Podcasts about Seaver

The pitchers with the most wins in the 1970's is a grocery list of Hall of Famers. Gaylord, Carlton, Fergie & Catfish to name just a few… but on the cover of Sports Illustrated July 21, 1975 were two other future Hall of Famers who SI called Baseball's Toughest Pitchers: Tom Seaver and Jim Palmer. After they each won the Cy Young Award in 1973, both of these aces suffered through injury-plagued, down seasons in 1974. Palmer was 7-12 in 26 starts while Tom Terrific was 11-11 while throwing the fewest innings of his then 8-year career.  Healthy again in '75, the two #1's were back at the top of their games… and both would go on to win the Cy Young again in 75, the 3rd for Seaver and the 2nd for Palmer who would match Seaver with his 3rd a year later. Palmer would end the decade with 186 wins, the most in the 70's while Seaver would finish tied for 3rd with 178. They were the best of the best and cementing a resume that would end with both of them in Cooperstown. Mike Torrez was every bit as tough as the two cover guys. Starting his career with the Cardinals, Torrez came into his own after he was dealt to Montreal in 1971. He won 16 games for the Expos in '72 and another 15 in '74… but it was in 1975 when it all came together for the winningest Mexican pitcher of all-time. Teaming with Palmer, Torrez had a sensational season going 20-9 with a 3.06 ERA over 270 innings of work. He started 36 games and completed 16 of them. It would be his only season in Baltimore but it was one to remember for the righty from Topeka, Kansas. A year later he won 16 games in Oakland before another sensational season in New York with the Yankees. After a regular season that saw Torrez win 17 games, 14 of them in pinstripes, Torrez had an October to remember. And if it weren't for a historic performance from Mr. October himself, more would remember how brilliant Torrez was in the Yankees World Series win over the Dodgers. With the series tied at 1-1 heading to Los Angles, Torrez matched up against Tommy John, Torrez went the distance in a 5-3 win over L.A. striking out 9. Just 4 days later, Torrez got the start again and behind Reggie Jackson's 3 home runs, and another complete game win out of Torrez, the Yankees were champions again… their first title since 1962. Reggie was the MVP of the series but Torrez could have easily won that with his 2 CG wins over Tommy Lasorda's club. From there, this tough hombre would go to Boston where he would win more games in his career than any other club in his big league career before ending his 18 year career with Tom Seaver and the Mets and then 2 games with the A's in 1984.  But it was the 70's where he was one of the best, winning 134 games that decade, 15th most in all of baseball, and certainly proving he was one of the toughest pitchers in the game. Looking back on his career, Torrez tells us that Bob Gibson had an integral part in his success, teaching him how to throw his famous slider. Torrez bookends that by sharing how he went to bat for a young Mets pitcher to make the club out of Spring Training, even though it might mean the end of his time in the majors. Torrez told the GM, you gotta let this kid make the team… this kid is ready. This kid was Doc Gooden. Torrez talks about both Palmer and Seaver as pitchers… about Weaver and Martin as managers. About winning those two games with the Yankees in the Series… and about losing to the Yanks a year later when Bucky Dent hit one over the wall in Game 163. The ups, the downs, the highs and the lows… Torrez went through it all, and tells us all about them… on the Past Our Prime podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

We are back this week in the National Museum of Ireland, Archaeology, on Kildare Street, in Dublin City centre, which is open 7 days a week and free to the public. We are joined by Maeve Sikora, Keeper of Irish Antiquities, and Assistant Keeper Matt Seaver. In addition to chatting more about the Words on the Wave exhibition, Maeve and Matt tell us about their jobs preserving Irish material heritage and culture and many of the cool artefacts the public can view in the museum including the Ardagh Chalice, the Faddan More Psalter, the Springmount tablets, the Tara brooch and some of the precious items on display from medieval Clonard.The Words on the Wave exhibition is running May 30th to Oct 24th. For more details see https://www.museum.ie/en-IE/Museums/Archaeology/Exhibitions/Words-on-the-Wave-Ireland-and-St-Gallen-in-Early-MExhibition Advisors: Dáibhí Ó Cróinín, Cornel Dora, Philipp Lenz, John Gillis, Bernard Meehan, Raghnall Ó Floinn, Pádraig Ó Macháin, Timothy O'Neill.Lending Institutions: Stiftsbibliotek St. Gallen; L'abbaye de Saint Maurice d'Agaune; Cork Public Museum.Lead Partners: Department of Arts, Media, Communications, Culture and Sport; Office of Public Works.Supporting Partners: Department of Foreign Affairs and Trade; The Embassy of Switzerland in Ireland; The Embassy of Ireland to Switzerland; The Houses of the Oireachtas, The Discovery Programme; The Inks and Skins Project, Department of Modern Irish, University of Cork; The Royal Irish Academy; The School of Genetics and Microbiology, Trinity College Dublin; The School of Archaeology, University College Dublin; National Monuments Service, Department of Housing, Local Government and Heritage; Department of Archaeology, University College Cork; Transport Infrastructure Ireland; Limerick County Council; Archaeological Consultancy Services Unit; Archaeology Plan; Courtney Deery Archaeology; Icon Archaeology; Archaeology Management Solutions; Vikingeskibmuseet, Roskilde; The Hunt Museum, Limerick; Eureka Secondary School (Kells, Co. Meath); Flade Klosterschulhaus (St. Gallen); Gallen Community School (Ferbane, Co. Offaly); Coláiste Muire (Ballymote, Co. Sligo).Expert Assistance: Edward Bourke, Daniel Bradley, Sadbh Carrick, Ian Doyle, James Eogan, Silvio Frigg, Fenella G. France, Anna Hoffman, Pádraig Ó Macháin, Pierre-Alain Mariaux, Ursula Mattenberger, Valeria Marriangeli, Griffin Murray, TImothy O'Neill, John Sheehan and Andrew Woods.Replicas: Potted History; Laura Quinn Design; John Nicholl; Brendan O'Neill.Regular episodes every two weeks (on a Friday)Email: medievalirishhistory@gmail.comProducer: Tiago Veloso SilvaSupported by Maynooth University, especially the International Centre for Irish Cultural Heritage, the Dept of Early Irish, the Dept of Music, the Dept of History, & Taighde Éireann/Research Ireland.Views expressed are the speakers' own.

Seaver King joins the show after the Nationals' 2025 first-round pick was promoted to Double-A. Bobby and Amy talk about his progress and Cade Cavalli's return to the mound.

