like a little sports car that goes really, really fast and doesn't stop until it hits a wall. I operate at a high productivity level and then I crash! But the restrictions of the pandemic have helped me learn more about relaxation, after much initial frustration. I have walked in nature and lain in the garden in the hammock and recently, we went to the seaside for the first time in 18 months. I lay on the stones and watched the waves. I was the most relaxed I've been in a long time. I didn't look at my phone. I wasn't listening to a podcast or an audiobook. We weren't talking. We were just being there in nature and relaxing. Authors are always thinking and feeling because everything feeds our work somehow. But we have to have both aspects — active time to fill the creative well and passive time to rest and relax. “I go for lots of walks and hikes in the woods. These help me work out the kinks in my plots, and also to feel more relaxed! (Exercise is an added benefit!)” –T.W. Piperbrook Improve your writing process — but only if it fits with your lifestyle Joanna: A lot of stress can occur in writing if we try to change or improve our process too far beyond our natural way of doing things. For example, trying to be a detailed plotter with a spreadsheet when you're really a discovery writer, or trying to dictate 5,000 words per hour when you find it easier to hand write slowly into a journal. Productivity tips from other writers can really help you tweak your personal process, but only if they work for you — and I say this as someone who has a book on Productivity for Authors! Of course, it's a good idea to improve things, but once you try something, analyze whether it works for you — either with data or just how you feel. If it works, great. Adopt it into your process. If it doesn't work, then discard it. For example, I wrote my first novel in Microsoft Word. When I discovered Scrivener, I changed my process and never looked back because it made my life so much easier. I don't write in order and Scrivener made it easier to move things around. I also discovered that it was easier for me to get into my first draft writing and creating when I was away from the desk I use for business, podcasting, and marketing tasks. I started to write in a local cafe and later on in a co-working space. During the pandemic lockdown, I used specific playlists to create a form of separation as I couldn't physically go somewhere else. Editing is an important part of the writing process but you have to find what works for you, which will also change over time. Some are authors are more relaxed with a messy first draft, then rounds of rewrites while working with multiple editors. Others do one careful draft and then use a proofreader to check the finished book. There are as many ways to write as there are writers. A relaxed author chooses the process that works in the most effective way for them and makes the book the best it can be. Mark: When it comes to process, there are times when you're doing something that feels natural, versus times when you're learning a new skill. Consciously and purposefully learning new skills can be stressful; particularly because it's something we often put so much emphasis or importance upon. But when you adapt on-going learning as a normal part of your life, a natural part of who and what you are, that stress can flow away. I'm always about learning new skills; but over time I've learned how to absorb learning into my everyday processes. I'm a pantser, or discovery writer, or whatever term we can apply that makes us feel better about it. And every time I've tried to stringently outline a book, it has been a stressful experience and I've not been satisfied with the process or the result. Perhaps I satisfied the part of me that thought I wanted to be more like other writers, but I didn't satisfy the creative person in me. I was denying that flow that has worked for me. I did, of course, naturally introduce a few new learnings into my attempts to outline; so I stuck with those elements that worked, and abandoned the elements that weren't working, or were causing me stress. The thought of self-improvement often comes with images of blood, sweat, and tears. It doesn't have to. You don't have to bleed to do this; it can be something that you do at your own pace. You can do it in a way that you're comfortable with so it's causing you no stress, but allowing you to learn and grow and improve. And if it doesn't work but you force yourself to keep doing it because a famous writer or a six-figure author said, “this is the way to do it,” you create pressure. And when you don't do it that way, you can think of yourself as a failure as opposed to thinking of it as, “No, this is just the way that I do things.” When you accept how you do things, if they result in effectively getting things done and feeling good about it at the same time, you have less resistance, you have less friction, you have less tension. Constantly learning, adapting, and evolving is good. But forcing ourselves to try to be or do something that we are not or that doesn't work for us, that causes needless anxiety. “I think a large part of it comes down to reminding myself WHY I write. This can mean looking back at positive reviews, so I can see how much joy others get from my writing, or even just writing something brand new for the sake of exploring an idea. Writing something just for me, rather than for an audience, reminds me how much I enjoy writing, which helps me to unwind a bit and approach my projects with more playfulness.” – Icy Sedgwick You can find The Relaxed Author: Take the Pressure Off Your Art and Enjoy the Creative Journey on CreativePennBooks.com as well as on your favorite online store or audiobook platform, or order in your library or bookstore. The post The Relaxed Author Writing Tips With Joanna Penn and Mark Leslie Lefebvre first appeared on The Creative Penn.

The Department of Justice has failed to indict New York attorney Letitia James for a third time, as Daniel Richman wins a motion blocking his emails from being accessed by the government.Main Justice has filed a motion to block the testimony of whistleblower Erez Reuveni and DOJ lawyer Drew Ensign in the Alien Enemies Act contempt proceedings before DC District Judge Boasberg. Judge Xinis accuses the Justice Department of misleading the court in an order for the immediate release of Kilmar Abrego Garcia, and issued a follow on temporary restraining order blocking his re-arrest.The Justice Department faces a call for an internal investigation into the office of legal counsel memo allowing the boat strikes in the Caribbean.Plus listener questions…Do you have questions for the pod? Get this new customer offer and your 3-month Unlimited wireless plan for just $15 a month at  MINTMOBILE.com/UNJUST Follow AG Substack|MuellershewroteBlueSky|@muellershewroteAndrew McCabe isn't on social media, but you can buy his book The ThreatThe Threat: How the FBI Protects America in the Age of Terror and TrumpWe would like to know more about our listeners. Please participate in this brief surveyListener Survey and CommentsThis Show is Available Ad-Free And Early For Patreon and Supercast Supporters at the Justice Enforcers level and above:https://dailybeans.supercast.techOrhttps://patreon.com/thedailybeansOr when you subscribe on Apple Podcastshttps://apple.co/3YNpW3P Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this highly practical episode of the SpeakersU Podcast, James Taylor and Maria Franzoni share the essential tools they use every day to run successful, scalable speaking businesses. From payments and scheduling to CRM systems, international banking, SEO, video production, writing, and travel management, this episode delivers a full behind-the-scenes tour of a modern professional speaker's tech stack. Maria reveals how she automates coaching bookings end-to-end using Stripe, Calendly, Zapier, Xero, and Zoom, plus the browser tools she relies on for productivity, documentation, and client management. James shares the marketing, SEO, video, writing, and travel tools that power his global keynote career including Kajabi, SEMrush, Ecamm Live, Scrivener, eSpeakers, and TripIt Pro. If you want to save time, increase your efficiency, improve your marketing, streamline your finances, and stay sane on the road, this episode is a must-listen.     Key Takeaways Automate your bookings and payments to remove admin friction using Stripe, Calendly, Zapier, Xero, and Zoom. Choose your ecosystem wisely with an all-in-one platform like Google Workspace or a diversified stack for redundancy. Kajabi is a powerhouse for speakers running courses, memberships, websites, and email marketing in one place. Scribe creates instant SOPs by recording your screen and auto-generating training documentation. Wise saves thousands in international banking fees for globally travelling speakers. eSpeakers simplifies lead tracking, contracts, and inquiry management for professional speakers. TextExpander massively boosts productivity with smart text shortcuts across all devices. Scrivener is ideal for long-form writing including books and keynote research. Pipedrive offers a clean, mobile-friendly CRM with real-time proposal tracking. TripIt Pro is a game-changer for global travel management with live itinerary updates and travel analytics. SEMrush reveals keyword gaps and competitive SEO strategy for authority positioning. Ecamm Live enables professional virtual keynotes and multi-camera live broadcasting.     Memorable Quotes "Stripe, Calendly, Zapier, Xero, and Zoom all talking to each other changed my life." – Maria Franzoni "Why are we paying five different companies when one system can do most of it?" – James Taylor "Scribe builds your SOPs while you work. It's magic." – Maria Franzoni "Wise saved me an absolute fortune in international bank charges." – Maria Franzoni "If you want to rank number one in your topic, you have to invest in SEO tools." – James Taylor "TextExpander gives you your time back in the smallest, smartest way." – Maria Franzoni "TripIt Pro is my mission control for global travel." – James Taylor     Episode Timestamps 00:00 – Welcome and why tools equal ROI 01:27 – Maria's automated booking stack: Stripe, Calendly, Zapier, Xero, Zoom 03:05 – Dropbox vs Google Workspace debate 06:25 – Fathom AI meeting notes and cloud backups 08:44 – Kajabi for courses, memberships, websites, and email 11:35 – Scribe for instant SOP creation 13:12 – Tea etiquette and British cultural detour 14:23 – eSpeakers for speaker CRM, contracts, and inquiries 16:08 – Wise for international payments and currency accounts 18:41 – Ecamm Live for virtual keynotes and livestreaming 20:27 – GoFullPage for capturing entire web pages 21:31 – SEMrush for competitive SEO tracking 23:57 – TextExpander for instant productivity gains 26:31 – Scrivener for book writing and keynote creation 28:40 – Pipedrive CRM with email, LinkedIn, and pipeline tracking 31:18 – TripIt Pro for global travel stats and itineraries 34:00 – Wrap-up and future episode on physical gear    