“You Can't Do It Alone”Exodus 18:1-27 [NIV]1 Now Jethro, the priest of Midian and father-in-law of Moses, heard of everything God had done for Moses and for his people Israel, and how the Lord had brought Israel out of Egypt.2 After Moses had sent away his wife Zipporah, his father-in-law Jethro received her 3 and her two sons. One son was named Gershom, for Moses said, “I have become a foreigner in a foreign land”; 4 and the other was named Eliezer, for he said, “My father's God was my helper; he saved me from the sword of Pharaoh.”5 Jethro, Moses' father-in-law, together with Moses' sons and wife, came to him in the wilderness, where he was camped near the mountain of God. 6 Jethro had sent word to him, “I, your father-in-law Jethro, am coming to you with your wife and her two sons.”7 So Moses went out to meet his father-in-law and bowed down and kissed him. They greeted each other and then went into the tent. 8 Moses told his father-in-law about everything the Lord had done to Pharaoh and the Egyptians for Israel's sake and about all the hardships they had met along the way and how the Lord had saved them.9 Jethro was delighted to hear about all the good things the Lord had done for Israel in rescuing them from the hand of the Egyptians. 10 He said, “Praise be to the Lord, who rescued you from the hand of the Egyptians and of Pharaoh, and who rescued the people from the hand of the Egyptians. 11 Now I know that the Lord is greater than all other gods, for he did this to those who had treated Israel arrogantly.” 12 Then Jethro, Moses' father-in-law, brought a burnt offering and other sacrifices to God, and Aaron came with all the elders of Israel to eat a meal with Moses' father-in-law in the presence of God.13 The next day Moses took his seat to serve as judge for the people, and they stood around him from morning till evening. 14 When his father-in-law saw all that Moses was doing for the people, he said, “What is this you are doing for the people? Why do you alone sit as judge, while all these people stand around you from morning till evening?”15 Moses answered him, “Because the people come to me to seek God's will. 16 Whenever they have a dispute, it is brought to me, and I decide between the parties and inform them of God's decrees and instructions.”17 Moses' father-in-law replied, “What you are doing is not good. 18 You and these people who come to you will only wear yourselves out. The work is too heavy for you; you cannot handle it alone. 19 Listen now to me and I will give you some advice, and may God be with you. You must be the people's representative before God and bring their disputes to him. 20 Teach them his decrees and instructions, and show them the way they are to live and how they are to behave. 21 But select capable men from all the people—men who fear God, trustworthy men who hate dishonest gain—and appoint them as officials over thousands, hundreds, fifties and tens. 22 Have them serve as judges for the people at all times, but have them bring every difficult case to you; the simple cases they can decide themselves. That will make your load lighter, because they will share it with you. 23 If you do this and God so commands, you will be able to stand the strain, and all these people will go home satisfied.”CONNECT WITH USIf you have any questions or would like to get to know us further, head over to https://www.triumphlbc.org/connect and fill out our online connection card.ABOUT TRIUMPHTriumph wants to see the life and message of Jesus transform your heart, home, and city. To learn more visit https://www.triumphlbc.org/

To get live links to the music we play and resources we offer, visit www.WOSPodcast.comThis show includes the following songs:Backyard Betties - Blame It on the Red Wine FOLLOW ON SPOTIFYFia and Hanna - It'd Be So Nice FOLLOW ON SPOTIFYJo Grange-Seaver - Don't You See FOLLOW ON SPOTIFYTamoona - Beautifully Unbroken FOLLOW ON SPOTIFYTalia Londoner - I Don't Wanna Be Like Me FOLLOW ON SPOTIFYEmily Judson - Daughter FOLLOW ON SPOTIFYChristie Lee Taylor - Falling Behind FOLLOW ON SPOTIFYKaciny - Sweet Innocence FOLLOW ON SPOTIFYNicole Nixon - Recipe For Heartbreak FOLLOW ON SPOTIFYAlas de Liona - The Alchemist's Son FOLLOW ON SPOTIFYLisbeth Sabol & Casey Firkin - Patchwork of Diamonds FOLLOW ON SPOTIFYRacyne Parker - Will You Go With Me FOLLOW ON SPOTIFYMegan Wheeler - Now That I'm Gone FOLLOW ON SPOTIFYAbbey Anderson - Dear Ex-Lover FOLLOW ON SPOTIFYBuZZFoX - ATTiTUDE of GRATiTUDE FOLLOW ON SPOTIFYFor Music Biz Resources Visit www.FEMusician.com and www.ProfitableMusician.comVisit our Sponsor Profitable Musician Newsletter at profitablemusician.com/joinVisit our Sponsor Ed and Carol Nicodemi at edandcarolnicodemi.comVisit our Sponsor Mandi Macias at mandimacias.comVisit our Sponsor Susie Maddocks at susiemaddocks.comVisit www.wosradio.com for more details and to submit music to our review board for consideration.Visit our resources for Indie Artists: https://www.wosradio.com/resourcesBecome more Profitable in just 3 minutes per day. http://profitablemusician.com/join

“You Can't Do It Alone”Exodus 18:1-7 [ESV]1 Moses' father-in-law, Jethro, the priest of Midian, heard about everything God had done for Moses and his people, the Israelites. He heard especially about how the Lord had rescued them from Egypt.2 Earlier, Moses had sent his wife, Zipporah, and his two sons back to Jethro, who had taken them in. 3 (Moses' first son was named Gershom,[a] for Moses had said when the boy was born, “I have been a foreigner in a foreign land.” 4 His second son was named Eliezer,[b] for Moses had said, “The God of my ancestors was my helper; he rescued me from the sword of Pharaoh.”) 5 Jethro, Moses' father-in-law, now came to visit Moses in the wilderness. He brought Moses' wife and two sons with him, and they arrived while Moses and the people were camped near the mountain of God. 6 Jethro had sent a message to Moses, saying, “I, Jethro, your father-in-law, am coming to see you with your wife and your two sons.”7 So Moses went out to meet his father-in-law. He bowed low and kissed him. They asked about each other's welfare and then went into Moses' tent.CONNECT WITH USIf you have any questions or would like to get to know us further, head over to https://www.triumphlbc.org/connect and fill out our online connection card.ABOUT TRIUMPHTriumph wants to see the life and message of Jesus transform your heart, home, and city. To learn more visit https://www.triumphlbc.org/

“The Song of Salvation”Exodus 15:1-21 [ESV]1 Then Moses and the people of Israel sang this song to the Lord, saying,“I will sing to the Lord, for he has triumphed gloriously;    the horse and his rider he has thrown into the sea.2 The Lord is my strength and my song,    and he has become my salvation;this is my God, and I will praise him,    my father's God, and I will exalt him.3 The Lord is a man of war;    the Lord is his name.4 “Pharaoh's chariots and his host he cast into the sea,    and his chosen officers were sunk in the Red Sea.5 The floods covered them;    they went down into the depths like a stone.6 Your right hand, O Lord, glorious in power,    your right hand, O Lord, shatters the enemy.7 In the greatness of your majesty you overthrow your adversaries;    you send out your fury; it consumes them like stubble.8 At the blast of your nostrils the waters piled up;    the floods stood up in a heap;    the deeps congealed in the heart of the sea.9 The enemy said, ‘I will pursue, I will overtake,    I will divide the spoil, my desire shall have its fill of them.    I will draw my sword; my hand shall destroy them.'10 You blew with your wind; the sea covered them;    they sank like lead in the mighty waters.11 “Who is like you, O Lord, among the gods?    Who is like you, majestic in holiness,    awesome in glorious deeds, doing wonders?12 You stretched out your right hand;    the earth swallowed them.13 “You have led in your steadfast love the people whom you have redeemed;    you have guided them by your strength to your holy abode.14 The peoples have heard; they tremble;    pangs have seized the inhabitants of Philistia.15 Now are the chiefs of Edom dismayed;    trembling seizes the leaders of Moab;    all the inhabitants of Canaan have melted away.16 Terror and dread fall upon them;    because of the greatness of your arm, they are still as a stone,till your people, O Lord, pass by,    till the people pass by whom you have purchased.17 You will bring them in and plant them on your own mountain,    the place, O Lord, which you have made for your abode,    the sanctuary, O Lord, which your hands have established.18 The Lord will reign forever and ever.”19 For when the horses of Pharaoh with his chariots and his horsemen went into the sea, the Lord brought back the waters of the sea upon them, but the people of Israel walked on dry ground in the midst of the sea. 20 Then Miriam the prophetess, the sister of Aaron, took a tambourine in her hand, and all the women went out after her with tambourines and dancing. 21 And Miriam sang to them:“Sing to the Lord, for he has triumphed gloriously;the horse and his rider he has thrown into the sea.”CONNECT WITH USIf you have any questions or would like to get to know us further, head over to https://www.triumphlbc.org/connect and fill out our online connection card.ABOUT TRIUMPHTriumph wants to see the life and message of Jesus transform your heart, home, and city. To learn more visit https://www.triumphlbc.org/