The Overtired trio reunites for the first time in ages, diving into a whirlwind of health updates, hilarious anecdotes, and the latest tech obsessions. Christina shares a dramatic spinal saga while Brett and Jeff discuss everything from winning reddit contests to creating a universal markdown processor. Tune in for updates on Mark 3, the magical world of Scrivener, and why Brett’s back on Bing. Don’t miss the banter or the tech tips, and as always, get ready to laugh, learn, and maybe feel a little overtired yourself. Sponsor Shopify is the commerce platform behind 10% of all eCommerce in the US, from household names like Mattel and Gymshark, to brands just getting started. Get started today at shopify.com/overtired. Chapters 00:00 Welcome to the Overtired Podcast 01:09 Christina’s Health Journey 10:53 Brett’s Insurance Woes 15:38 Jeff’s Mental Health Update 24:07 Sponsor Spot: Shopify 24:18 Sponsor: Shopify 26:23 Jeff Tweedy 27:43 Jeff’s Concert Marathon 32:16 Christina Wins Big 36:58 Monitor Setup Challenges 37:13 Ergotron Mounts and Tall Poles 38:33 Review Plans and Honest Assessments 38:59 Current Display Setup 41:30 Thunderbolt KVM and Display Preferences 42:51 MacBook Pro and Studio Comparisons 50:58 Markdown Processor: Apex 01:07:58 Scrivener and Writing Tools 01:11:55 Helium Browser and Privacy Features 01:13:56 Bing Delisting Incident Show Links Danny Brown's 10 in the New York Times (gift link) Indigo Stack Scrivener Helium Bangs Apex Apex Syntax Join the Marked 3 Beta LG 32 Inch UltraFine™evo 6K Nano IPS Black Monitor with Thunderbolt™ 5 Join the Conversation Merch Come chat on Discord! Twitter/ovrtrd Instagram/ovrtrd Youtube Get the Newsletter Thanks! You’re downloading today’s show from CacheFly’s network BackBeat Media Podcast Network Check out more episodes at overtiredpod.com and subscribe on Apple Podcasts, Spotify, or your favorite podcast app. Find Brett as @ttscoff, Christina as @film_girl, Jeff as @jsguntzel, and follow Overtired at @ovrtrd on Twitter. Transcript Brett + 2 Welcome to the Overtired Podcast Jeff: [00:00:00] Hello everybody. This is the Overtired podcast. The three of us are all together for the first time since the Carter administration. Um, it is great to see you both here. I am Jeff Severance Gunzel if I didn’t say that already. Um, and I’m here with Christina Warren and I’m here with Brett Terpstra and hello to both of you. Brett: Hi. Jeff: Great to see you both. Brett: Yeah, it’s good to see you too. I feel like I was really deadpan in the pre-show. I’ll try to liven it up for you. I was a horrible audience. You were cracking jokes and I was just Jeff: that’s true. Christina, before you came on, man, I was hot. I was on fire and Brett was, all Brett was doing was chewing and dropping Popsicle parts. Brett: Yep. I ate, I ate part of a coconut outshine Popsicle off of a concrete floor, but Jeff: It is true, and I didn’t even see him check it [00:01:00] for cat hair, Brett: I did though. Jeff: but I believe he did because he’s a, he’s a very Brett: I just vacuumed in Jeff: He’s a very good American Brett: All right. Christina’s Health Journey Brett: Well, um, I, Christina has a lot of health stuff to share and I wanna save time for that. So let’s kick off the mental health corner. Um, let’s let Christina go first, because if it takes the whole show, it takes the whole show. Go for it. Christina: Uh, I, I will not take this hold show, but thank you. Yeah. So, um, my mental health is okay-ish. Um, I would say the okay-ish part is, is because of things that are happening with my physical health and then some of the medications that I’ve had to be on, um, uh, to deal with it. Uh, prednisone. Fucking sucks, man. Never nev n never take it if you can avoid it. Um, but why Christina, why are you on prednisone or why were you on prednisone for five days? Um, uh, and I’m not anymore to be clear, but that certainly did not help my mental health. Um, at the beginning of November, I woke up and I thought that I’d [00:02:00] slept on my shoulder wrong. And, um, uh, and, and just some, some background. I, I don’t know if this is pertinent to how my injury took place or not, but, but it, I’m sure that it didn’t help. Um, I have scoliosis and in the top and the bottom of my spine, so I have it at the top of my, like, neck area and my lower back. And so my back is like a crooked s um, this will be relevant in a, in a second, but, but I, I thought that I had slept on my back bunny, and I was like, okay, well, all right, it hurts a lot, but fine. Um, and then it, a, a couple of days passed and it didn’t get any better, and then like a week passed and I was at the point where I was like, I almost feel like I need to go to the. Emergency room, I’m in pain. That is that significant. Um, and, you know, didn’t get any better. So I took some of grant’s, Gabapentin, and I took, um, some, some, uh, a few other things and I was able to get in with like a, a, a sports and spine guy. Um, and um, [00:03:00] he looked at me and he was like, yeah, I think that you have like a, a, a bolting disc, also known as a herniated disc. Go to physical therapy. See me later. We’ll, we’ll deal with it. Um. Basically like my whole left side was, was, was really sore and, and I had a lot of pain and then I had numbness in my, my fingers and um, and, and that was a problem the next day, which was actually my birthday. The numbness had at this point spread to my right side and also my lower extremities. And so at this point I called the doctor and he was like, yeah, you should go to the er. And so I went to the ER and, and they weren’t able to do anything for me other than give me, you know, like, um, you know, I was hoping they might give me like, some sort of steroid injection or something. They wouldn’t do anything other than, um, basically, um, they gave me like another type of maybe, maybe pain pill or whatever. Um, but that allowed the doctor to go ahead and. Write, uh, write up an MRI took forever for me to get an MRI, I actually had to get it in Atlanta. [00:04:00] Fun fact, uh, sometimes it is cheaper to just pay and not go through insurance and get an MR MRI and, um, a, um, uh, an x-ray, um, I was able to do it for $450 Jeff: Whoa. Really? Christina: Yeah, $400 for the MR mri. $50 for the x-ray. Jeff: Wow. Christina: Yeah. Yeah. Brett: how I, they, I had an MRI, they charged me like $1,200 and then they failed to bill insurance ’cause I was between insurance. Christina: Yes. Yeah. So what happened was, and and honestly that was gonna be the situation that I was in, not between insurance stuff, but they weren’t even gonna bill insurance. And insurance only approved certain facilities and to get into those facilities is almost impossible. Um, and so, no, there are a lot of like get an MR, I now get a, you know, mammogram, get ghetto, whatever places. And because America’s healthcare system is a HealthScape, you can bypass insurance and they will charge you way less than whatever they bill insurance for. So I, I don’t know if it’s part of the country, you know, like Seattle I think might [00:05:00] probably would’ve been more expensive. But yeah, I was able to find this place like a mile from like, not even a mile from where my parents lived, um, that did the x-rays and the MRI for $450 total. Brett: I, I hate, I hate that. That’s true, but Christina: Me too. Me too. No, no. It pisses me off. Honestly, it makes me angry because like, I’m glad that I was able to do that and get it, you know, uh, uh, expedited. Then I go into the spine, um, guy earlier this week and he looks at it and he’s like, yep, you’ve got a massive bulging disc on, on C seven, which is the, the part of your lower cervical or cervical spine, which is your neck. Um, and it’s where it connects to your ver bray. It’s like, you know, there are a few things you can do. You can do, you know, injections, you can do surgery. He is like, I’m gonna recommend you to a neurosurgeon. And I go to the neurosurgeon yesterday and he was showing me or not, uh, yeah, yesterday he was showing me the, the, the, the scans and, and showing like you up close and it’s, yeah, it’s pretty massive. Like where, where, where the disc is like it is. You could see it just from one view, like, just from like [00:06:00] looking at it like, kind of like outside, like you could actually like see like it was visible, but then when you zoomed in it’s like, oh shit, this, this thing is like massive and it’s pressing on these nerves that then go into my, my hands and other areas. But it’s pressing on both sides. It’s primarily on my left side, but it’s pressing on on my right side too, which is not good. So, um, he basically was like, okay. He was like, you know, this could go away. He was like, the pain isn’t really what I’m wanting to, to treat here. It’s, it’s the, the weakness because my, my left arm is incredibly weak. Like when they do like the, the test where like they, they push back on you to see like, okay, like how, how much can you, what, like, I am, I’m almost immediately like, I can’t hold anything back. Right? Like I’m, I’m, I’m like a toddler in terms of my strength. So, and, and then I’m freaked out because I don’t have a lot of feeling in my hands and, and that’s terrifying. Um, I’m also. Jeff: so terrifying, Christina: I’m, I’m also like in extreme pain because of, of, of where this sits. Like I can’t sleep well. Like [00:07:00] the whole thing sucks. Like the MRI, which was was like the most painful, like 25 minutes, like of my existence. ’cause I was laying flat on my back. I’m not allowed to move and I’m just like, I’m in just incredible pain with that part of, of, of, of my, my side. Like, it, it was. It was terrible. Um, but, uh, but he was like, yeah. Um, these are the sorts of surgical options we have. Um, he’s gonna, um, do basically what what he wants to do is basically do a thing where he would put in a, um, an artificial or, or synthetic disc. So they’re gonna remove the disc, put in a synthetic one. They’ll go in through the, the front of my throat to access the, my, my, my, my spine. Um, put that there and, um, you know, I’ll, I’ll be overnight in the hospital. Um, and then it’ll be a few weeks of recovery and the, the, the pain should go away immediately. Um, but it, it could be up to two years before I get full, you know, feeling back in my arm. So anyway, Jeff: years, Jesus. And Christina: I mean, and hopefully less than that, but, but it could be [00:08:00] up to that. Jeff: there’s no part of this at this point. That’s a mystery to you, right? Christina: The mystery is, I don’t know how this happened. Jeff: You don’t know how it happened, right? Of course. Yeah, of course. Yeah. Yeah. Brett: So tell, tell us about the ghastly surgery. The, the throat thing really threw me like, I can’t imagine that Christina: yeah, yeah. So, well, ’cause the thing is, is that usually if what they just do, like spinal fusion, they’ll go in at the back of your neck, um, and then they’ll remove the, the, um, the, the, the, the disc. And then they’ll fuse your, your, your two bones together. Basically. They’ll, they’ll, they’ll, they’ll fuse this part of the vertebrae, but because they’re going to be replacing the, the disc, they need more room. So that’s why they have to go in through the, through, through basically your throat so that they can have more room to work. Jeff: Good lord. No thank you. Brett: Ugh. Wow. Jeff: Okay. Brett: I am really sorry that is happening. That is, that is, that dwarfs my health concerns. That is just constant pain [00:09:00] and, and it would be really scary. Christina: Yeah. Yeah. It’s not great. It’s not great, but I’m, I’m, I’m doing what I can and, uh, like I have, you know, a small amount of, of Oxycodine and I have like a, a, a, you know, some other pain medication and I’m taking the gabapentin and like, that’s helpful. The bad part is like your body, like every 12, 15 hours, like whatever, like the, the, the cycle is like, you feel it leave your system and like if you’re asleep, you wake up, right? Like, it’s one of those things, like, you immediately feel it, like when it leaves your system. And I’ve never had to do anything for pain management before. And they have me on a very, they have me like on the smallest amount of like, oxycodone you can be on. Um, and I’m using it sparingly because I don’t wanna, you know, be reliant on, on it or whatever. But it, it, but it is one of those things where I’m like, yeah, like sometimes you need fucking opiates because, you know, the pain is like so constant. And the thing is like, what sucks is that it’s not always the same type of pain. Like sometimes it’s throbbing, sometimes it’s sharp, sometimes it’s like whatever. It sucks. But the hardest thing [00:10:00] is like, and. This does impact my mental health. Like it’s hard to sleep. Like, and I’m a side sleeper. I’m a side sleeper, and I’m gonna have to become a back sleeper. So, you know. Yeah. It’s just, it’s, it’s not great. It’s not great, but, you know, that, that, that, that, that’s me. The, the good news is, and I’m very, very gratified, like I have a good surgeon. Um, I’m gonna be able to get in to get this done relatively quickly. He had an appointment for next week. I don’t think that insurance would’ve even been able to approve things fast enough for, for, for that regard. And I have, um, commitments that I can’t make then. And I, and that would also mean that I wouldn’t be able to go visit my family for Christmas. So hopefully I’ll do it right after Christmas. I’m just gonna wait, you know, for, for insurance to, to do its thing, knock on wood, and then schedule, um, from there. But yeah, Jeff: Woof. Christina: so that’s me. Um, uh, who wants to go next? Jeff or, uh, Jeff or Brett? Jeff: It’s like, that’s me. Hot potato throwing it. Brett: I’ll, I’ll go. Brett’s Insurance Woes Brett: I can continue on the insurance topic. Um, I was, for a few months [00:11:00] after getting laid off, I was on Minsu, which is Minnesota’s Medicaid, um, v version of Medicaid. And so basically I paid nothing and I had better insurance than I usually have with, uh, you know, a full deductible and premiums and everything. And it was fantastic. I was getting all the care I needed for all of the health stuff I’m going through. Um, I, they, a, a new doctor I found, ordered the 15 tests and I passed out ’cause it was so much blood and. And it, I was getting, but I was getting all these tests run. I was getting results, we were discovering things. And then my unemployment checks, the income from unemployment went like $300 over the cap for Medicaid. So [00:12:00] all of a sudden, overnight I was cut from Medicaid and I had to do an early sign up, and now I’m on courts and it sucks bad. Like they’re not covering my meds. Last month cost me $600. I was also paying. In addition to that, a $300 premium plus every doctor’s visit is 50 bucks out of pocket. So this will hopefully only last until January, and then it’ll flip over and I will be able to demonstrate basically no income, um, until like Mark makes enough money that it gets reported. Um, and even, uh, until then, like I literally am making under the, the poverty limit. So, um, I hope to be back on Medicaid shortly. I have one more month. I’ll have to pay my $600 to refill. I [00:13:00] cashed out my 401k. Um, like things were, everything was up high enough that I had made, I. I had made tens of thousands of dollars just on the investments and the 401k, but I also have a lot of concerns about the market volatility around Nvidia and the AI bubble in general. Um, so taking my money out of the market just felt okay to me. I paid the 10%, uh, penalty Jeff: Mm-hmm. Brett: and ultimately I, I came out with enough cash that I can invest on my own and be able to cover the next six months. Uh, if I don’t have any other income, which I hope to, I hope to not spend my nest egg. Um, but I did, I did a lot of thinking and calculating and I think I made the right choices. But anyway, [00:14:00] that will help if I have to pay for medical stuff that will help. Um. And then I’ve had insomnia, bad on and off. Right now I’m coming off of two days of good sleep. You’re catching me on a good day. Um, but Jeff: Still wouldn’t laugh at my jokes. Brett: before that it was, well, that’s the thing is like before that, it was four nights where I slept two to four hours per night, and by the end of it, I could barely walk. And so two nights of sleep after a stint like that, like, I’m just super, I’m deadpan, I’m dazed. Um, I could lay down and fall asleep at any time. Um, I, so, so keep me awake. Um, but yeah, that’s, that’s, that’s me. Mental health is good. Like I’m in pretty high spirits considering all this, like financial stuff and everything. Like my mood has been pretty stable. I’ve been getting a lot of coding done. I’ll tell you about projects in [00:15:00] a minute, but, um, but that’s, that’s me. I’m done. Jeff: Awesome. I’m enjoying watching your cat roll around, but clearly cannot decide to lay down at this point. Brett: No, nobody is very persnickety. Jeff: I literally have to put my. Well, you say put a cat down like you used to. When you put a kid down for a nap, you say you wanna put ’em down. Right? That’s where it’s coming from. I now have a chair next to my desk, ’cause I have one cat that walks around Yowling at about 11:00 AM while I’m working. And I have to like, put ’em down for a nap. It’s pathetic. It’s pathetic that I do that. Let’s just be clear. Brett: Yeah. Jeff: soulmate though. Jeff’s Mental Health Update Jeff: Um, I’m doing good. I’m, I’m, I’ve been feeling kind of light lately in a nice way. I’ve had ups and downs, but even with the ups and downs, there’s like a, except for one day last week was, there’s just been feeling kind of good in general, which is remarkable in a way. ’cause it’s just like stressful time. There’s some stressful business stuff, like, [00:16:00] a lot of stuff like that. But I’m feeling good and, and just like, uh, yeah, just light. I don’t know, it’s weird. Like, I’ve just been noticing that I feel kind of light and, uh. And not, not manic, not high light. Brett: Yeah. No, that’s Jeff: uh, and that’s, that’s lovely. So yeah. And so I’m doing good. I’m doing good. I fucking, it’s cold. Which sucks ’cause it just means for everybody that’s heard about my workshop over the years, that I can’t really go out there and have it be pleasant Brett: It’s, it’s been Minnesota thus far. Has had, we’ve had like one, one Sub-Zero day. Jeff: whatever. It’s fucking cold. Christina: Yeah. What one? Brett? Brett. It’s December 6th as we’re recording this one Sub-Zero day. That’s insane. Brett: Is it Jeff: Granted, granted I’ve been dressing warm, so I’m ready to go out the door for ice related things. Meaning, meaning government, ice, Brett: Uh, yeah. Yeah. Jeff: So I like wear my long underwear during [00:17:00] the day. ’cause actually like recently. So at my son’s school, which is like six blocks from here, um, has a lot of Somali immigrants in it. And, and uh, and there was a, at one point there was ice activity in the other direction, um, uh, uh, near me. And so neighbors put out a call here around so that at dismissal time people would pair up at all the intersections surrounding the school. And, um, and like a quick signal group popped up, whatever. It was so amazing because like we all just popped out there. And by the time I got out, uh, everyone was already like, posted up and I was like, I’m a, in these situations, I am a wanderer. You want me roaming? I don’t want to pair up with somebody I don’t like, I just, I grabbed a camera with a Zoom on it and like, I was like, I’m in roam. Um, it’s what I was as an activist, what I was as a reporter, like it’s just my nature. Um, but like. Everybody was out and like, and they were just like, they were ready man. And then we got like the all clear and you could just see people in the [00:18:00] neighborhood just like standing down and going home. But because of the true threat and the ongoing arrests here, now that the Minneapolis stuff has started, like I do, I was like wearing long underwear just, and I have a little bag by the door ready to like pop out if something comes up and I can be helpful. Um, and uh, and I guess what I’m saying is I should use that to go into the garage as well if I’m already prepared. Brett: Right. Jeff: But here’s, okay, so here’s a mental health thing actually. So I, one of the, I’ve gone through a few years of just sort of a little bit of paralysis around being able to just, I don’t know what, like do anything that is kind of project related that takes some thinking, whatever it is, like I’m talking about around the house or things that have kind of broken over the years, whatever. So I’ve had this snowblower and it’s a really good snowblower. It’s got headlights. And, uh, and I used to love snow blowing the entire block. Like it just made me feel good, made me feel useful. Um, and sorry I cough. I left it outside for a [00:19:00] year for a, like a winter and a spring and water got into the gas tank. It rusted out in there. I knew I couldn’t start it or I’d ruin the whole damn engine. So I left it for two years and I felt bad about myself. But this year, just like probably a month before the first big snowfall, I fucking replaced a gas tank and a carburetor on a machine. And I have never done anything like that in my life. And so then we got the snowfall and I, and I snow blowed this whole block Brett: Nice. Jeff: great. ’cause now they all owe me. Brett: I, uh, I have a, uh, so I have a little electric powered, uh, snowblower that can handle like two inches of snow. Um, and, and on big snowfalls, if you get out there every hour and keep up with it, it, it works. But, but I, my back right now, I can’t stand for, I can’t stand still for 10 minutes and I can’t move for more than like five minutes. And so I’m, I’m very disabled and El has good days and bad days, uh, thus [00:20:00] far. L’s been out there with a shovel, um, really being the hero. But we have a next door neighbor with a big gas powered snowblower. And so we went over, brought them gifts, and, um, asked if they would take care of our driveway on days we couldn’t, uh, for like, you know, we’d pay ’em 25 bucks to do the driveway. And, uh, and they were, he was still reluctant to accept money. Um. But, but we both agreed it was better to like make it a, a transaction. Jeff: Oh my God. You don’t want to get into weird Minnesota neighbor relational. Brett: right. You don’t want the you owe me thing. Um, so, so we have that set up. But in the process we made really good friends with our neighbor. Like we sat down in their living room for I think 45 minutes and just like talked about health and politics and it was, it was really fun. They’re, they’re retired. They’re in their [00:21:00] seventies and like act, he always looks super grumpy. I always thought he was a mean old man. He’s actually, he laughs more easily than most people I’ve ever met. Um, he’s actually, when people say, oh, he is actually a teddy bear, this guy really is, he’s just jovial. Uh, he just has resting angry old man face. Jeff: Or like my, I have public mis throat face, like when I’m out and about, especially when I’m shopping, I know that my face is, I’m gonna fucking kill you if you look me in the eye Brett: I used Jeff: is not my general disposition. Brett: people used to tell me that about myself, but I feel like I, I carry myself differently these days than I did when I was younger. Jeff: You know what I learned? Do you, have you both watched Veep, Christina: Yes, Jeff: you know, Richard sp split, right? Um, and, and he always kind of has this sweet like half smile and he is kind of looking up and I, I figured out at one point I was in an airport, which is where my kill everybody face especially comes up. Just to be clear. TSA, it’s just a feeling inside. I [00:22:00] have no desire to act to this out. I realized that if I make the Richard Plet face, which I can try to make for you now, which is something like if I just make the Richard Plet face, my whole disposition Brett: yeah. Yeah. Jeff: uh, and I even feel a little better. And so I just wanna recommend that to people. Look up Richard Spt, look at his face. Christina: Hey, future President Bridges split. Jeff: future President Richard Splat, also excellent in the Detroiters. Um, that’s all, uh, that’s all I wanted to say about that. Brett: I have found that like when I’m texting with someone, if I start to get frustrated, you know, you know that point where you’re still adding smiley emoticons even though you’re actually not, you’re actually getting pissed off, but you don’t wanna sound super bitchy about it, so you’re adding smile. I have found that when I add a smiley emoji in those circumstances, if I actually smile before I send it, it like my [00:23:00] mood will adjust to match, to match the tone I’m trying to convey, and it lessens my frustration with the other person. Jeff: a little joy wrist rocket. Christina: Yeah. Hey, I mean, no, but hey, but, but that, that, that, that, that’s interesting. I mean, they’re, they, they’ve done studies that like show that, right? That like show like, you know, I mean, like, some of this is all like bullshit to a certain extent, but there is something to be said for like, you know, like the power of like positive thinking and like, you know, if you go into things with like, different types of attitudes or even like, even if you like, go into job interviews or other situations, like you act confident or you smile, or you act happy or whatever. Even if you’re not like it, the, the, the, the euphoria, you know, that those sorts of uh, um, endorphin reactions or whatever can be real. So that’s interesting. Brett: Yeah, I found, I found going into job interviews with my usual sarcastic and bitter, um, kind of mindset, Jeff: I already hate this job. Brett: it doesn’t play well. It doesn’t play well. So what are your weaknesses? Fuck off. Um,[00:24:00] Christina: right. Well, well, well, I hate people. Jeff: Yeah. Dealing with motherfuckers like you, that’s one weakness. Sponsor Spot: Shopify Brett: let’s, uh, let’s do a sponsor spot and then I want to hear about Christina winning a contest. Christina: yes. Jeff: very Brett: wanna, you wanna take it away? Sponsor: Shopify Jeff: I will, um, our sponsor this week is Shopify. Um, have you ever, have you just been dreaming of owning your own business? Is that why you can’t sleep? In addition to having something to sell, you need a website. And I’ll tell you what, that’s been true for a long time. You need a payment system, you need a logo, you need a way to advertise new customers. It can all be overwhelming and confusing, but that is where today’s sponsor, Shopify comes in. shopify is the commerce platform behind millions of businesses around the world and 10% of all e-commerce in the US from household names like Mattel and Gym Shark to brands just getting started. Get started with your own design studio with hundreds of ready to use [00:25:00] templates. Shopify helps you build a beautiful online store to match your brand’s style, accelerate your content creation. Shopify is packed with helpful AI tools that write product descriptions, page headlines, and even enhance your product photography. Get the word out like you have a marketing team behind you. Easily create email and social media campaigns wherever your customers are scrolling or strolling. And best yet, Shopify is your commerce expert with world class expertise in everything from managing inventory to international shipping, to processing returns and beyond. If you’re ready to sell, you are ready to Shopify. Turn your Big Business Idea into with Shopify on your side. Sign up for your $1 per month trial and start selling today@shopify.com slash Overtired. Go to shopify.com/ Overtired. What was that? Say it with me. shopify.com/ Overtired [00:26:00] cha. Uh, Brett: the, uh, the group, the group input on the last URL, I feel like we can charge extra for that. That was Jeff: Yeah. Cha-ching Brett: they got the chorus, they got the Overtired Christina: You did. You got the Overtired Jeff: They didn’t think to ask for it, but that’s our brand. Christina: shopify.com/ Overtired. Jeff Tweedy Jeff: What was, uh, I was watching a Stephen Colbert interview with Jeff Tweedy, who just put out a triple album and, uh, it was a very thoughtful, sweet interview. And then Stephen Colbert said, you know, you’re not supposed to do this. And Jeff Tweety said, it’s all part of my career long effort to leave the public wanting less. Christina: Ha, Jeff: That was a great bit. Christina: that’s a fantastic bit. A side note, there are a couple of really good NPR, um, uh, tiny desks that have come out in the last couple of month, uh, couple of weeks. Um, uh, one is shockingly, I, I’ll, I’ll just be a a, a fucking boomer about it. The Googo dolls. Theirs was [00:27:00] great. It’s fantastic. They did a great job. It already has like millions of views, like it wrecked up like over a million views, I think like in like, like less than 24 hours. They did a great job, but, uh, but Brandy Carlisle, uh, did one, um, the other day and hers is really, really good too. So, um, so yeah. Yeah, exactly. So yeah. Anyway, you said, you saying Jeff pd maybe, I don’t know how I got from Wilco to like, you know, there, Jeff: Yeah. Well, they’ve done some good, he’s done his own good Christina: he has, he has done his own. Good, good. That’s honestly, that’s probably what I was thinking of, but Jeff: It’s my favorite Jeff besides me because Bezos, he’s not in the, he’s not in the game. Christina: No. No, he’s not. No. Um, he, he’s, he’s not on the Christmas card list at all. Jeff: Oh man. Jeff’s Concert Marathon Jeff: Can I just tell you guys that I did something, um, I did something crazy a couple weeks ago and I went to three shows in one week, like I was 20 fucking two, Brett: Good grief. Jeff: and. It was a blast. So, okay, so the background of this is my oldest son [00:28:00] loves hip hop, and when we drive him to college and back, or when I do, it’s often just me. Um, he, he goes deep and he, it’s a lot of like, kind of indie hip hop and a lot. It’s just an interesting, he listens to interesting shit, but he will go deep and he’ll just like, give me a tour through someone’s discography or through all their features somewhere, whatever it is. And like, it’s the kind of input that I love, which is just like, I don’t, even if it’s not my genre, like if you’re passionate and you can just weave me through the interrelationship and the history and whatever it is I’m in. So as a result of that, made me a huge fan of Danny Brown and made me a huge fan of the sky, Billy Woods. And so what happened was I went to a hip hop show at the seventh Street entry, uh, which is attached to First Avenue. It’s a little club, very small, lovely little place, the only place my band could sell out. Um, and I watched a hip hop show there on a Monday night, Tuesday night. I went to the Uptown Theater, which Brett is now a actually an operating [00:29:00] theater for shows. Uh, and I, and I saw Danny Brown, but I also saw two hyper pop bands, a genre I was not previously aware of, including one, which was amazing, called Fem Tenal. And I was in line to get into that show behind furries, behind trans Kids. Like it was this, I was the weirdest, like I did not belong. Underscores played, and, and this will mean something to somebody out there, but not, didn’t mean anything to me until that night. And, uh. I felt like such, there were times, not during Danny Brown, Danny Brown’s my age all good. But like there were times where I was in the crowd ’cause I’m tall. Anybody that doesn’t know I’m very tall and I’m wearing like a not very comfortable or safe guy seeming outfit, a black hoodie, a black stocking cap. Like I basically looked like I’m possibly a shooter and, and I’m like standing among all these young people loving it, but feeling a little like, should I go to the back? Even like I was leaving that show [00:30:00] and the only people my age were people’s parents that were waiting to pick them up on the way out. So anyway, that was night two. Danny Brown was awesome. And then two nights later I went to see, this is way more my speed, a band called the Dazzling Kilman who were a band that. Came out in the nineties, St. Louis and a noisy Matthew Rock. Wikipedia claims they invented math rock. It’s a really stupid claim, uh, but it’s a lovely, interesting band and it’s a friend of mine named Nick Sakes, who’s who fronted that band and was in all these great bands back when I was in bands called Colos Mite and Sick Bay, and all this is great shit. So they played a reunion show. In this tiny punk rock club here called Cloudland, just a lovely little punk rock club. And, um, and, and that was like rounded out my week. So like, I was definitely, uh, a tourist the early part of the week, mostly at the Danny Brown Show. But then I like got to come home to my noisy punk rock [00:31:00] on, uh, on Thursday night. And I, I fucking did three shows and it hurt so bad. Like even by the first of three bands on the second night. I was like, I don’t think I can make it. And I do. I already pregame shows with ibuprofen. Just to be really clear, I microdose glucose tabs at shows like, like I am, I am a full on old man doing these things. But, um, I did get some cred with my kids for being at a hyper pop show all by myself. And, Christina: Hell yeah. A a Jeff: friends seemed impressed. Christina: no, as a as, as as they should be. I’m impressed. And like, and I, I, I typically like, I definitely go to like more of like, I go, I go to shows more frequently and, and I’m, I’m even like, I’m, I’m gonna be real with you. I’m like, yeah, three in one week. Jeff: That’s a lot. Christina: That’s a lot. That’s a lot. Jeff: man. Did I feel good when I walked home from that last show though? I was like, I fucking did it. I did not believe I wasn’t gonna bail on at least two of those shows, if not all three. Anyway, just wanted to say Brett: I [00:32:00] do like one show a year, but Jeff: that’s how I’ve been for years this year. I think I’ve seen eight shows. Brett: damn. Jeff: Yeah, it’s Brett: Alright, so you’ve been teasing us about this, this contest you won. Jeff: Yeah, please, Christina. Sorry to push that off. Christina: No, no, no, no. That’s, that’s completely okay. That, that, that, that’s great. Uh, no. Christina Wins Big Christina: So, um, I won two six K monitors. Brett: Damn. Jeff: is that what those boxes are behind you? Christina: Yeah, yeah. This is what the boxes are behind me, so I haven’t been able to get them up because this happened. I got them literally right in the midst of all this stuff with my back. Um, but I do have an Ergotron poll now that is here, and, and Grant has said that he will, will get them up. But yeah, so I won 2 32 inch six K monitors from a Reddit contest. Brett: How, how, how, Jeff: How does this happen? How do I find a Reddit contest? Christina: Yeah. So I got lucky. So I have, I, I have a clearly, well, well, um, there was a little, there was a little bit of like, other step to it than that, but like, uh, so how it worked was basically, um, LG is basically just put out [00:33:00] two, they put out a new 32 inch six K monitor. I’ll have it linked in, in, in the show notes. Um, so we’ve talked about this on this podcast before, but like one of my big, like. Pet peeve, like things that I can’t get past. It’s like I need like a retina screen. Like I need like the, the perfect pixel doubling thing for that the Mac Os deals with, because I’ve used a 5K screen, either through an iMac or um, an lg, um, ultra fine or, um, a, uh, studio display. For like 11 years. And, and I, and I’ve been using retina displays on laptops even longer than that. And so if I use like a regular 4K display, like it just, it, it doesn’t work for me. Um, you can use apps like, um, like better control and other things to kind of emulate, like what would be like if you doubled the resolution, then it, it down, you know, um, of samples that, so that. It looks better than, than if it’s just like the, the, the 4K stuff where in the, the user interface things are too big and whatnot. And to be clear, this is a Macco West problem. If [00:34:00] you are using Windows or Linux or any other operating system that does fractional scaling, um, correctly, then this is not a problem. But Macco West does not do fractional scaling direct, uh, correctly. Um, weirdly iOS can, like, they can do three X resolution and other things. Um, but, but, but Macs does not. And that’s weird because some of the native resolutions on some of the MacBook errors are not even perfectly pixeled doubled, meaning Apple is already having to do a certain amount of like resolution changes to, to fit into their own, created by their, their own hubris, like way of insisting on, on only having like, like two x pixel doubling 18 years ago, we could have had independent, uh, resolutions, uh, um, for, for UI elements and, and, and window bars. But anyway, I, I’m, I’m digressing anyway. I was looking at trying to get either a second, uh, studio display, which I don’t wanna do because Apple’s reportedly going to be putting out a new one. Um, and they’re expensive or getting, um, there are now a number of different six K [00:35:00] displays that are not $6,000 that are on the market. So, um, uh, uh, Asus has one, um, there is one from like a, a Chinese company called like, or Q Con that, um, looks like a, a complete copy of this, of the pro display XDR. It has a different panel, but it’s, it’s six K and they, they’ve copied the whole design and it’s aluminum and it’s glossy and it looks great, but I’d have to like get it from like. A weird distributor, and if I have any issues with it, I don’t really wanna have to send it back to China and whatnot. And then LG has one that they just put out. And so I’ve been researching these on, on Mac rumors and on some other forums. And, um, I, uh, I, somebody in one of the Mac Roomers forums like posted that there was like a contest that LG was running in a few different subreddits where they were like, tell us why you should get one of, like, we’re gonna be giving away like either one or two monitors, and I guess they did this in a few subreddits. Tell us why this would be good for your workflow. And, um, I guess I, I guess I’m one of the people who kind of read the [00:36:00] assignment because it, okay, I’ll just be honest with this, with, with you guys on this podcast, uh, because I, I don’t think anyone from LG will hear this and my answers were accurate anyway. But anyway, this was not the sort of contest where it was like we will randomly select a winner. This was the moderators and lg, were going to read the responses and choose the winner. Jeff: Got it. Christina: So if you spend a little bit of time and thoughtfully write out a response, maybe you stand a better chance of winning the contest. Jeff: yeah, yeah. Put the work in like it was 2002. Christina: Right. Anyway, I still was shocked when I like woke up like on like Halloween and they were like, congratulations, you’ve won two monitors. I’m like, I’m sorry. What? Jeff: That’s amazing. Christina: Yeah, yeah, yeah, Jeff: Nice work. I know I’ve, you know, I’ve been staring at those boxes behind you this whole time, just being like, those look like some sweet monitors. Christina: yeah, yeah. Monitor Setup Challenges Christina: I mean, and, uh, [00:37:00] uh, it’s, it’s, it’s, it’s, it’s, and I, I’m very much, so my, my, my only issue is, okay, how am I gonna get these on my desk? So I’m gonna have to do something with my iMac and I’m probably gonna have to get rid of my, my my, my 5K, um, uh, uh, studio display, at least in the short term. Ergotron Mounts and Tall Poles Christina: Um, but what I did do is I, um, I ordered from, um, Ergotron, ’cause I already have. Um, two of their, um, LX mounts, um, or, or, or, or arms. Um, and only one of them is being used right now. And then I have a different arm that I use for the, um, um, iMac. Um, they sell like a, if you call ’em directly, you can get them to send you a tall pole so that you can put the two arms on top of them. And that way I think I can like, have them so that I can have like one pole and then like have one on one side, one Jeff: I have a tall pole. Christina: and, and yeah, that’s what she said. Um, Jeff: as soon as I said it, I was like, for fuck’s sake. But Christina: um, but, uh, but, but yeah, but so that way I think I, I can, I, in theory, I can stack the market and have ’em side by side. I don’t know. Um, I got that. I, I had to call Tron and, and order that from them. [00:38:00] Um, it was only a hundred dollars for, for the poll and then $50 for a handling fee. Jeff: It’s not easy to ship a tall pole. Brett: That’s what she said. Christina: that is what she said. Uh, that is exactly what she said. But yeah, so I, I, the, the, the unfortunate thing is that, um, I, um, I, I had to, uh, get a, like all these, they, they came in literally right before Thanksgiving, and then I’ve had, like, all my back stuff has Jeff: Yeah, no Christina: debilitating, but I’m looking forward to, um, getting them set up and used. And, uh, yeah. Review Plans and Honest Assessments Christina: And then full review will be coming to, uh, to, I have to post a review on Reddit, but then I will also be doing a more in depth review, uh, on this podcast if anybody’s interested in, in other places too, to like, let let you know, like if it’s worth your money or not. Um, ’cause there, like I said, there are, there are a few other options out there. So it’s not one of those things where like, you know, um, like, thank you very much for the free monitor, um, monitors. But, but I, I will, I will give like the, the, you know, an honest assessment or Current Display Setup Brett: So [00:39:00] do you currently have a two display setup? Christina: No. Um, well, yes, and kind of, so I have my, my, I have my 5K studio display, and then I have like my iMac that I use as a two to display setup. But then otherwise, what I’ve had to do, and this is actually part of why I’m looking forward to this, is I have a 4K 27 inch monitor, but it’s garbage. And it, it’s one of those things where I don’t wanna use it with my Mac. And so I wind up only using it with my, with my Windows machine, with my framework desktop, um, with my Windows or Linux machine. And, and because that, even though I, it supports Thunderbolt, the Apple display is pain in the ass to use with those things. It doesn’t have the KVM built in. Like, it doesn’t like it, it just, it’s not good for that situation. So yeah, this will be of this size. I mean, again, like I, I, I’m 2 32 inch monitors. I don’t know how I’m gonna deal with that on my Jeff: I Brett: yeah. So right now I’m looking at 2 32 inch like UHD monitors, Christina: Yeah,[00:40:00] Brett: I will say that on days when my neck hurts, it sucks. It’s a, it’s too wide a range to, to like pan back and forth quickly. Like I’ll throw my back out, like trying to keep track of stuff. Um, but I have found that like if I keep the second display, just like maybe social media apps is the way I usually set it up. And then I only work on one. I tried buying an extra wide curve display, hated it. Jeff: Uh, I’ve always wanted to try one, but Christina: I don’t like them. Jeff: Yeah. Christina: Well, for me, well for me it’s two things. One, it’s the, I don’t love the whole like, you know, thing or whatever, but the big thing honestly there, if you could give me, ’cause people are like, oh, you can get a really big 5K, 2K display. I’m like, that’s not a 5K display. That is 2 27 inch, 1440 P displays. One, you know, ultra wide, which is great. Good for you. That’s not retina. And I’m a sicko Who [00:41:00] needs the, the pixel doubling? Like I wish that my eyes could not use that, but, but, but, Jeff: that needs the pixel. Like was that the headline of your Reddit, uh, Christina: no, no. It wasn’t, it wasn’t. But, but maybe it should be. Hi, I’m a sicko who only, um, fucks with, with, with, with, with, with, with retina displays. Ask me anything. Um, but no, but that’s a good point. Brett: I think 5K Psycho is the Christina: 5K Sicko is the po is the po title. I like that. I like that. No, what I’m thinking about doing and that’s great to know, Brett. Um, this kind of reaffirms my thing. Thunderbolt KVM and Display Preferences Christina: So what’s nice about these monitors is that they come with like, built in like, um, Thunderbolt 5K VM. So, which is nice. So you could conceivably have multiple, you know, computers, uh, connected, you know, to to, to one monitor, which I really like. Um, I mean like, ’cause like look, I, I’ve bitched and moaned about the studio display, um, primarily for the price, but at the same time, if mine broke tomorrow and if I didn’t have any way to replace it, I’ve, I’ve also gone on record saying I would buy a new one immediately. As mad as I am about a [00:42:00] lot of different things with that, that the built-in webcam is garbage. The, you know, the, the fact that there’s not a power button is garbage. The fact that you can’t use it with multiple inputs, it’s garbage. But it’s a really good display and it’s what I’m used to. Um, it’s really not any better than my LG Ultra fine from 2016. But you know what? Whatever it is, what it is. Um. I, I am a 5K sicko, but being able to, um, connect my, my personal machine and my work machine at the same time to one, and then have my Windows slash Linux computer connected to another, I think that’s gonna be the scenario where I’m in. So I’m not gonna necessarily be in a place where I’m like, okay, I need to try to look at both of them across 2 32 inch displays. ’cause I think that that, like, that would be awesome. But I feel like that’s too much. Brett: I would love a decent like Thunderbolt KVM setup that could actually swap like my hubs back and Christina: Yes. MacBook Pro and Studio Comparisons Brett: Um, so, ’cause I, I have a studio and I have my, uh, Infor MacBook Pro [00:43:00] and I actually work mostly on the MacBook Pro. Um, but if I could easily dock it and switch everything on my desk over to it, I would, I would work in my office more often. ’cause honestly, the M four MacBook Pro is, it’s a better machine than the original studio was. Um, and I haven’t upgraded my studio to the latest, but, um, I imagine the new one is top notch. Christina: Oh yeah. Yeah. Brett: my, my other one, a couple years old now is already long in the tooth. Christina: No, I mean, they’re still good. I mean, it’s funny, I saw that some YouTube video the other day where they were like, the best value MacBook you can get is basically a 4-year-old M1 max. And I was like, I don’t know about that guys. Like, I, I kind of disagree a little bit. Um, but the M1 max, which is I think is what is in the studio, is still a really, really good ship. But to your point, like they’ve made those, um. You know, the, the, the new ones are still so good. Like, I have an M three max as my personal laptop, and [00:44:00] that’s kind of like the dog chip in the, in the m um, series lineup. So I kind of am regretful for spending six grand on that one, but it is what it is, and I’m like, I’m not, I’m not upgrading. Um, I mean, maybe, maybe in, in next year if, if the M five Pro, uh, or M five max or whatever is, is really exceptional, maybe I’ll look at, okay, how much will you give me to, to trade it in? But even then, I, I, but I feel like I’m at that point where I’m like, it gets to a point where like it’s diminishing returns. Um, but, uh, just in terms of my own budget. But, um, yeah, the, the new just info like pro or or max, whatever, Brett: I have, I have an M four MacBook Pro sitting around that I keep forgetting to sell. Uh, it’s the one that I, it only had a 256 gigabyte hard drive, Jeff: what happened to me when I bought my M1, Brett: and I, and I regretted that enough that I just ordered another one. But, uh, for various reasons, I couldn’t just return the one I didn’t Jeff: ’cause it was.[00:45:00] Brett: so now I, now I have to sell it and I should sell it while it’s still a top of the line machine Christina: Sell it before, sell, sell, sell, sell it before next month, um, or, or February or whenever they sell it before then the, the pros come out. ’cause right now the M five base is out, but the pros are not. So I think feel like you could still get most of your value for it, especially since it has very few battery cycles. Be sure to put the battery cycles on your Facebook marketplace or eBay thing or whatever. Um, I bought my, uh, she won’t listen to this so she won’t know, but, um, they, there was a, a killer Cyber Monday deal, uh, for Best Buy where they had like a, the, the, the, so it’s several years old, but it was the, the M two MacBook Air, but the one that they upgraded to 16 gigs of Ram when Apple was like, oh, we have to have Apple Intelligence and everything, because they actually thought that they were actually gonna ship Apple Intelligence. So they like went back and they, like, they, they, you know, retconned like made the base model MacBook Air, like 16 [00:46:00] gigs. Um, and, uh, anyway, it was, it was $600, um, Jeff: still crazy. Christina: which, which like even for like a, a, a 2-year-old machine or whatever, I was like, yeah, she, my sister, I think she’s on like, like a 2014 or older than that. Like, like MacBook Air. She doesn’t even know where the MagSafe is. I don’t think she even knows where the laptop is. So she’s basically doing everything like on her phone and I’m like, okay, you need a laptop of some type, but at this point. I do feel strongly that like the, the, the $600 or, or, or actually I think it was $650, it was actually less, it is actually more expensive than what the, the, the Cyber Monday sale was, um, the M1, Walmart, MacBook Air. I’m like, absolutely not like that is at this point, do not buy that. Right? Like, I, especially with eight gigs of ram, I’m, I’m like, it’s been, it’s five years old. It’s a, it was a great machine and it was great value for a long time. $200. Cool, right? Like, if you could get something like use and, and, and, and if you could replace the battery or, you know, [00:47:00] for, for, you know, not, not too much money or whatever. Like, I, I, I could see like an argument to be made like value, right? But there’d be no way in hell that I would ever spend or tell anybody else to spend $650 on that new, but $600 for an M two with Jeff: Now we’re talking. Christina: which has the redesign brand new. I’m like, okay. Spend $150 more and you could have got the M four, um, uh, MacBook Air, obviously all around Better Machine. But for my sister, she doesn’t need that, Jeff: What do we have to do to put your sister in this M two MacBook Christina: that, that, that, that, that, that’s exactly it. So I, I, I was, well, also, it was one of those things I was like, I think that she would rather me spend the money on toys for my nephew for Santa Claus than, than, uh, giving her like a, a processor upgrade. Um, Jeff: Claus isn’t real. Brett: Oh shit. Jeff: Gotcha. Every year I spoil it for somebody. This year it was Christina and Brett. Sorry guys. Brett: right. Well, can I tell you guys Jeff: Yeah. [00:48:00] Brett Software. Brett: two quick projects before we do Jeff: Hold on. You don’t have to be quick ’cause you could call it Brett: We’re already at 45 minutes and I want Jeff: What I’m saying, skip GrAPPtitude. This is it? Brett: okay. Christina: us about Mark. Tell us about your projects. Brett: So, so Mark three is, there’s a public, um, test flight beta link. Uh, if you go to marked app.com, not marked two app.com, uh, marked app.com. Uh, you, there’s a link in the, in the, at the top for Christina: Join beta. Mm-hmm. Brett: Um, and that is public and you can join it and you can send me feedback directly through email because, um, uh, uh, the feedback reporter sucks for test flight and you can’t attach files. And half the time they come through as anonymous feedback and I can’t even follow up on ’em. So email me. But, um, I’ll be announcing that on my blog soon-ish. Um, right now there’s like [00:49:00] maybe a couple dozen, um, testers and I, it’s nice and small and I’m solving the biggest bugs right away. Um, so that’s been, that’s been big. Like Mark, even since we last talked has added. Do you remember Jeff when Merlin was on and he wanted to. He wanted to be able to manage his styles, um, and disable built-in styles. There’s now a whole table based style manager where you Jeff: saw that. Brett: you can, you can reorder, including built-in styles. You can reorder, enable, disable, edit, duplicate. Um, it’s like a full, full fledged, um, style manager. And I just built a whole web app that is a style generator that gives you, um, automatic like rhythm calculations for your CSS and you can, you can control everything through like, uh, like UI fields instead of having to [00:50:00] write CSS. Uh, but you can also o open up a very, I’ve spent a lot of time on the code mirror CSS editor in the web app. Uh, so, and it’s got live preview as you edit in the code mirror field. Um, so that’s pretty cool. And that’s built into marts. So if you go to style, um, generate style, it’ll load up a, a style generator for you. Anyway, there’s, there’s a ton. I’m not gonna go into all the details, but, uh, anyone listening who uses markdown for anything, especially if you want ability to export to like Word and epub and advanced PDF export, um, join the beta. Let me know what you think. Uh, help me squash bugs. But the other thing, every time I push a beta for review before the new bug reports come in, I’ve been putting time into a tool. Markdown Processor: Apex Brett: I’m calling [00:51:00] Apex and um, I haven’t publicly announced this one yet, but I probably will by the time this podcast comes out. Jeff: I mean, doesn’t this count? Brett: It, it does. I’m saying like this, this might be a, you hear you heard it here first kind of thing, um, but if you go to github.com/tt sc slash apex, um, I built a, uh, pure C markdown processor that combines syntax from cram down GitHub flavored markdown, multi markdown maku, um, common mark. And basically you can write syntax from any of those processors, including all of their special features, um, and in one document, and then use Apex in its unified mode, and it’ll just figure out what. All of your syntax is supposed to do. Um, so you can take, you can port documents from one platform to another [00:52:00] without worrying about how they’re gonna render. Um, if I can get any kind of adoption with Apex, it could solve a lot of problems. Um, I built it because I want to make it the default processor in marked ’cause right now, you, you have to choose, you know, cram Christina: Which one? Brett: mark and, and choosing one means you lose something in order to gain something. Um, so I wanted to build a universal one that brought together everything. And I added cool features from some extensions of other languages, such as if you have two lists in a row, normally in markdown, it’s gonna concatenate those into one list. Now you can put a carrot on a line between the two lists and it’ll break it into two lists. I also added support for a. An extension to cram down that lets you put double uh, carrots inside a table cell and [00:53:00] create a row band. So like a cell that, that expands it, you rows but doesn’t expand the rest of the row. Um, so you can do cell spans and row spans and it has a relaxed table version where you don’t have to have an alignment row, which is, uh, sometimes we just wanna make quickly table. You make two lines. You put some pipes in. This will, if there’s no alignment row, it will generate a table with just a table body and table data cells in no header. It also allows footers, you can add a footer to a table by using equals in the separator line. Um, it, it’s, Jeff: This is very civilized, Brett: it is. Christina: is amazing, Brett: So where Common Mark is extremely strict about things, um, apex is extremely permissive. Jeff: also itty bitty things like talk about the call out boxes from like Brett: oh yeah, it, it can handle call out syntax from Obsidian and Bear and Xcode Playgrounds. [00:54:00] Um, and it incorporates all of Mark’s syntax for like file includes and even renders like auto scroll pauses that work in marked and some other teleprompter situations. Um, it uses file ude syntax from multi markdown, like, which is just like a curly brace and, uh, marked, which is, uh, left like a double left, uh, angle bracket and then different. Brackets to surround a file name and it handles IA writer file inclusion where you just type a forward slash and then the name of a file and it automatically detects if that file is an image or source code or markdown text, and it will import it accordingly. And if it’s a CSV file, it’ll generate a table from it automatically. It’s, it’s kind of nuts. I, it’s kind of nuts. I could not have done this [00:55:00] without copilot. I, I am very thankful for copilot because my C skills are not, would not on their own, have been up to this task. I know enough to bug debug, but yeah, a lot of these features I got a big hand from copilot on. Jeff: This is also Brett. This is some serious Brett Terpstra. TURPs Hard Christina: Yeah, it is. I was gonna say, this is like Jeff: and also that’s right. Also, if your grandma ever wrote you a note and it, and though you couldn’t really read it, it really well, that renders perfectly Christina: Amazing. No, I was gonna say this is like, okay, so Apex is like the perfect name ’cause this is the apex of Brett. Jeff: Yes. Apex of Brett. Christina: That’s also that, that’s, that’s not an alternate episode title Apex of Brett. Because genuinely No, Brett, like I am, I am so stunned and impressed. I mean, you all, you always impressed me like you are the most impressive like developer that I, that I’ve ever known. But you, this is incredible. And, and this, I, I love this [00:56:00] because as you said, like common Mark is incredibly strict. This is incredibly permissive. But this is great. ’cause there are those scenarios where you might have like, I wanna use one feature from one thing or one from another, or I wanna combine things in various ways, or I don’t wanna have to think about it, you know? Brett: I aals, I forgot to mention I aals inline attribute list, which is a crammed down feature that lets you put curly brackets after like a paragraph and then a colon and then say, dot call out inside the curly brackets. And then when it renders the markdown, it creates that paragraph and adds class equals call out to the paragraph. Um, and in, in Cramon you can apply these to everything from list items to list to block quotes. Like you can do ’em for spans. You could like have one after, uh, link syntax and just apply, say dot external to a link. So the IAL syntax can add IDs classes and uh, arbitrary [00:57:00] attributes to any element in your markdown when it renders to HTML. And, uh, and Apex has first class support for I aals. Was really, that was, that Christina: that was really hard, Brett: I wrote it because I wanted, I wanted multi markdown, uh, for my prose writing, but I really missed the als. Christina: Yes. Okay. Because see, I run into this sort of thing too, right? Because like, this is a problem like that. I mean, it’s a very niche problem, um, that, that, you know, people who listen to this podcast probably are more familiar with than other types of people. But like, when you have to choose your markdown processor, which as you said, like Brett, like that can be a problem. Like, like with, with using Mark or anything else, you’re like, what am I giving up? What do I have? And, and like for me, because I started using mul, you know, markdown, um, uh, largely because of you, um, I think I was using it, I knew about it before you, but largely because of, of, of you, like multi markdown has always been like kind of my, or was historically my flavor of choice. It has since shifted to being [00:58:00] GitHub, labor bird markdown. But that’s just because the industry has taken that on, right? But there were, you know, certain things like in like, you know, multi markdown that work a certain way. And then yeah, there are things in crammed down. There are things in these other things in like, this is just, this is awesome. This Brett: It is, the whole thing is built on top of C mark, GFM, which is GitHub’s port of common mark with the GitHub flavored markdown Christina: Right. Brett: Um, and I built, like, I kept that as a sub-module, totally clean, and built all of this as extensions on top of Cmar, GFM, which, you know, so it has full compatibility with GitHub and with Common Merck by out, like outta the box. And then everything else is built on top of that. So it, uh, it covers, it covers all the bases. You’ll love it Christina: I’m so excited. No, this is awesome. And I Brett: blazing fast. It can render, I have a complex document that, that uses all of its features and it can render it in [00:59:00] 0.006 seconds. Christina: that’s awesome. Jeff: Awesome. Christina: That’s so cool. No, this is great. And yeah, I, and I think that honestly, like this is the sort of thing like if, yeah, if you can eventually get this to like be like the engine that powers like mark three, like, that’ll be really slick, right? Because then like, yeah, okay, I can take one document and then just, you know, kind of, you know, wi with, with the, you know, ha have, have the compatibility mode where you’re like, okay, the unified mode or whatever yo