“The First Passover”CONNECT WITH USIf you have any questions or would like to get to know us further, head over to https://www.triumphlbc.org/connect and fill out our online connection card.ABOUT TRIUMPHTriumph wants to see the life and message of Jesus transform your heart, home, and city. To learn more visit https://www.triumphlbc.org/

Nationals No. 5 prospect Seaver King chats from West Palm Beach about his first Spring Training, his time at Wake Forest and more. Also, the full gang is back together (plus Josh!) to talk Copa de la Diversión and the Maine Candlepins, and Josh unearths another edition of Ghosts of the Minors. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Trigger Warning: discussion of mass shootings. In this powerful episode, I sit down with Sandy Hook survivor, Ella Seaver, to discuss the lasting impact of gun violence on mental health, the importance of activism, and the need for change in gun laws. We explore her journey of healing, the challenges of leaving her supportive community for college, and how she's found purpose in pain through advocacy. This conversation sheds light on the often-overlooked mental health consequences of mass shootings and offers a unique perspective on gun violence from someone who experienced it firsthand.Key Takeaway / Points:The lasting mental health impact of surviving a mass shootingChallenges of leaving a supportive community after experiencing traumaThe importance of therapy and mental health resources for survivorsHow activism can provide purpose in pain and healing for survivorsThe need for an assault weapon bansThe "spiderweb effect" of gun violence on families and communitiesElla's journey towards healing and finding her voiceThe role of therapy and grounding techniques in managing PTSD symptomsThe impact of "thoughts and prayers" versus actionable changeThis episode may contain paid endorsements and advertisements for products and services. Individuals on the show may have a direct, or indirect financial interest in products, or services referred to in this episode.Go to ThriveMarket.com/cameron for thirty percent off your first order, plus a FREE sixty dollar giftVisit Carawayhome.com/CAMERON to take an additional 10% off your next purchaseGo to DrinkLMNT.com/cameron to get a free sample pack with any purchaseLet The Knot be your partner in all things wedding planning. Get started at theknot.com/audioVisit joinelixirhealth.com/cameron to join. Head to Sakara.com and check out The Essentials Bundle. And donʼt forget to tell them how you heard about them at checkout (podcast - Conversations with Cam).Sign the March Fourth petition here: Donate to March Fourth: hereFollow me:Instagram: @cameronoaksrogers and @conversationswithcamSubstack: Fill Your CupWebsite: cameronoaksrogers.comTikTok: @cameronoaksrogers and @conversations_with_camYoutube: Cameron RogersProduced by Dear Media.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

3.14.25 Hour 3 1:00- Maryland/College Hoops- Gene Wang, NFL- Nate Davis, Nats- Tobi Altizer 22:15- Nats 1st round picks Brady House and Seaver King join G&D LIVE from West Palm Beach.

Nats 1st round picks Brady House and Seaver King join G&D LIVE from West Palm Beach.

Back to EgyptExodus 4:18-31 [ESV]18 Moses went back to Jethro his father-in-law and said to him, “Please let me go back to my brothers in Egypt to see whether they are still alive.” And Jethro said to Moses, “Go in peace.” 19 And the Lord said to Moses in Midian, “Go back to Egypt, for all the men who were seeking your life are dead.” 20 So Moses took his wife and his sons and had them ride on a donkey, and went back to the land of Egypt. And Moses took the staff of God in his hand.21 And the Lord said to Moses, “When you go back to Egypt, see that you do before Pharaoh all the miracles that I have put in your power. But I will harden his heart, so that he will not let the people go. 22 Then you shall say to Pharaoh, ‘Thus says the Lord, Israel is my firstborn son, 23 and I say to you, “Let my son go that he may serve me.” If you refuse to let him go, behold, I will kill your firstborn son.'”24 At a lodging place on the way the Lord met him and sought to put him to death. 25 Then Zipporah took a flint and cut off her son's foreskin and touched Moses' feet with it and said, “Surely you are a bridegroom of blood to me!” 26 So he let him alone. It was then that she said, “A bridegroom of blood,” because of the circumcision.27 The Lord said to Aaron, “Go into the wilderness to meet Moses.” So he went and met him at the mountain of God and kissed him. 28 And Moses told Aaron all the words of the Lord with which he had sent him to speak, and all the signs that he had commanded him to do. 29 Then Moses and Aaron went and gathered together all the elders of the people of Israel. 30 Aaron spoke all the words that the Lord had spoken to Moses and did the signs in the sight of the people. 31 And the people believed; and when they heard that the Lord had visited the people of Israel and that he had seen their affliction, they bowed their heads and worshiped.CONNECT WITH USIf you have any questions or would like to get to know us further, head over to https://www.triumphlbc.org/connect and fill out our online connection card.ABOUT TRIUMPHTriumph wants to see the life and message of Jesus transform your heart, home, and city. To learn more visit https://www.triumphlbc.org/

In this week's flashback episode, we're sharing an interview that Pam had in 2016 with Lauren Seaver about deschooling. At the time of the interview, Lauren Seaver was an unschooling mom to 9-year-old River. She first considered the possibility of homeschooling way back when she was in college to become a teacher. Life took some […]

When Doing Your Best Backfires!Exodus 2:11-15 [ESV]11 One day, when Moses had grown up, he went out to his people and looked on their burdens, and he saw an Egyptian beating a Hebrew, one of his people. 12 He looked this way and that, and seeing no one, he struck down the Egyptian and hid him in the sand. 13 When he went out the next day, behold, two Hebrews were struggling together. And he said to the man in the wrong, “Why do you strike your companion?” 14 He answered, “Who made you a prince and a judge over us? Do you mean to kill me as you killed the Egyptian?” Then Moses was afraid, and thought, “Surely the thing is known.” 15 When Pharaoh heard of it, he sought to kill Moses. But Moses fled from Pharaoh and stayed in the land of Midian. And he sat down by a well.16 Now the priest of Midian had seven daughters, and they came and drew water and filled the troughs to water their father's flock. 17 The shepherds came and drove them away, but Moses stood up and saved them, and watered their flock. 18 When they came home to their father Reuel, he said, “How is it that you have come home so soon today?” 19 They said, “An Egyptian delivered us out of the hand of the shepherds and even drew water for us and watered the flock.” 20 He said to his daughters, “Then where is he? Why have you left the man? Call him, that he may eat bread.” 21 And Moses was content to dwell with the man, and he gave Moses his daughter Zipporah. 22 She gave birth to a son, and he called his name Gershom, for he said, “I have been a sojourner in a foreign land.”23 During those many days the king of Egypt died, and the people of Israel groaned because of their slavery and cried out for help. Their cry for rescue from slavery came up to God. 24 And God heard their groaning, and God remembered his covenant with Abraham, with Isaac, and with Jacob. 25 God saw the people of Israel—and God knew.CONNECT WITH USIf you have any questions or would like to get to know us further, head over to https://www.triumphlbc.org/connect and fill out our online connection card.ABOUT TRIUMPHTriumph wants to see the life and message of Jesus transform your heart, home, and city. To learn more visit https://www.triumphlbc.org/

Andrew Seaver & Brian Winland   Andrew Seaver & Brian Winland/TruVista Communications Headquartered in Chester, SC, TruVista is a leading provider of communications services to the Midlands Region of South Carolina, Northeast Georgia and Southern Georgia. They offer a wide variety of products and services to residential and business customers including: voice, internet, cable television, security, long […] The post Brian Winland & Andrew Seaver with TruVista Communications appeared first on Business RadioX ®.

To get live links to the music we play and resources we offer, visit www.WOSPodcast.comThis show includes the following songs:Dahlia Wakefield - Let's Talk About Love FOLLOW ON SPOTIFYBellaDeb - Heartbeats FOLLOW ON SPOTIFYMandy Woods - Before You FOLLOW ON SOUNDCLOUDChloe Clouds - My Heart Has Found A Home FOLLOW ON SPOTIFYJill Opal - You Got Me FOLLOW ON SPOTIFYBree Noble - Oh, My Love FOLLOW ON SPOTIFYPamela Crockett - Happily Ever After FOLLOW ON SPOTIFYWhitney Road - Love Looks Like You FOLLOW ON SPOTIFYRachel Goldie - My Valentine FOLLOW ON SPOTIFYPamela Messer - Heartbeats (original) FOLLOW ON SPOTIFYSarah Daye - Catch Me (If I Fall) FOLLOW ON SPOTIFYMaribeth Alexander - Song of Love FOLLOW ON SPOTIFYJo Grange-Seaver - Here In Love FOLLOW ON SPOTIFYThe MRC - Love's Flame Will Burn Forever FOLLOW ON SOUNDCLOUDUCA - All Because of You For Music Biz Resources Visit www.FEMusician.com and www.ProfitableMusician.comVisit our Sponsor Ed & Carol Nicodemi at edandcarolnicodemi.comVisit our Sponsor Catherine M Thompson at catherinemthompson.comVisit our Sponsor Pamela Messer at pammesser.co.ukVisit our Sponsor Mandy Woods at www.mandywoods.comVisit our Sponsor Kick Bookkeeping at http://profitablemusician.com/kickVisit www.wosradio.com for more details and to submit music to our review board for consideration.Visit our resources for Indie Artists: https://www.wosradio.com/resourcesBecome more Profitable in just 3 minutes per day. http://profitablemusician.com/join

Composer, songwriter, and producer Alex Seaver (aka Mako) has created a unique niche for himself in the entertainment industry. He has released two best-selling albums; performed at Coachella, Lollapalooza, and EDC; and collaborated with the likes of Linkin Park, Marcus King, Sting, Pusha-T, Avicii, Madison Beer, and Alan Walker. A classically-trained musician, Seaver earned a full scholarship to Juilliard. Upon graduation, he relocated to Los Angeles to pursue a career in film music. Alex has established himself as a songwriter and composer for Riot Games' League of Legends, beginning in 2017. His first track, “Legends Never Die” (performed by Against the Current), has earned over 400 million streams on Spotify alone, while his role expanded with both seasons of Netflix's League of Legends-based animated series, Arcane (2021, 2024). In addition to scoring the hit show with Alexander Temple, Alex co-wrote songs for the soundtrack, alongside Linkin Park, Marcus King, Pusha-T, Sting, Woodkid, Bea Miller, PVRIS, and others. Please welcome Alex Seaver.

Rich Generosity; Dethroning the god of Wealth2 Corinthians 8:1-91 And now, brothers and sisters, we want you to know about the grace that God has given the Macedonian churches. 2 In the midst of a very severe trial, their overflowing joy and their extreme poverty welled up in rich generosity. 3 For I testify that they gave as much as they were able, and even beyond their ability. Entirely on their own, 4 they urgently pleaded with us for the privilege of sharing in this service to the Lord's people. 5 And they exceeded our expectations: They gave themselves first of all to the Lord, and then by the will of God also to us. 6 So we urged Titus, just as he had earlier made a beginning, to bring also to completion this act of grace on your part. 7 But since you excel in everything—in faith, in speech, in knowledge, in complete earnestness and in the love we have kindled in you[a]—see that you also excel in this grace of giving.8 I am not commanding you, but I want to test the sincerity of your love by comparing it with the earnestness of others. 9 For you know the grace of our Lord Jesus Christ, that though he was rich, yet for your sake he became poor, so that you through his poverty might become rich.2 Corinthians 9:6-156 Remember this: Whoever sows sparingly will also reap sparingly, and whoever sows generously will also reap generously. 7 Each of you should give what you have decided in your heart to give, not reluctantly or under compulsion, for God loves a cheerful giver. 8 And God is able to bless you abundantly, so that in all things at all times, having all that you need, you will abound in every good work. 9 As it is written:“They have freely scattered their gifts to the poor;    their righteousness endures forever.”10 Now he who supplies seed to the sower and bread for food will also supply and increase your store of seed and will enlarge the harvest of your righteousness. 11 You will be enriched in every way so that you can be generous on every occasion, and through us your generosity will result in thanksgiving to God.12 This service that you perform is not only supplying the needs of the Lord's people but is also overflowing in many expressions of thanks to God. 13 Because of the service by which you have proved yourselves, others will praise God for the obedience that accompanies your confession of the gospel of Christ, and for your generosity in sharing with them and with everyone else. 14 And in their prayers for you their hearts will go out to you, because of the surpassing grace God has given you. CONNECT WITH USIf you have any questions or would like to get to know us further, head over to https://www.triumphlbc.org/connect and fill out our online connection card.ABOUT TRIUMPHTriumph wants to see the life and message of Jesus transform your heart, home, and city. To learn more visit https://www.triumphlbc.org/

Ted's winning run in game 3. I contend if Ted didn't score that run in the 11th inning, the Mets would have won the World Series 4 games to 1. The Andrews affair and how that affected the A's in the 3 games in NY The Mets lock down pitching in NY Seaver 12ks and 2 earned runs Matlack NO earned runs Koosman NO earned runs How the A's felt when they were down 3 games to 2 heading home to Oakland The decision by Yogi Berra to start Seaver on 3 days rest in game 6 The decision by Berra to not give a start to the #4 starter George Stone. Gene Tenace told me last year that the A's were sitting in the dugout in games 6 and 7 saying why aren't they pitching Stone. We can't hit him. Stone had appeared in just a couple of innings in the series. The decision by Berra to bench Mays after game 2. In the book I have a chapter about game 2 titled, “The last heroics and hiccup of Willie Mays.” Mays made some great plays, including the hit that won the game in the 12th inning for the Mets, but also had some poor plays in the field and stumbled 3 times Mays also dropped to his knees and pleaded when the umpire ruled Bud Harrelson out in the 10th inning with what would've been the go ahead run. That photo of Willie on his knees is in my opinion one of the greatest photos in baseball history The decision by Berra to not have Willie Mays pinch hit for Wayne Garrett on what turned out to be the final out of the series. In a similar situation on July 17, Berra had brought Mays in to pinch hit for Garrett and Mays slammed the winning hit. Bud Harrelson's legacy – Bud passed away last year and he doesn't get enough credit. In 1973, Harrelson was injured in the middle of the year. In games he started the Mets were 59 – 43. In games he didn't start they were 23 – 36. I would love to hear Ted's insights after watching him in the field during the 1973 World Series.