In this episode, recorded live at Wimbledon BookFest, Rachel and Simon speak to the novelist Michelle Paver. Born in Nyasaland (now Malawi) to a South African father and Belgian mother, Michelle moved to Britain when she was three. After studying biochemistry at university, Michelle initially pursued a career as a solicitor, but later gave up her job as partner in a law firm to pursue writing. She published her debut novel, "Without Charity", in 2000, and followed it up with a romance novel, "A Place in the Hills" in 2001. In 2004 Michelle published "Wolf Brother", a children's story set in prehistoric times; it was the first instalment in a nine-book series which has sold more than 3 million copies to date. Michelle has since published another children's series, set in the Bronze Age, as well as bestselling novels for adults. We spoke to Michelle about moving from biochemistry to the law to a literary career, writing the "Wolf Brother" series, and her latest book, "Rainforest". In addition to the standard audio format, the podcast is now available in video. You can check us out on YouTube under Always Take Notes.  We've made another update for those ⁠⁠⁠⁠⁠⁠⁠⁠who support the podcast on the crowdfunding site Patreon⁠⁠⁠⁠⁠⁠⁠⁠. We've added 40 pages of new material to the package of successful article pitches that goes to anyone who supports the show with $5 per month or more, including new pitches to the New York Times, the Washington Post and the BBC. The whole compendium now runs to a whopping 160 pages. For Patreons who contribute $10/month we're now also releasing bonus mini-episodes. Thanks to our sponsor, Scrivener, the first ten new signs-ups at $10/month will receive a lifelong license to Scrivener worth £55/$59.99 (seven are left). This specialist word-processing software helps you organise long writing projects such as novels, academic papers and even scripts. Other Patreon rewards include signed copies of the podcast book and the opportunity to take part in a monthly call with Simon and Rachel. A new edition of “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is available now. The updated version now includes insights from over 100 past guests on the podcast, with new contributions from Harlan Coben, Victoria Hislop, Lee Child, Megan Nolan, Jhumpa Lahiri, Philippa Gregory, Jo Nesbø, Paul Theroux, Hisham Matar and Bettany Hughes. You can order it via ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Waterstones⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this week's episode, we take a look at six software tools for indie authors to help them write and improve their workflow. This coupon code will get you 50% off the audiobook of Cloak of Blades, Book #4 in the Cloak Mage series, (as excellently narrated by Hollis McCarthy) at my Payhip store: BLADES2025 The coupon code is valid through December 15, 2025. So if you need a new audiobook this winter, we've got you covered! TRANSCRIPT [This episode's content is not sponsored. Jonathan has not received any compensation for these reviews and has not received any free products or services from the companies mentioned in this episode. He does not currently use affiliate links for the products mentioned.] 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 280 of The Pulp Writer Show. My name is Jonathan Moeller. Today is a very snowy December 5th, 2025, and today I'm discussing six software tools that are useful for indie authors. Before we get into that, we will have Coupon of the Week and then an update on my current writing, publishing, and audiobook projects. So first up, Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Cloak of Blades, Book #4 in the Cloak Mage series (as excellently narrated by Hollis McCarthy), at my Payhip store. And that is BLADES2025. And as always, the coupon code and the link to my Payhip store will be available in the show notes for this episode. This coupon code will be valid through December the 15th, 2025. So if you need a new audiobook for this winter or for your Christmas travels, we have got you covered. And now for an update on my current writing and publishing projects. As I mentioned last week, Blade of Shadows is out and it's available at Amazon, Barnes and Noble, Kobo, Google Play, Apple Books, Smashwords, and my Payhip store, and it's been doing quite well and gotten a good response from everyone. So thank you for that and I am looking forward to continuing that series. Now that Blade of Shadows is done, my main project is the fifth book in the Half-Elven Thief series, which is Wizard-Assassin. I had originally planned to name it Elven-Assassin, but decided Wizard-Assassin sounded a bit punchier, so I went with that instead. I am 46,000 words into it, which puts me on chapter 10 of 16. The final draft will have more chapters because one of the chapters is 11,000 words. I'm going to have to cut it up. I've also noticed that readers in general these days seem to prefer shorter chapters, so I've been trying to lean more into doing that and having books with shorter chapters. I think the rough draft is going to be about 70 to 75,000 words, give or take. So I'm hoping I can finish that next week, and I am cautiously optimistic I can have the book published before Christmas. If I can't get it published before Christmas, it is going to slip to my first book of 2026. But at the moment, and of course, barring our old unwelcome friend unexpected developments, I am cautiously optimistic I can have it out by Christmas 2025. So watch my website and listen to this space for additional news. My secondary project is Blade of Storms, which will be the third book in the Blades of Ruin series and the direct sequel to Blade of Shadows. I am about 6,000 words into that, and once Wizard-Assassin is done, that will be my main project. I'm hoping to have that out at the end of January, but if Wizard-Assassin slips to January, then Blade of Storms will [of necessity] slip to February. In audiobook news, Blade of Flames, the audiobook of the first book in the Blades of Ruin series, is now out and you can get that at Audible, Amazon, Apple, Kobo, Google Play, my own Payhip store, Spotify, and all the other usual audiobook stores. So if you're looking for something else to listen to during your Christmas travels this year, I suggest checking out Blade of Flames (as excellently narrated by Brad Wills). Cloak of the Embers, the 10th book in the Cloak Mage series (as excellently narrated by Hollis McCarthy)…the recording of that is done and it is being proofed right now, so I am hopeful we can hopefully have that out before Christmas (if all goes well). In fact, after I record this podcast episode, I'm going to have to convert the ebook cover of Cloak of Embers into an audiobook cover for Cloak of Embers. So that is where I'm at with my current writing and publishing projects. There is definitely a lot going on. 00:03:40 Main Topic: 6 Helpful Writing Tools for Indie Authors in 2025 [All Prices referenced are USD.] Now we're going to move on to our main topic this week, which is six helpful writing tools for indie authors in 2025. Last year in 2024, I did a roundup of popular software tools for writers and I thought I would give a quick update for it. Some of these tools like Calibre and LibreOffice I use, while others like Scrivener and Notion just aren't great fit for my workflow, I still want to talk about them anyways since just because I don't use them doesn't mean that they're not good and a lot of writers do in fact use them. Many writers also have complex systems for organizing their files and would benefit from tools like that. Without further ado, here are six pieces of software used for writing and writing adjacent tasks. I should mention before we get going as well that none of these tools are explicitly generative AI tools because as you know, if you've listened to the podcast over the years is my opinion of generative AI remains mostly negative. I have and continue to do some marketing experiments with generative AI elements, but I remain overall unimpressed by the technology. So with that in mind, none of these software tools I'm going to mention are explicitly AI tools. Some of them do have AI elements that you can plug in and use if you want to, but they aren't part of the core functionality of the application unless you specifically seek it out. With that in mind, let's get to it. #1: The first one we will talk about is Scrivener. Scrivener is of course essentially a word processor and project management system specifically designed for creative or nonfiction writing, unlike a traditional word processor like Microsoft Word, LibreOffice Writer, or Apple Pages. It features tools for outlining, for breaking documents into chapters, tracking word count goals and et cetera. One of the major benefits of it is a one-time cost instead of as a subscription because it seems like everything is a subscription nowadays, but Scrivener is still $60 a pop. They also offer a free trial and student discount and occasionally [it will] go on sale during peak times like the holidays. The downside of this is that Scrivener has a sharp learning curve. For myself when I write, I write either in Microsoft Word or Libre Office and I just sit down and write. When I write an outline, it's one Word document and the rough draft is another document that I write until I'm done. Scrivener is definitely a more complex software application, which I have to admit is funny to say because Microsoft Word is ridiculously complicated and has, in my opinion, far more functionality stuffed into it than it really needs. But Scrivener is a different kind of functionality and therefore the learning curve could be quite high for that. Additionally, this may not be the right software tool to work with your style of writing or how you organize your files. A couple extra thoughts with that is it's important to know yourself. Will you actually use the extra features included with Scrivener or do they just look cool and shiny? Scrivener probably is best for those who take extensive notes on their work, especially if trying to organize research based on chapters where it's needed. So if you're a nonfiction writer or if you're a historical fiction writer or a thriller writer who is very concerned about accuracy in your books, this may be useful for you so you can put in notes about the proper way to address a duke in 19th century England or what caliber of ammunition your thriller hero's preferred firearm takes. It's maybe the best for the kind of people who enjoy curating their Notion and Trello accounts and are able to think about their book in a very visual way without letting that process be an excuse to keep them from writing. I'd also say it's good for people who extensively revise blocks of text within a chapter and move chapters around a lot. #2: Canva. Canva has been around for a long time and it is a platform that makes it easy to create visual content using a drag and drop interface that provides a variety of templates, fonts, and designs to use for things like social media posts. They currently have two tiers for individuals, a limited free option, and Canva Pro, which is $12.99 a month. Some of the pros for Canva are it is well-suited for using templates for writers to create images for social media posts and book marketing material. The learning curve is not very steep, especially compared with something like Photoshop. If you've used PowerPoint before, you can definitely handle Canva. The cons: although some people use it to create book covers, many books have been flagged by Kindle Direct Publishing (KDP) and some of the other publishing platforms for doing so. I would advise you to avoid Canva for creating book covers because of the potential for issues that could keep your book out of ebook stores. At the very least, read Canva's terms of use and the rules of KDP and the other ebook publishers very, very carefully before you would even begin to consider using Canva for this purpose. Many of the free features have been folded into the pro version such as sharing template links. The editing and design features are basic compared to something like Photoshop, though that may change as we're going to discuss a little bit here. Because Canva is so popular, there's a certain amount of snobbery out there about using its designs without significant modification. You may have encountered on social media or the Internet people who react very negatively to the presence of AI generated images and this exists to a lesser extent with Canva templates. "Looks like it was made in Canva" is sometimes used as an insult. If you want a unique style and look for your images, you'll have to work a little more to achieve that using Canva. Canva is quick for great one-time things like Facebook or BookBub ads, but I wouldn't recommend using it for book creation or book covers at this time because of the potential problems that can arise from that. For myself, I don't usually use Canva. I've had enough practice with Photoshop that I'm pretty confident in making whatever I want in terms of ad images or book covers in Photoshop, and I use Photoshop for that. However, since I organized the notes for this episode, there is a major caveat to that. Recently, Canva acquired a program called Affinity Photo Editor, which is essentially a much lower cost alternative to Photoshop. When this happened, there was a great deal of negativity around it because people thought Canva was going to jack up the price or make it into an overpriced subscription. But what Canva did surprised a great many people in that they made Affinity totally free and essentially are using a freemium model with it where you can use Affinity Photo Editor for free. It used to be, I believe like $79, possibly $69, and then any of the other features like downloading additional content from Canva would cost part of your Canva subscription. So I have to admit, I'm sufficiently curious about this, that when I write the tie in short story for Wizard-Assassin, I may use Affinity Photo Editor to assemble the cover for it just to see if it would work for that or not, because as I've said, I use Photoshop, but Photoshop is very expensive, Adobe frequently does business practices that are a bit shifty, and the idea of a freemium alternative to Photoshop is not necessarily a bad idea. So when I write a tie in short story for Wizard-Assassin later this month, I think I will attempt to make the cover in Affinity Photo Editor and see if that is something that would be good for my workflow or not, and I will report on that later. #3: Number three is Notion, which can be used to organize information, links, calendars, and reminders into one central dashboard. They have two plans for individuals, a free plan and a Plus plan, which is currently $10 to $12 per month (depending on whether you want a monthly or an annual plan). The Plus version offers unlimited file uploads, greater customizations, and integrations with Slack and Google Drive. The pros for using Notion is that it is popular with writers and content creators for being able to have project planning tools, notes, lists, links, trackers, and reminders all in one dashboard. If you enjoy customization and getting something set up exactly the way you want, you might enjoy setting up your lists, calendars, trackers, and notes through Notion. You can add images and adjust the layout and colors for a more "aesthetic" experience. It is easy to find customized templates [online], especially for writers and for things like storyboarding, word counts, and keeping tracks of sources for nonfiction writing. These Notion templates are shared by individuals, not the company and can be free or paid. Now, some of the cons with Notion. It didn't used to use very much AI, but the company is leaning increasingly heavy into AI, both as a company and in its features on the boards, if that is a concern. The amount of customization options and detail can be absolutely overwhelming. Someone who gets decision fatigue easily or doesn't want to customize a lot and might not enjoy using it. Some people are increasingly complaining that the software is getting too overloaded with features and is slow. For people who value being organized and love having complex and highly visual systems, Notion might be helpful. The downside is that maintaining your Notion boards can easily turn into what I call a "writing-adjacent activity" that gives you the illusion of productivity because of the time you spend managing and updating it aside from the business of getting actual writing done. So once again, this is a good example of "know thyself." If this is something that would be helpful for you, go ahead and pursue it. But if it's something that could turn into a tool for procrastination, it's probably better to avoid it. For myself, I am old enough that when I need to make lists and keep track of things, I have a yellow legal pad on my desk that I write things down on. #4: The next piece of software we're going to look at is LibreOffice. It is an open source piece of software that closely matches Microsoft Office, including Microsoft Word. Pros: It's free and open source. There's a minimal learning curve for those already familiar with Microsoft Word. The interface is a little different, but it's pretty easy to figure things out if you're familiar with Word or Excel. Some swear that that LibreOffice is faster than Word. It depends on the kind of document you're working on and the kind of computer you're using. So that's an area where your mileage may vary. It is also the best word processing option for privacy advocates, especially for those who are concerned about Microsoft and Google storing their work and possibly harvesting it for AI because by default, LibreOffice doesn't work with any AI elements. If you want it to work with any AI elements, plugins are available but they are not included. It's great for the writer who doesn't want to support Microsoft for any reason but still wants to be able to easily save documents in Microsoft file formats like .docx. It works. I've written entire books using it. I wrote all of Soul of Serpents and Soul of Dragons in it, and that was 13 years ago now, and the software has only improved since then. I wrote Silent Order: Eclipse Hand [using it] in 2017 and was very happy with the results, and I still use it for various projects every week, and I found a couple times if something was screwed up in the formatting of Microsoft Word, if I opened it up in LibreOffice, I could fix it pretty easily and much easier than I could in Word. It does have a few cons. The user interface compared to Word or something like Apple Pages does look a bit dated, but it's still navigable. It doesn't have any cloud storage functionality. You would need to piece it together with another storage option if you want to be able to backup stuff to the cloud. But overall, if you can't afford the Microsoft Office Suite, don't want to support Microsoft, and value your privacy, this is your best bet for word processing. Some people may not like its interface, but it's still an extremely solid piece of free software. #5: And now let's move on to our fifth software tool, which is Calibre. Calibre is a tool for ebook management. It can be used for file formatting, changing your books' metadata, or changing file formats. Many use it to create a custom ebook library. Pros include: the product is free and open source. It is easy to generate different file formats for book publication. Do you want to categorize and organize your books in a very specific way? Calibre works for that. The cons: some people find the interface a little clunky and it comes with a bit of a learning curve. To be honest, the interface does look like it came from Windows 2000 and some of the features rely on knowledge of HTML and CSS. Editing and formatting of the book itself is better done using other software. Final thoughts on that? The software is trustworthy, reliable, and has been maintained over the years. It does exactly what it says it does, without any real style but plenty of substance. And I've been a regular Calibre user for like 15 years now, and whenever I get a new computer Calibre is usually one of the very first things I install on it. #6: And now for our sixth and final tool, Inkarnate. Inkarnate is a very useful piece of software that is designed for creating maps. I believe it was originally intended to create maps for role-playing games like Dungeons and Dragons and Pathfinder and so forth. But it's also very useful for creating maps for fantasy novels. As I may have mentioned on the podcast a few times before, I really don't like making maps. I find it constraining and it makes the writing feel a bit crabbed at times. That said, I write primarily in the fantasy genre and people in the fantasy genre love maps, so I'm kind of on the hook for making maps. I used to draw the maps by hand and then import it into Photoshop and add all the locations and add colors and so forth. But that is a lot of work, I have to admit. Inkarnate makes it a lot easier, and I've used it for the last couple of maps I've made. The map of the city of Tar-Carmatheion in the Half-Elven Thief books came from Inkarnate. The map of Owyllain for Blades of Ruin came from Inkarnate, and the map of New Kyre and adjoining regions for Ghost Armor also came from Inkarnate. It's very affordable too. The subscription, I believe, is only $30 a year, and I've been using for a few years now and have never regretted it. So I'd say all the pros are all the ones I've already listed. The cons are that the learning curve is a little bit sharp, but there are excellent YouTube videos and tutorials for that. So, final thoughts. If you find yourself needing to make maps and don't enjoy the process of making maps, then Inkarnate is the software product for you. So those are six tools, software tools for indie authors that I hope will make you more productive and make your work easier. So that is it for this week. Thank you for listening to the Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the backup episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.  