Exposing the Dark Side1 Timothy 6:6-106 But godliness with contentment is great gain. 7 For we brought nothing into the world, and we can take nothing out of it. 8 But if we have food and clothing, we will be content with that. 9 Those who want to get rich fall into temptation and a trap and into many foolish and harmful desires that plunge people into ruin and destruction. 10 For the love of money is a root of all kinds of evil. Some people, eager for money, have wandered from the faith and pierced themselves with many griefs.CONNECT WITH USIf you have any questions or would like to get to know us further, head over to https://www.triumphlbc.org/connect and fill out our online connection card.ABOUT TRIUMPHTriumph wants to see the life and message of Jesus transform your heart, home, and city. To learn more visit https://www.triumphlbc.org/

Characters of Christmas: The Wisemen; Something Bigger Is Going On…Matthew 2:1-121 After Jesus was born in Bethlehem in Judea, during the time of King Herod, Magi from the east came to Jerusalem 2 and asked, “Where is the one who has been born king of the Jews? We saw his star when it rose and have come to worship him.”3 When King Herod heard this he was disturbed, and all Jerusalem with him. 4 When he had called together all the people's chief priests and teachers of the law, he asked them where the Messiah was to be born. 5 “In Bethlehem in Judea,” they replied, “for this is what the prophet has written:6 “‘But you, Bethlehem, in the land of Judah,    are by no means least among the rulers of Judah;for out of you will come a ruler    who will shepherd my people Israel.'”7 Then Herod called the Magi secretly and found out from them the exact time the star had appeared. 8 He sent them to Bethlehem and said, “Go and search carefully for the child. As soon as you find him, report to me, so that I too may go and worship him.”9 After they had heard the king, they went on their way, and the star they had seen when it rose went ahead of them until it stopped over the place where the child was. 10 When they saw the star, they were overjoyed. 11 On coming to the house, they saw the child with his mother Mary, and they bowed down and worshiped him. Then they opened their treasures and presented him with gifts of gold, frankincense and myrrh. 12 And having been warned in a dream not to go back to Herod, they returned to their country by another route.CONNECT WITH USIf you have any questions or would like to get to know us further, head over to https://www.triumphlbc.org/connect and fill out our online connection card.ABOUT TRIUMPHTriumph wants to see the life and message of Jesus transform your heart, home, and city. To learn more visit https://www.triumphlbc.org/

It's a Champions round table when former winners Ray & Seaver are joined by current champion, DAVE. Plus Dakota & Bruce join the game in hopes to pick up their first win! Listen to us sound dumb and get drunk now!

The Gift of Gratitude1 Thessalonians 5:16-1816 Rejoice always, 17 pray continually, 18 give thanks in all circumstances; for this is God's will for you in Christ Jesus.CONNECT WITH USIf you have any questions or would like to get to know us further, head over to https://www.triumphlbc.org/connect and fill out our online connection card.ABOUT TRIUMPHTriumph wants to see the life and message of Jesus transform your heart, home, and city. To learn more visit https://www.triumphlbc.org/

 The Gift of Gratitude1 Thessalonians 5:16-1816 Rejoice always, 17 pray continually, 18 give thanks in all circumstances; for this is God's will for you in Christ Jesus. CONNECT WITH USIf you have any questions or would like to get to know us further, head over to https://www.triumphlbc.org/connect and fill out our online connection card.ABOUT TRIUMPHTriumph wants to see the life and message of Jesus transform your heart, home, and city. To learn more visit https://www.triumphlbc.org/

Christlike: GoodnessMark 1:40-4540 A man with leprosycame to him and begged him on his knees, “If you are willing, you can make me clean.”41 Jesus was indignant. He reached out his hand and touched the man. “I am willing,” he said. “Be clean!” 42 Immediately the leprosy left him and he was cleansed.43 Jesus sent him away at once with a strong warning: 44 “See that you don't tell this to anyone. But go, show yourself to the priest and offer the sacrifices that Moses commanded for your cleansing, as a testimony to them.” 45 Instead he went out and began to talk freely, spreading the news. As a result, Jesus could no longer enter a town openly but stayed outside in lonely places. Yet the people still came to him from everywhere.CONNECT WITH USIf you have any questions or would like to get to know us further, head over to https://www.triumphlbc.org/connect and fill out our online connection card.ABOUT TRIUMPHTriumph wants to see the life and message of Jesus transform your heart, home, and city. To learn more visit https://www.triumphlbc.org/

To get live links to the music we play and resources we offer, visit www.WOSPodcast.comThis show includes the following songs:Joka Beatz - Real Talk ft Lisa Drip FOLLOW ON BROADJAMBecky Boyland - It's Your Story Now FOLLOW ON SPOTIFYAlicia Mathewson - 888 (Everything is Magic) FOLLOW ON SPOTIFYJenny Van Alstyne - Meant for More FOLLOW ON SPOTIFYHope Kemp - Keep On Going FOLLOW ON SPOTIFYJo Grange-Seaver - Take Your Journey FOLLOW ON SPOTIFYShifter X - Break The Chains FOLLOW ON SPOTIFYKerry Barnes - Sunburst FOLLOW ON BANDCAMPChristian Schormann - River Of Life FOLLOW ON SPOTIFYChorus Of Courage - Shine feat. Alysha Brilla FOLLOW ON SPOTIFYSista Jean & CB + Pepper MaShay - You Gotta Believe Prt.2 Feat. Sidney Barnes FOLLOW ON SPOTIFYFor Music Biz Resources Visit www.FEMusician.com and www.ProfitableMusician.comVisit our Sponsor Becky Boyland at beckyboyland.comVisit our Sponsor Mochi Health at joinmochi.com (Use coupon code WOS for $40 off)Visit our Sponsor Tanisha Menefee at tanishamenefee.comVisit our Sponsor Cheryl PDF at https://profitablemusician.com/emailVisit www.wosradio.com for more details and to submit music to our review board for consideration.Visit our resources for Indie Artists: https://www.wosradio.com/resources

Unwanted with Greg and Cindy Seaver RTTPPastor Jon JacksonTurning Point Church Scottsburg, IN

This week, Jessica talks with Don Seaver, psychiatrist & composer/songwriter. Don worked as a Medical Director for the San Francisco County Jail for 30 years, and he currently practices psychiatry with Kaiser Oakland. As a composer, he has collaborated with the Paul Taylor Dance Company, San Francisco Shakespeare Festival, New Conservatory Theatre, and various companies and artists in the San Francisco Bay Area.  Find Don at donseaver.com and listen to Lady of the ‘Loin on Spotify. ~ Are you a high achiever, a leader, or an Ampersand who's recently taken on more responsibility at work? For high-achieving professionals, Jessica Wan's executive coaching services stand out as a rare gem. She provides strategic guidance and practical solutions, a unique offering that not only propels her clients' careers forward but also builds their capacity for significant leadership roles in their respective sectors. Her innovative coaching techniques and personalized approach set her apart from the rest. BOOK AN INTRO CALL: ⁠https://calendly.com/jessicawancoaching/intro-call-coaching⁠⁠ Follow Jessica on LinkedIn Credits Produced and Hosted by ⁠⁠Jessica Wan⁠⁠ Co-produced, edited, and sound design by ⁠⁠⁠⁠Carlos Schmitt⁠ Theme music by ⁠⁠Denys Kyshchuk⁠⁠ and ⁠⁠Stockaudios⁠⁠ from ⁠⁠Pixaba⁠y⁠