Jonas Enander is an astrophysicist whose book is entitled Facing Infinity: Black Holes and Our Place on Earth. Show notes: Jonas Enander (https://jonasenander.com/) Facing Infinity (https://facinginfinity.com/) Jonas Enander on Instagram (https://www.instagram.com/enander_jonas/) DEVONthink (https://www.devontechnologies.com/apps/devonthink) Ed Yong: An Immense World (https://edyong.me/an-immense-world) Learn more about Scrivener (https://www.literatureandlatte.com/scrivener/overview), and check out the ebook Take Control of Scrivener (https://www.literatureandlatte.com/store). If you like the podcast, please follow it on Apple Podcasts (https://podcasts.apple.com/us/podcast/write-now-with-scrivener/id1568550068) or your favorite podcast app. Leave a rating or review, and tell your friends. And check out past episodes of Write Now with Scrivener (https://podcast.scrivenerapp.com).

Ahoy there, you weary word-wanderer. You found us. Finally! Thank goodness.Welcome to the Failing Writers Podcast. Think of us as your writing harbour.Your safe haven.Your Lighthouse.Come and moor here for a while and have your brain de-barnacled by the glorious mind of poet Michael Pederson.Writer, linguaphile, Edinburgh Makar and all-round inspirational wordsmitherizer.And once you've been inspired… time to get involved and write something wonderful yourself.But hang on… before you do… you might want to consider the fantastic writing software Scrivener? An app that makes writing novels, plays, screenplays, poetry and all the other stuff soooo much easier.Plus we've got a special code you can use at https://www.literatureandlatte.com/store/scrivener to get yourself a majestic 20% off. Our little gift to you for being awesome.FAILING(That's the code btw, I'm not just shouting FAILING! at you. That would be mean)And now you've listened to Michael, I'll bet you want all his essential info?...Yep. Thought so.Insta: @michaelpedersonoysterGo see Michael live:https://www.michaelpedersen.co.uk/eventsBuy Muckle Flugga:https://linktr.ee/mucklefluggaBuy Boy Friends:https://linktr.ee/boyfriendsbookOther stuff:https://www.michaelpedersen.co.uk Hosted on Acast. See acast.com/privacy for more information.