Christlike: JoyLuke 15:1-715 Now the tax collectors and sinners were all gathering around to hear Jesus. 2 But the Pharisees and the teachers of the law muttered, “This man welcomes sinners and eats with them.”3 Then Jesus told them this parable: 4 “Suppose one of you has a hundred sheep and loses one of them. Doesn't he leave the ninety-nine in the open country and go after the lost sheep until he finds it? 5 And when he finds it, he joyfully puts it on his shoulders 6 and goes home. Then he calls his friends and neighbors together and says, ‘Rejoice with me; I have found my lost sheep.' 7 I tell you that in the same way there will be more rejoicing in heaven over one sinner who repents than over ninety-nine righteous persons who do not need to repent.CONNECT WITH USIf you have any questions or would like to get to know us further, head over to https://www.triumphlbc.org/connect and fill out our online connection card.ABOUT TRIUMPHTriumph wants to see the life and message of Jesus transform your heart, home, and city. To learn more visit https://www.triumphlbc.org/

In this episode of Best Websites, Lisa Louise Cooke chats with Randy Seaver of Genea-Musings, a long-running genealogy blog packed with genealogy tips, stories and even a little bit of humor.

Christlike : LoveLuke 7:36-5036 When one of the Pharisees invited Jesus to have dinner with him, he went to the Pharisee's house and reclined at the table. 37 A woman in that town who lived a sinful life learned that Jesus was eating at the Pharisee's house, so she came there with an alabaster jar of perfume. 38 As she stood behind him at his feet weeping, she began to wet his feet with her tears. Then she wiped them with her hair, kissed them and poured perfume on them.39 When the Pharisee who had invited him saw this, he said to himself, “If this man were a prophet, he would know who is touching him and what kind of woman she is—that she is a sinner.”40 Jesus answered him, “Simon, I have something to tell you.”“Tell me, teacher,” he said.41 “Two people owed money to a certain moneylender. One owed him five hundred denarii,[a] and the other fifty. 42 Neither of them had the money to pay him back, so he forgave the debts of both. Now which of them will love him more?”43 Simon replied, “I suppose the one who had the bigger debt forgiven.”“You have judged correctly,” Jesus said.44 Then he turned toward the woman and said to Simon, “Do you see this woman? I came into your house. You did not give me any water for my feet, but she wet my feet with her tears and wiped them with her hair. 45 You did not give me a kiss, but this woman, from the time I entered, has not stopped kissing my feet. 46 You did not put oil on my head, but she has poured perfume on my feet. 47 Therefore, I tell you, her many sins have been forgiven—as her great love has shown. But whoever has been forgiven little loves little.”48 Then Jesus said to her, “Your sins are forgiven.”49 The other guests began to say among themselves, “Who is this who even forgives sins?”50 Jesus said to the woman, “Your faith has saved you; go in peace.”CONNECT WITH USIf you have any questions or would like to get to know us further, head over to https://www.triumphlbc.org/connect and fill out our online connection card.ABOUT TRIUMPHTriumph wants to see the life and message of Jesus transform your heart, home, and city. To learn more visit https://www.triumphlbc.org/

TJ Contributing factors Intro - Jason Kimball is a distinguished former high school and collegiate pitching coach with an extensive career as an evolving strength and sports conditioning specialist. Renowned for his expertise in the biomechanics of sport and exercise arenas, Jason is also an elite Corrective Holistic Exercise Kinesiologist (CHEK) and posturologist. As well as an advanced flexibility specialist and post-secondary rehabilitation specialist. His profound understanding of the biomechanics of pitching, kinesiology, and the human body has made him a sought-after expert in sports and exercise. Throughout his career, Jason has developed and worked closely with athletes at all levels, including big leaguers, Indy ballers, and collegiate athletes. His commitment to excellence and passion for his work is evident in his dedication to enhancing athletic performance, holistic restoration, and preserving athletes' health. Beyond his professional pursuits, Jason is also deeply committed to animal welfare, demonstrating his compassion and drive to make a positive impact both on and off the field. Topics Baseball has been thought of as a physical, mental, and emotional development game. Where have you seen the most changes in the areas of pitching development both positive and negative? TJ epidemic (tip of the iceberg). your thoughts and where do you see the most damage being done in your day-to-day operations? Contributing factors: Improper throwing mechanics. Improper rest (weekly, monthly, annually), throwing year-round. Max effort philosophy in throwing and performance Pitch counts are adhered to in MILB and MLB but not in privatized amateur baseball Travel and Showcase baseball. Ex. 6 games on a weekend, where else does this happen? Your thoughts on overall pitching development. Where do you place the importance in how you teach and coach? Arm drag or lag or layback…… Back leg drag (anchor) Larry Monroe's research (Split finger FB into short stride recoil) Any thoughts on how we reverse this injury trend? What can we learn from successful pitchers in the past (ex. Palmer, Seaver, Ryan, Gibson, Jenkins…..etc…) Limits in development due to fear of workload and injury It is a small world but sometimes it is difficult to get the message to the players, parents, and coaches due to all the noise…… Many of the leading experts in the field of baseball and athletic performance such as Dr. James Andrews states, “Baseball is a development game”. One thing that we continually hear is, if we get this guy stronger, he's going to be way better. They skip essential steps along the way such as proper movement patterns, creating force with the prime movers, and the ability to move force through the kinetic chain with proper stability in the joints. What are the problems that this way of doing things has created in young ball players and athletes? Examples: max effort long toss / light dumbell vs tubing What are the areas of most need in the young athletes that you work with? Many times in the Little League Age ball players work so hard on creating rotational force, but they haven't done any work on their ability to stabilize and provide a foundation for that rotational force. Do you believe that resistance training in the rotational planes should be for 14 years or older (physical maturation) We often discuss the importance of the ability to hinge, is there any particular exercise progression that you use with your clients to help them improve this ability We live in the world of Max effort throwing and often is very difficult to get young players to understand the importance of rhythm and timing. Is there anything in particular that you do to help athletes improve in this area? Can you explain the problems created by bad posture, such as winged scapula improper, scapular stability or improper, scapular rhythm and timing in overhand throwers? Along these lines in the young athlete, we often come across upper-trapezius dominant individuals. What are some of the ways you have helped to improve mid to lower trapezius function? and please discuss the importance of this. Why do you think modern training goals have become so focused on strength and power? Can you explain some pitfalls of this mindset?

September 1, 2007 — Clay Buchholz throws a no-hitter in his second major league start just hours after being called up by the Boston Red Sox. Buchholz threw 115 pitches, striking out nine, walking three, with one hit batter to give the Red Sox a 10-0 victory over Baltimore. He became the 21st rookie to throw a no-hitter and the third MLB pitcher since 1900 to throw a no-hitter in his first or second major league start. He is the first Red Sox rookie and 17th Red Sox pitcher to pitch a no-hitter. In post game interviews,Manager Terry Francona and GM Theo Epstein independently confirmed a conversation in the 7th or 8th inning where they agreed that Buchholz would not be allowed to exceed 120 pitches. Buchholz' battery mate, Red Sox Captain Jason Varitek also sets a Major League mark catching his 4th no hitter.September1, 1919 in the first of two Labor Day games‚ Babe Ruth allows 10 Washington hits but wins 2–1. Helping his own cause, Ruth drives home one run with a triple. The win is his last as a pitcher in a Red Sox uniform.September 1, 1975, Tom Seaver strikes out Manny Sanguillen in the seventh inning to become the first pitcher to strike out at least 200 batters in eight consecutive seasons. Seaver recorded ten strikeouts in the Mets' 3-0 triumph over Pittsburgh.September 1, 2008, Stephen Drew and Adrian Beltre became the first players to hit for the cycle on thesame day since Bobby Veach of the Detroit Tigers and George Burns of the NewYork Giants did it on Sept. 17, 1920.