In this episode Simon and Rachel speak to the prolific novelist Anthony Horowitz.  Anthony is the author of the teen spy Alex Rider series, which has sold more than 19 million copies worldwide. The books have been adapted into a film and a show on Amazon Prime Video. Anthony has also written two continuation novels for Sherlock Holmes, "The House of Silk" and "Moriarty"; three for James Bond, "Trigger Mortis", "Forever and a Day" and "With a Mind to Kill"; and mystery novels featuring book editor Susan Ryeland and Detective Daniel Hawthorne. Anthony has also written extensively for television, where he created the ITV series "Foyle's War", "Collision" and "Injustice" and the BBC series "Crime Traveller" and "New Blood". We spoke to Anthony about moving from advertising to children's books and TV and then on to adult novels, his breakthrough with Alex Rider, and his latest book, "Marble Hall Murders". In addition to the standard audio format, the podcast is now available in video. You can check us out on YouTube under Always Take Notes.  We've made another update for those ⁠⁠⁠⁠⁠⁠⁠⁠who support the podcast on the crowdfunding site Patreon⁠⁠⁠⁠⁠⁠⁠⁠. We've added 40 pages of new material to the package of successful article pitches that goes to anyone who supports the show with $5 per month or more, including new pitches to the New York Times, the Washington Post and the BBC. The whole compendium now runs to a whopping 160 pages. For Patreons who contribute $10/month we're now also releasing bonus mini-episodes. Thanks to our sponsor, Scrivener, the first ten new signs-ups at $10/month will receive a lifelong license to Scrivener worth £55/$59.99 (seven are left). This specialist word-processing software helps you organise long writing projects such as novels, academic papers and even scripts. Other Patreon rewards include signed copies of the podcast book and the opportunity to take part in a monthly call with Simon and Rachel. A new edition of “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is available now. The updated version now includes insights from over 100 past guests on the podcast, with new contributions from Harlan Coben, Victoria Hislop, Lee Child, Megan Nolan, Jhumpa Lahiri, Philippa Gregory, Jo Nesbø, Paul Theroux, Hisham Matar and Bettany Hughes. You can order it via ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Waterstones⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Kirk recently read Cameron Crowe's memoir The Uncool, about his experience writing about music, notably for Rolling Stone. Doug and Kirk reflect on rock music journalism. Help support The Next Track by making regular donations via Patreon (https://www.patreon.com/thenexttrack). We're ad-free and self-sustaining so your support is what keeps us going. Thanks! ‌Show notes Cameron Crowe: The Uncool, a Memoir (https://amzn.to/4oOzPf3) Almost Famous (https://amzn.to/485TQ9O) Fast Times at Ridgemont High (https://amzn.to/3XD38oG) Jerry Maguire (https://amzn.to/485Ct8O) Aloha (https://amzn.to/3XI2LJr) Can AI tell us anything meaningful about Bob Dylan's songs? - Aeon Essays (https://aeon.co/essays/can-ai-tell-us-anything-meaningful-about-bob-dylans-songs) Write Now with Scrivener (https://podcast.scrivenerapp.com/) The Bongos - Wikipedia (https://en.wikipedia.org/wiki/The_Bongos) Richard Hambleton, ‘Shadowman' of the '80s Art Scene, Dies at 65 - The New York Times (https://www.nytimes.com/2017/11/03/obituaries/richard-hambleton-dead-shadowman-of-the-80s-art-scene.html) Shadowman (https://amzn.to/48mUuAP) (documentary about Richard Hambleton) Our next tracks: Patti Smith: Horses (https://amzn.to/47RAE0E) Superchunk: Misfits & Mistakes: Singles, B-sides & Strays 2007–2023 (https://amzn.to/4idX0gm) If you like the show, please subscribe in Apple Podcasts (https://itunes.apple.com/podcast/the-next-track/id1116242606) or your favorite podcast app, and please rate the podcast.

***This show is brought to you by Quince. Go to ⁠⁠http://quince.com/playonpod ⁠⁠for free shipping on your order and 365-day returns.*** Next Chapter Podcasts presents the complete Play On Podcast series, RICHARD III, in its entirety. The PLAY ON PODCAST SERIES, “RICHARD THE THIRD”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by MIGDALIA CRUZ. All episodes were directed by LISA ROTHE. Radio play by CATHERINE EATON.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   MATT FRASER                  as    RICHARD THE THIRD MIA KATIGBAK                 as    QUEEN MARGARET, CITIZEN and BLUNT HIRAM DELGADO             as    CLARENCE, DORSET, ELY and MESSENGER NANCY RODRIGUEZ        as    LADY ANNE, OXFORD, RIVERS and A MURDERER RACHEL CROWL              as    QUEEN ELIZABETH, NORFOLK, and MESSENGER SANJIT DE SILVA             as    NESS AQUINO, BUCKINGHAM, and A CITIZEN CHARLES DUMAS            as    EDWARD, HENRY the SIXTH, STANLEY & CARDINAL ANDY LUCIEN       as    HASTINGS, SCRIVENER, a MESSENGER and A MURDERER GABRIELA SAKER           as    CATESBY, DUKE OF YORK and A MESSENGER DANAYA ESPERANZA as BRAKENBURY, RATCLIFFE, LORD MAYOR, TYRREL, and  RICHMOND ALMA CUERVO              as    DUCHESS OF YORK, SHERIFF & A MESSENGER ELIJAH GOODFRIEND  as    PRINCE EDWARD, A PAGE, and A BOY   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Composer, Producer, Guitars, Bass, Lead Vocals, Recording and Mix Engineer, DAVID MOLINA. EDWIN AYALA on Drums. Backup Vocals by MANUEL TRUJILLO. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “RICHARD THE THIRD” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are not safe”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hello writers. Just when you thought the competition was all wrapped up… this week we look at the almost-winners of our big annual comp.Yep, these are the brilliant writers who made the shortlist, but didn't quite manage to snaffle a place on Sarah's podium.And here are those five wondrously wizard-like word weavers:Kieran AhernJonathon DaviesSteven StilbechStuart James TaylorJasmine SearsWell done to them all, and keep an eye out for them in future!All we need do now I think, is thank our beaaauuutiful sponsor Scrivener, without whom there would be no competition frankly. Or there would, but the prize would be a bag of chips, a pack of Dairylea Triangles and some post-it notes. So… you know…Thank you very much Scrivener!Who, aside from being a bunch of lovely people, also happens to be a really fantastic bit of writing software which you can secure for 20% less than the usual price, simply by using the code FAILING at checkoutJust go to https://www.literatureandlatte.comFinally a massive well done to all of you who wrote one or more stories.You're all winners in our book. Hosted on Acast. See acast.com/privacy for more information.

In this episode Rachel and Simon speak to the American novelist Susan Choi. Born in Indiana to a Korean father and Jewish mother, Susan is the author of six novels: "The Foreign Student" (1998), "American Woman" (2003), "A Person of Interest" (2008), "My Education" (2013), "Trust Exercise" (2019) and "Flashlight" (2025). In 2004 "American Woman" was a finalist for the Pulitzer Prize and in 2019 "Trust Exercise" won the National Book Award for Fiction. (It was also a bestseller in America and picked by Barack Obama as one of his books of the year.) "Flashlight" was shortlisted for this year's Booker Prize. We spoke to Susan about working as a fact-checker at the New Yorker, the role of literary prizes and about turning "Flashlight" from a short story into a novel.  In addition to the standard audio format, the podcast is now available in video. You can check us out on YouTube under Always Take Notes.  We've made another update for those ⁠⁠⁠⁠⁠⁠⁠⁠who support the podcast on the crowdfunding site Patreon⁠⁠⁠⁠⁠⁠⁠⁠. We've added 40 pages of new material to the package of successful article pitches that goes to anyone who supports the show with $5 per month or more, including new pitches to the New York Times, the Washington Post and the BBC. The whole compendium now runs to a whopping 160 pages. For Patreons who contribute $10/month we're now also releasing bonus mini-episodes. Thanks to our sponsor, Scrivener, the first ten new signs-ups at $10/month will receive a lifelong license to Scrivener worth £55/$59.99 (seven are left). This specialist word-processing software helps you organise long writing projects such as novels, academic papers and even scripts. Other Patreon rewards include signed copies of the podcast book and the opportunity to take part in a monthly call with Simon and Rachel. A new edition of “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is available now. The updated version now includes insights from over 100 past guests on the podcast, with new contributions from Harlan Coben, Victoria Hislop, Lee Child, Megan Nolan, Jhumpa Lahiri, Philippa Gregory, Jo Nesbø, Paul Theroux, Hisham Matar and Bettany Hughes. You can order it via ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Waterstones⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Learn more about your ad choices. Visit podcastchoices.com/adchoices

***This show is brought to you by Quince. Go to ⁠http://quince.com/playonpod ⁠for free shipping on your order and 365-day returns.*** King Richard gets an onslaught of bad news as he prepares for battle in York's House Garage. The only glimmer of hope is the news that Buckingham's army was dispersed by floods and he was taken prisoner. Richard tells Stanley to muster men but to leave behind his son, George, so he can be sure of Stanley's loyalty. Stanley secretly sends word to Richmond that he will come to his aid once he secures his son's safety. Richmond rallies her army outside a “A Bus Named Larry” as Richard spends the night in an empty warehouse. Both leaders sleep and dream in their separate camps. Richard is haunted by the ghosts of the people he murdered, Richmond is blessed by those same ghosts. The moment of truth arrives when Richard meets Richmond in battle the next day. The PLAY ON PODCAST SERIES, “RICHARD THE THIRD”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by MIGDALIA CRUZ. All episodes were directed by LISA ROTHE. Radio play by CATHERINE EATON.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   MATT FRASER                  as    RICHARD THE THIRD MIA KATIGBAK                 as    QUEEN MARGARET, CITIZEN and BLUNT HIRAM DELGADO             as    CLARENCE, DORSET, ELY and MESSENGER NANCY RODRIGUEZ        as    LADY ANNE, OXFORD, RIVERS and A MURDERER RACHEL CROWL              as    QUEEN ELIZABETH, NORFOLK, and MESSENGER SANJIT DE SILVA             as    NESS AQUINO, BUCKINGHAM, and A CITIZEN CHARLES DUMAS            as    EDWARD, HENRY the SIXTH, STANLEY & CARDINAL ANDY LUCIEN       as    HASTINGS, SCRIVENER, a MESSENGER and A MURDERER GABRIELA SAKER           as    CATESBY, DUKE OF YORK and A MESSENGER DANAYA ESPERANZA as BRAKENBURY, RATCLIFFE, LORD MAYOR, TYRREL, and  RICHMOND ALMA CUERVO              as    DUCHESS OF YORK, SHERIFF & A MESSENGER ELIJAH GOODFRIEND  as    PRINCE EDWARD, A PAGE, and A BOY   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Composer, Producer, Guitars, Bass, Lead Vocals, Recording and Mix Engineer, DAVID MOLINA. EDWIN AYALA on Drums. Backup Vocals by MANUEL TRUJILLO. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “RICHARD THE THIRD” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are not safe”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Lovers of flash fiction… prepare to have your ears blown into absolute blummin smithereens, because this episode is the big reveal of the winners of our annual writing competition, and there's FIVE HUNDRED SQUIDS up for grabs. Which, as I'm sure you'll agree, is a serious amount of squids.Think of all the ink you could buy.So, come on in, and hear the traditional ‘YOU'RE ALL WINNERS SONG', listen to Sarah Lewis from Writers HQ pick a winner, some runner-uppers and a couple of honourable mentions to boot and then follow that up by immersing yourself in the unbelievably high quality of 1st, 2nd & 3rd place.But before you do all that… just think. One of them could be yours!There's only one way to find out though, and I'm not daft enough to give the game away and write them here in the show notes… so you'd best get listening instead.Big thanks again to Sarah and the excellent Writers HQ:https://writershq.co.ukAlso a massive thanks to our amazing competition sponsor - the esteemed writing app, Scrivener!Don't forget to pick up your copy NOW. Go to https://www.literatureandlatte.com/ - use the code failing & you can get 20% off! Whoop. Get in! Early Christmas present to yourself.And finally... huge congratulations to our winner.Whoever that might be.And don't forget to join us next week, when we'll be hearing more First Class, A-Grade, Top Shelf…. Flash Gorge-uns. Hosted on Acast. See acast.com/privacy for more information.

Alexander Rose is a historian whose latest book, Phantom Fleet, is about how the US Navy captured a German U-Boat on the day before D-Day. Show notes: Alexander Rose (https://www.alexrose.com/) Phantom Fleet: The Hunt for Nazi Submarine U-505 and World War II's Most Daring Heist (https://www.alexrose.com/books) Washington's Spies (https://www.alexrose.com/washingtons-spies) Spionage (Alexander's Rose's Substack) (https://alexanderrose.substack.com) Voltaire: history of Charles XII, King of Sweden | Project Gutenberg (https://www.gutenberg.org/ebooks/73122) Learn more about Scrivener (https://www.literatureandlatte.com/scrivener/overview), and check out the ebook Take Control of Scrivener (https://www.literatureandlatte.com/store). If you like the podcast, please follow it on Apple Podcasts (https://podcasts.apple.com/us/podcast/write-now-with-scrivener/id1568550068) or your favorite podcast app. Leave a rating or review, and tell your friends. And check out past episodes of Write Now with Scrivener (https://podcast.scrivenerapp.com).

***This show is brought to you by Quince. Go to http://quince.com/playonpod for free shipping on your order and 365-day returns.*** Richard hires the murderer Tyrell to finish off the Princes in the Tower. Richmond demands his Earldom but flees when Richard brushes him off. Ratcliffe brings news that the Bishop of Ely has joined Richmond. When Elizabeth and the Duchess confront him, Richard uses the opportunity to convince Elizabeth to give him her daughter in marriage in order to preserve her line. He celebrates his triumph until Stanley informs him that Richmond is on his way to England, sending him into a rage. The PLAY ON PODCAST SERIES, “RICHARD THE THIRD”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by MIGDALIA CRUZ. All episodes were directed by LISA ROTHE. Radio play by CATHERINE EATON.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   MATT FRASER                  as    RICHARD THE THIRD MIA KATIGBAK                 as    QUEEN MARGARET, CITIZEN and BLUNT HIRAM DELGADO             as    CLARENCE, DORSET, ELY and MESSENGER NANCY RODRIGUEZ        as    LADY ANNE, OXFORD, RIVERS and A MURDERER RACHEL CROWL              as    QUEEN ELIZABETH, NORFOLK, and MESSENGER SANJIT DE SILVA             as    NESS AQUINO, BUCKINGHAM, and A CITIZEN CHARLES DUMAS            as    EDWARD, HENRY the SIXTH, STANLEY & CARDINAL ANDY LUCIEN       as    HASTINGS, SCRIVENER, a MESSENGER and A MURDERER GABRIELA SAKER           as    CATESBY, DUKE OF YORK and A MESSENGER DANAYA ESPERANZA as BRAKENBURY, RATCLIFFE, LORD MAYOR, TYRREL, and  RICHMOND ALMA CUERVO              as    DUCHESS OF YORK, SHERIFF & A MESSENGER ELIJAH GOODFRIEND  as    PRINCE EDWARD, A PAGE, and A BOY   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Composer, Producer, Guitars, Bass, Lead Vocals, Recording and Mix Engineer, DAVID MOLINA. EDWIN AYALA on Drums. Backup Vocals by MANUEL TRUJILLO. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “RICHARD THE THIRD” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are not safe” Learn more about your ad choices. Visit megaphone.fm/adchoices

So, here we are again for the actually now offically award winning Failing Writers Podcast.You were perhaps hoping this was the competition reveal episode weren't you?Well, look, it's not that one… not yet, however, we've got a little treat for you today. 'Specially for long time fans of the podcast.Someone we've had on before and was a delight from start to finish.Someone who's just self published a book, and has come to talk to us all about their experiences of putting a book out into the world, all on their own*Anyway, I won't say any more in case I ruin the surprise, but you should definitely have a listen.What I will say though, is that our mystery guest is also a genuine fan of Scrivener.And if you'd like to join the thousands of people who swear by the wonderful writing app Scrivener, why not go to https://www.literatureandlatte.com/store/scrivenerand download it now!It's currently only £55 - which is already a bargain, BUT if you'd like 20% off on us - simply use the code failing at checkout and it will only cost you… wait… quick bit of arithmetic… erm… roughly… wait… is it £44?I think so!So that's blummin great innit?Anyway… if you like the sound of our guest's book… you can purchase it right here: https://amzn.eu/d/eKujSNAPlease do support the indie book world! It makes a helluva difference to your fellow writers, as I'm sure you know.*OK, maybe not entirely on their own. Hosted on Acast. See acast.com/privacy for more information.