The Way of Wisdom : Guided by WisdomProverbs 3:5-65 Trust in the Lord with all your heart    and lean not on your own understanding;6 in all your ways submit to him,    and he will make your paths straight.John 14:25-2625 “All this I have spoken while still with you. 26 But the Advocate, the Holy Spirit, whom the Father will send in my name, will teach you all things and will remind you of everything I have said to you.Colossians 1:9-149 For this reason, since the day we heard about you, we have not stopped praying for you. We continually ask God to fill you with the knowledge of his will through all the wisdom and understanding that the Spirit gives,[a] 10 so that you may live a life worthy of the Lord and please him in every way: bearing fruit in every good work, growing in the knowledge of God, 11 being strengthened with all power according to his glorious might so that you may have great endurance and patience, 12 and giving joyful thanks to the Father, who has qualified you[b] to share in the inheritance of his holy people in the kingdom of light. 13 For he has rescued us from the dominion of darkness and brought us into the kingdom of the Son he loves, 14 in whom we have redemption, the forgiveness of sins.CONNECT WITH USIf you have any questions or would like to get to know us further, head over to https://www.triumphlbc.org/connect and fill out our online connection card.ABOUT TRIUMPHTriumph wants to see the life and message of Jesus transform your heart, home, and city. To learn more visit https://www.triumphlbc.org/

September 1, 2007 — Clay Buchholz throws a no-hitter in his second major league start just hours after being called up by the Boston Red Sox. Buchholz threw 115 pitches, striking out nine, walking three, with one hit batter to give the Red Sox a 10-0 victory over Baltimore. He became the 21st rookie to throw a no-hitter and the third MLB pitcher since 1900 to throw a no-hitter in his first or second major league start. He is the first Red Sox rookie and 17th Red Sox pitcher to pitch a no-hitter. In post game interviews,Manager Terry Francona and GM Theo Epstein independently confirmed a conversation in the 7th or 8th inning where they agreed that Buchholz would not be allowed to exceed 120 pitches. Buchholz' battery mate, Red Sox Captain Jason Varitek also sets a Major League mark catching his 4th no hitter.September1, 1919 in the first of two Labor Day games‚ Babe Ruth allows 10 Washington hits but wins 2–1. Helping his own cause, Ruth drives home one run with a triple. The win is his last as a pitcher in a Red Sox uniform.September 1, 1975, Tom Seaver strikes out Manny Sanguillen in the seventh inning to become the first pitcher to strike out at least 200 batters in eight consecutive seasons. Seaver recorded ten strikeouts in the Mets' 3-0 triumph over Pittsburgh.September 1, 2008, Stephen Drew and Adrian Beltre became the first players to hit for the cycle on thesame day since Bobby Veach of the Detroit Tigers and George Burns of the NewYork Giants did it on Sept. 17, 1920.

Intro - Dr. Kevin McGovern PT 29 years experience, Dr. McGovern holds a Doctorate in Physical Therapy from Simmons University and a Bachelor of Science from Northeastern University. Additionally, he is a Certified Strength and Conditioning Coach for the N.S.C.A., allowing him to approach care with a scientific and compassionate touch. Dr. McGovern has received notable recognition throughout his esteemed career, including being named PT PRACTICE of the Year and earning a place on the INC 5000 List for Growing Companies. Since 1994, Dr. McGovern has been a dedicated practitioner. He founded PERFECT MOTION Sports Therapy Topics Discuss G.A.M.E. and Velocity R.X. Baseball has been thought of as a physical, mental, and emotional development game. Where have you seen the most changes in the areas of pitching development both positive and negative? TJ epidemic (tip of the iceberg). your thoughts and where do you see the most damage being done in your day-to-day operations? Contributing factors: Improper throwing mechanics. Improper rest (weekly, monthly, annually), throwing year-round. Max effort philosophy in throwing and performance Pitch counts are adhered to in MILB and MLB but not in privatized amateur baseball Travel and Showcase baseball. Ex. 6 games on a weekend, where else does this happen? Your thoughts on overall pitching development. Where do you place the importance in how you teach and coach? Arm drag or lag or layback…… Back leg drag (anchor) Larry Monroe's research (Split finger FB into short stride recoil) Any thoughts on how we reverse this injury trend? What can we learn from successful pitchers in the past (ex. Palmer, Seaver, Ryan, Gibson, Jenkins…..etc…) Limits in development due to fear of workload and injury

The Way of Wisdom : GenerosityProverbs 11:24-2624 One person gives freely, yet gains even more;    another withholds unduly, but comes to poverty.25 A generous person will prosper;    whoever refreshes others will be refreshed.26 People curse the one who hoards grain,    but they pray God's blessing on the one who is willing to sell. 2 Corinthians 8:1-71 And now, brothers and sisters, we want you to know about the grace that God has given the Macedonian churches. 2 In the midst of a very severe trial, their overflowing joy and their extreme poverty welled up in rich generosity. 3 For I testify that they gave as much as they were able, and even beyond their ability. Entirely on their own, 4 they urgently pleaded with us for the privilege of sharing in this service to the Lord's people. 5 And they exceeded our expectations: They gave themselves first of all to the Lord, and then by the will of God also to us. 6 So we urged Titus, just as he had earlier made a beginning, to bring also to completion this act of grace on your part. 7 But since you excel in everything—in faith, in speech, in knowledge, in complete earnestness and in the love we have kindled in you[a]—see that you also excel in this grace of giving.CONNECT WITH USIf you have any questions or would like to get to know us further, head over to https://www.triumphlbc.org/connect and fill out our online connection card.ABOUT TRIUMPHTriumph wants to see the life and message of Jesus transform your heart, home, and city. To learn more visit https://www.triumphlbc.org/

The Way of Wisdom : EnvyProverbs 14:3030 A heart at peace gives life to the body,    but envy rots the bones.John 10:1010 The thief comes only to steal and kill and destroy; I have come that they may have life, and have it to the full.CONNECT WITH USIf you have any questions or would like to get to know us further, head over to https://www.triumphlbc.org/connect and fill out our online connection card.ABOUT TRIUMPHTriumph wants to see the life and message of Jesus transform your heart, home, and city. To learn more visit https://www.triumphlbc.org/

The Way of Wisdom: FamilyCONNECT WITH USIf you have any questions or would like to get to know us further, head over to https://www.triumphlbc.org/connect and fill out our online connection card.ABOUT TRIUMPHTriumph wants to see the life and message of Jesus transform your heart, home, and city. To learn more visit https://www.triumphlbc.org/