In this episode Simon and Rachel speak to the novelist Dean Koontz. The author of over 120 books, Dean is published in 38 countries and has sold 500m copies to date. His suspense thrillers blend science fiction, horror, crime and comedy. Fourteen of Dean's novels - including "One Door Away From Heaven", "The Bad Place" and "77 Shadow Street" - have reached #1 on the New York Times bestseller list. His titles have also been major bestsellers in countries as diverse as Japan and Sweden. Many of his books, including "Whispers," "Demon Seed" and "Odd Thomas", have been made into films too. We spoke to Dean about the role of books as an escape during a difficult childhood, the challenges of navigating agents and editors, especially early in his career, and his latest novel, "Going Home in the Dark". Alongside listening to us in audio as usual, the podcast is now available on video. You can check us out, and get a glimpse of Dean's adorable golden retriever, on YouTube under Always Take Notes.  We've made another update for those ⁠⁠⁠⁠⁠⁠⁠⁠who support the podcast on the crowdfunding site Patreon⁠⁠⁠⁠⁠⁠⁠⁠. We've added 40 pages of new material to the package of successful article pitches that goes to anyone who supports the show with $5 per month or more, including new pitches to the New York Times, the Washington Post and the BBC. The whole compendium now runs to a whopping 160 pages. For Patreons who contribute $10/month we're now also releasing bonus mini-episodes. Thanks to our sponsor, Scrivener, the first ten new signs-ups at $10/month will receive a lifelong license to Scrivener worth £55/$59.99 (seven are left). This specialist word-processing software helps you organise long writing projects such as novels, academic papers and even scripts. Other Patreon rewards include signed copies of the podcast book and the opportunity to take part in a monthly call with Simon and Rachel. A new edition of “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is available now. The updated version now includes insights from over 100 past guests on the podcast, with new contributions from Harlan Coben, Victoria Hislop, Lee Child, Megan Nolan, Jhumpa Lahiri, Philippa Gregory, Jo Nesbø, Paul Theroux, Hisham Matar and Bettany Hughes. You can order it via ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Waterstones⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

***This show is brought to you by Quince. Go to http://quince.com/playonpod for free shipping on your order and 365-day returns.*** In the parking garage outside The Tower, Richard coaches Buckingham on how to act distraught. The Mayor arrives with Catesby and recoils in horror when Ratcliffe delivers Hastings' head. In order to keep her own, she promises to tell the citizens that Hastings was a traitor who deserved to die. Once she leaves, Richard tells Buckingham to spread the word that King Edward was father to countless illegitimate children, including the two Princes. Later, Richard is planted as a guest on the Maximum Rock-n-Roll Radio Show to pose as a devout Christian and give the impression that he does not want to be King unless the people demand it. Buckingham stages a call into the show to plead with Richard to take the throne, saying that if he doesn't, there will be rebellion. Richard pretends to be reluctant but eventually gives in. Later, outside The Tower parking garage, the Duchess, Elizabeth, Anne and Dorset assemble to visit the Princes, but Brackenbury refuses to let them in. Dorset flees to France to join forces with Richmond. Anne agrees to be crowned in order to save the Princes. Elizabeth goes to Sanctuary to save herself and the Duchess goes to her death. Later, King Richard sits on the throne at The Temple Beautiful with Buckingham at his side, celebrating their rise to power. The PLAY ON PODCAST SERIES, “RICHARD THE THIRD”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by MIGDALIA CRUZ. All episodes were directed by LISA ROTHE. Radio play by CATHERINE EATON.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   MATT FRASER                  as    RICHARD THE THIRD MIA KATIGBAK                 as    QUEEN MARGARET, CITIZEN and BLUNT HIRAM DELGADO             as    CLARENCE, DORSET, ELY and MESSENGER NANCY RODRIGUEZ        as    LADY ANNE, OXFORD, RIVERS and A MURDERER RACHEL CROWL              as    QUEEN ELIZABETH, NORFOLK, and MESSENGER SANJIT DE SILVA             as    NESS AQUINO, BUCKINGHAM, and A CITIZEN CHARLES DUMAS            as    EDWARD, HENRY the SIXTH, STANLEY & CARDINAL ANDY LUCIEN       as    HASTINGS, SCRIVENER, a MESSENGER and A MURDERER GABRIELA SAKER           as    CATESBY, DUKE OF YORK and A MESSENGER DANAYA ESPERANZA as BRAKENBURY, RATCLIFFE, LORD MAYOR, TYRREL, and  RICHMOND ALMA CUERVO              as    DUCHESS OF YORK, SHERIFF & A MESSENGER ELIJAH GOODFRIEND  as    PRINCE EDWARD, A PAGE, and A BOY   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Composer, Producer, Guitars, Bass, Lead Vocals, Recording and Mix Engineer, DAVID MOLINA. EDWIN AYALA on Drums. Backup Vocals by MANUEL TRUJILLO. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “RICHARD THE THIRD” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are not safe”. Learn more about your ad choices. Visit megaphone.fm/adchoices

The young Prince Edward arrives at The Temple Beautiful and complains to Richard about his uncles imprisonment. Richard tells him his uncles Rivers and Dorset were dangerous. Edward protests but is interrupted by the arrival of the Mayor of London who greets him with flattery. Edward asks about the whereabouts of his mother and brother, the Duke of York. Hastings arrives and tells Edward his mother and brother are in sanctuary. Buckingham orders Hastings to bring York to them by force. The Cardinal protests but Buckingham convinces him there's no need for sanctuary under these circumstances. Alone with his uncle Richard, Edward asks where he and his brother will be staying before their coronation. Richard tells him they're to stay in the Tower. Edward protests but is interrupted by the arrival of his younger brother. Little York teases Richard until he learns they're going to the Tower. He starts to argue but Edward tells him not to fear. They're taken away. Richard and Buckingham call in Catesby to test Hastings' loyalty. Once alone, Richard promises Buckingham the Earldom of Hereford. Later that night, a messenger from Stanley arrives at Barrington Hall to warn Hastings that Richard is going to kill him. Hastings reassures him that Richard won't harm him. Catesby arrives and hears from Hastings that he won't support Richard taking the throne, even though he had his enemies (Rivers and Dorset) killed. Stanley rolls up and warns Hastings not to trust Richard. Buckingham saunters out to meet them and takes them to the Tower for the coronation. Elsewhere, in a warehouse basement in Pomfret, Rivers begs for his life as Ratcliffe drowns him. The PLAY ON PODCAST SERIES, “RICHARD THE THIRD”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by MIGDALIA CRUZ. All episodes were directed by LISA ROTHE. Radio play by CATHERINE EATON.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   MATT FRASER                  as    RICHARD THE THIRD MIA KATIGBAK                 as    QUEEN MARGARET, CITIZEN and BLUNT HIRAM DELGADO             as    CLARENCE, DORSET, ELY and MESSENGER NANCY RODRIGUEZ        as    LADY ANNE, OXFORD, RIVERS and A MURDERER RACHEL CROWL              as    QUEEN ELIZABETH, NORFOLK, and MESSENGER SANJIT DE SILVA             as    NESS AQUINO, BUCKINGHAM, and A CITIZEN CHARLES DUMAS            as    EDWARD, HENRY the SIXTH, STANLEY & CARDINAL ANDY LUCIEN       as    HASTINGS, SCRIVENER, a MESSENGER and A MURDERER GABRIELA SAKER           as    CATESBY, DUKE OF YORK and A MESSENGER DANAYA ESPERANZA as BRAKENBURY, RATCLIFFE, LORD MAYOR, TYRREL, and  RICHMOND ALMA CUERVO              as    DUCHESS OF YORK, SHERIFF & A MESSENGER ELIJAH GOODFRIEND  as    PRINCE EDWARD, A PAGE, and A BOY   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Composer, Producer, Guitars, Bass, Lead Vocals, Recording and Mix Engineer, DAVID MOLINA. EDWIN AYALA on Drums. Backup Vocals by MANUEL TRUJILLO. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “RICHARD THE THIRD” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are not safe”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Inside the Tower, Clarence begs for his life. Later, at the Gilman DIY Music Venue, King Edward secures a reluctant peace between his family's rival factions, but collapses in grief when Richard arrives with news of Clarence's death. In the ensuing chaos, Richard secures the alliance of Buckingham and Ratcliffe. That night, Elizabeth and the Duchess grieve the deaths of Edward and Clarence. Richard enters to offer his condolences and Buckingham suggests a quiet coronation for the young prince Edward in order to avoid civil unrest. Meanwhile, Dorset and Rivers rush to secure the safety of Prince Edward in Ludlow. At Rasputin Records, citizens fret over being ruled by a child King with Richard as his Protector. At home with her younger son, the Prince of York, Elizabeth gets a tattoo as she ruminates with the Duchess over their horrible state of affairs. A messenger arrives with the news that Dorset and Rivers have been imprisoned in Pomfret by Richard and Buckingham. Elizabeth grabs York and withdraws in despair to sanctuary, leaving the Duchess behind. The PLAY ON PODCAST SERIES, “RICHARD THE THIRD”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by MIGDALIA CRUZ. All episodes were directed by LISA ROTHE. Radio play by CATHERINE EATON.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   MATT FRASER                  as    RICHARD THE THIRD MIA KATIGBAK                 as    QUEEN MARGARET, CITIZEN and BLUNT HIRAM DELGADO             as    CLARENCE, DORSET, ELY and MESSENGER NANCY RODRIGUEZ        as    LADY ANNE, OXFORD, RIVERS and A MURDERER RACHEL CROWL              as    QUEEN ELIZABETH, NORFOLK, and MESSENGER SANJIT DE SILVA             as    NESS AQUINO, BUCKINGHAM, and A CITIZEN CHARLES DUMAS            as    EDWARD, HENRY the SIXTH, STANLEY & CARDINAL ANDY LUCIEN       as    HASTINGS, SCRIVENER, a MESSENGER and A MURDERER GABRIELA SAKER           as    CATESBY, DUKE OF YORK and A MESSENGER DANAYA ESPERANZA as BRAKENBURY, RATCLIFFE, LORD MAYOR, TYRREL, and  RICHMOND ALMA CUERVO              as    DUCHESS OF YORK, SHERIFF & A MESSENGER ELIJAH GOODFRIEND  as    PRINCE EDWARD, A PAGE, and A BOY   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Composer, Producer, Guitars, Bass, Lead Vocals, Recording and Mix Engineer, DAVID MOLINA. EDWIN AYALA on Drums. Backup Vocals by MANUEL TRUJILLO. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “RICHARD THE THIRD” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are not safe”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Queen Elizabeth replays a tape of her husband King Edward's band as she obsesses over his failing health. Her brother, Lord Rivers, tries to comfort her, as do her two sons from a previous marriage, Gray and Dorset. She tells them that the sons she conceived with Edward are still too young to rule, and that if her husband dies, the throne will go to Richard until the oldest son comes of age, putting her safety in jeopardy. Buckingham and Derby arrive to report that King Edward's health is improving and that he wants to make peace between Richard and Elizabeth's clans. Richard barges in with Hastings at his side, railing that he's being disrespected and that people are telling lies about him. Elizabeth does her best to defend herself against his accusation that she put Clarence in jail and that she is vying for the throne. As they argue, the old Queen Margaret arrives unseen and listens to them from outside the house, commenting bitterly to herself about how quickly power is lost. She finally confronts the group and berates Richard for the murders of her family before cursing everyone in the room, one by one. After she departs, Catesby enters to say that King Edward wants to talk to his family. Richard, left alone, celebrates his mischief, then hires two murderers to kill his brother Clarence in the Tower. There, Clarence tells Brackenbury (the jailer) about a nightmare he had in which he drowned trying to rescue Richard and was dragged down to hell. The PLAY ON PODCAST SERIES, “RICHARD THE THIRD”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by MIGDALIA CRUZ. All episodes were directed by LISA ROTHE. Radio play by CATHERINE EATON.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   MATT FRASER                  as    RICHARD THE THIRD MIA KATIGBAK                 as    QUEEN MARGARET, CITIZEN and BLUNT HIRAM DELGADO             as    CLARENCE, DORSET, ELY and MESSENGER NANCY RODRIGUEZ        as    LADY ANNE, OXFORD, RIVERS and A MURDERER RACHEL CROWL              as    QUEEN ELIZABETH, NORFOLK, and MESSENGER SANJIT DE SILVA             as    NESS AQUINO, BUCKINGHAM, and A CITIZEN CHARLES DUMAS            as    EDWARD, HENRY the SIXTH, STANLEY & CARDINAL ANDY LUCIEN       as    HASTINGS, SCRIVENER, a MESSENGER and A MURDERER GABRIELA SAKER           as    CATESBY, DUKE OF YORK and A MESSENGER DANAYA ESPERANZA as BRAKENBURY, RATCLIFFE, LORD MAYOR, TYRREL, and  RICHMOND ALMA CUERVO              as    DUCHESS OF YORK, SHERIFF & A MESSENGER ELIJAH GOODFRIEND  as    PRINCE EDWARD, A PAGE, and A BOY   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Composer, Producer, Guitars, Bass, Lead Vocals, Recording and Mix Engineer, DAVID MOLINA. EDWIN AYALA on Drums. Backup Vocals by MANUEL TRUJILLO. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “RICHARD THE THIRD” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are not safe”. Learn more about your ad choices. Visit megaphone.fm/adchoices

As his older brother, the newly crowned King Edward, weakens with illness, Richard, Duke of Gloucester, lays out his plans to take the throne. He frames his brother Clarence for conspiring to kill Edward, then convinces Lady Anne, the widow of the previous King Henry, to marry him, even though he killed her husband and their son. The PLAY ON PODCAST SERIES, “RICHARD THE THIRD”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by MIGDALIA CRUZ. All episodes were directed by LISA ROTHE. Radio play by CATHERINE EATON.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   MATT FRASER                  as    RICHARD THE THIRD MIA KATIGBAK                 as    QUEEN MARGARET, CITIZEN and BLUNT HIRAM DELGADO             as    CLARENCE, DORSET, ELY and MESSENGER NANCY RODRIGUEZ        as    LADY ANNE, OXFORD, RIVERS and A MURDERER RACHEL CROWL              as    QUEEN ELIZABETH, NORFOLK, and MESSENGER SANJIT DE SILVA             as    NESS AQUINO, BUCKINGHAM, and A CITIZEN CHARLES DUMAS            as    EDWARD, HENRY the SIXTH, STANLEY & CARDINAL ANDY LUCIEN       as    HASTINGS, SCRIVENER, a MESSENGER and A MURDERER GABRIELA SAKER           as    CATESBY, DUKE OF YORK and A MESSENGER DANAYA ESPERANZA as BRAKENBURY, RATCLIFFE, LORD MAYOR, TYRREL, and  RICHMOND ALMA CUERVO              as    DUCHESS OF YORK, SHERIFF & A MESSENGER ELIJAH GOODFRIEND  as    PRINCE EDWARD, A PAGE, and A BOY   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Composer, Producer, Guitars, Bass, Lead Vocals, Recording and Mix Engineer, DAVID MOLINA. EDWIN AYALA on Drums. Backup Vocals by MANUEL TRUJILLA. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “RICHARD THE THIRD” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are not safe”. Learn more about your ad choices. Visit megaphone.fm/adchoices