What is Max Velocity? Anecdotal or Emperical ? Strider averaged 97.2 mph last season reached 99-100 mph. Megill 93-94 topping out 95 Luis Gill Avg. 96.9. maxed out 99.7 Skubal 96-97. topping out at 100 Carlton, Gibson, Seaver, Ryan ? Skenes • Skenes' strikeout of Miles Mastrobuoni in the second inning registered at 101.2 mph, matching his own record for the fastest strikeout by a Pirate pitcher in the pitchtracking era (since 2008). Pitch Fx • He became just the third pitcher in the pitch-tracking era to strike out the side on pitches registering at least 100 mph, joining Hunter Greene (Sept. 17, 2022 and Oct. 3, 2022) and Bobby Miller (July 5, 2023). There might not be a solution to the pitching injury problem in baseball. If you sort the research and data on the subject to answer the questions most asked about the subject, you don't end up in a place where there's an easy way forward. What is the main source of pitcher injury?....Velocity Are pitchers getting hurt because they are throwers, not pitchers now? Are analytics to blame? Are the injuries because of all the breaking balls? What role does the pitch clock have in injury? Does sticky stuff (and its ban) have any role in the injury increase? Could year-round throwing be the problem? Are there better mechanics out there that could solve the problem? There have been findings that have come out of the emergent study of biomechanics. Certain relationships between your landing foot, your trunk rotation and your shoulder movement have been deemed better than others. Some think they've got the perfect mechanics that will ensure a way out of this problem. But Casey Mulholland, who runs Kinetic Pro, a private player development lab, outlined a problem with blaming it all on mechanics. “Let's say you've got a pitcher with a three-quarter arm slot — that means more stress, more valgus torque,” Mulholland said. “He comes to Tampa and I magically change his arm action to produce the same velo more over the top, and now he throws with less torque. Well, with the cleaned-up arm action, he can now throw harder. And the one thing we know that increases stress is velo, sooooo. “Our brain passes messages s to our muscles, forearm flexors in this case, via the central nervous system to contract at just the right moment to offload the stress applied to the UCL. When we become fatigued our brain doesn't pass this message as well, the muscles don't contract at the ‘optimal time' or the ‘optimal amount' and we end up not being able to offload this stress. The UCL then wears more of a direct stress. Over time, under fatigue, the load of throwing eventually overcomes the tissue tolerance and boom, UCL tear. “This is why workload management is the only logical answer to slow the injury rate,” thinks Mulholland. “Workload management predicts the possible time at which an athlete might experience too much lo • “It's a big boy throwing a heavy baseball,” said Cubs outfielder Pete Crow-Armstrong. “He does a really good job with mixing and everything. But it's tough to hit anybody that throws 100-plus with two to three really good secondary pitches and a sinker that moves like a changeup at 95.” . • The velocity held, too. Skenes' 100th pitch clocked in at 100 mph, blowing past Mike Tauchman for his 11th strikeout. It was an exclamation point on his day and inevitable first win, something that impressed everyone, with maybe the exception of his catcher.

Samuel Johnson interviews Mike Seaver on the his recent sabbatical time.

This week I have a conversation with journalist Randy Seaver discussing his career evolution in the Biddeford Saco area, touching upon journalism's transformation, social media's impact, and the current local news landscape. The script also highlights influential community figures in Biddeford/Saco, shedding light on their roles, accomplishments, city efforts on homelessness, policy changes, and the overall progress, challenges, and complexities of addressing homelessness in the area. 00:00 Welcome to the Podcast with Randy Seaver 01:01 Randy Seaver: A Local Journalism Icon 02:01 The Evolution of Journalism with Randy Seaver 03:24 Randy's Journey from Public Access to Social Media 05:49 The Impact of Social Media on News Consumption 07:14 The Local News Vacuum and Saco Bay News 11:47 Randy Seaver's Approach to Social Media and Politics 16:03 Top 20 Local Political Movers and Shakers List 24:07 Reflecting on Alan Kassaman's Legacy and Influence 24:35 Campaign Management and Political Partnerships 25:38 Alan Kassaman: A Pillar of Biddeford's Renaissance 26:34 Personal Anecdotes and Professional Insights 26:55 Navigating Post-Political Life and Community Engagement 29:16 Tim Harrington's Impact on Biddeford 31:52 Delilah's Contributions to the Heart of Biddeford 33:17 Family Ties in Politics: A Personal Perspective 34:41 Marty's Mayoral Tenure: Efforts and Challenges 36:17 Liam LaFontaine: A Rising Star in City Council 37:21 Jeremy's Unique Position and Achievements 39:21 Ryan Fecto: From Young Politician to Influential Leader 42:04 Biddeford's Current State: Challenges and Progress EPISODE LINKS Randy Seaver's Facebook: www.facebook.com/randy.seaver.3 Saco Bay News: www.sacobaynews.com PODCAST LINKS

Tom Seaver was one of the greatest right-handed power pitchers, the game has ever known. He won 311 games, for four major league clubs, most notably for the Mets, whom he led from last place laughingstocks to an "Amazin" and improbable world championship in 1969. Seaver at work, was a mechanical picture of kinetic grace. He had a smooth, tight windup, and a stride so long and explosive off the rubber, that his right knee often grazed the dirt. He was a fearless leader, always chomping at the bit, to sully his right knee in the next contest. What can you say about Tom Seaver? In one word, he was "Terrific." This week, BKP does a deep dive into the life and career, of this iconic baseball immortal. #TomTerrific #TheFranchise #TomSeaver #NewYorkMets #CincinnatiReds #ChicagoWhiteSox #BostonRedSox #GilHodges #SparkyAnderson #JerryGrote #CleonJones #DickYoung #RodDedeaux #USCTrojans #AtlantaBraves #SolleyHemus #EarlWeaver #HankAaron #NolanRyan #NancySeaver #SeaverVineyards #BigRedMachine

On December 30th, I hosted a webinar called “How Professional Screenwriters Overcome Writer's Block” and I talked about why story structure is so important in getting past this block. This episode addresses questions you asked in our Q&A session that we didn't have time to answer. There's lots of great info here, make sure you watch.Show NotesA Paper Orchestra on Website: - https://michaeljamin.com/bookA Paper Orchestra on Audible: - https://www.audible.com/ep/creator?source_code=PDTGBPD060314004R&irclickid=wsY0cWRTYxyPWQ32v63t0WpwUkHzByXJyROHz00&irgwc=1A Paper Orchestra on Amazon: - https://www.amazon.com/Audible-A-Paper-Orchestra/dp/B0CS5129X1/ref=sr_1_4?crid=19R6SSAJRS6TU&keywords=a+paper+orchestra&qid=1707342963&sprefix=a+paper+orchestra%2Caps%2C149&sr=8-4A Paper Orchestra on Goodreads: - https://www.goodreads.com/book/show/203928260-a-paper-orchestraFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptMichael Jamin:Everyone wants to be a showrunner, which is again, why it's so freakingMichael Jamin:Hard. I want to make all the decisions, but you don't know based on what youMichael Jamin:Don't know what you're doing. Why would you want that? Is it an ego thing you want to tell people you're a showrunner or don't you want to learn? Do you assume? When I was starting off, I didn't want to be a showrunner for 10 years. I didn't want to be a show runner. Like, this is a hard job. I don't know how to do it.Michael Jamin:You are listening to What the Hell is Michael Jamin talking about conversations in writing, art, and creativity. Today's episode is brought to you by my debut collection of True Stories, a paper orchestra available in print, ebook and audiobook to purchase and to support me in this podcast, please visit michael jamin.com/book and now on with the show.Michael Jamin:Hey everyone, welcome back to another episode of What the Hell is Michael Jamin talking about? Well, we're doing another q and a from one of our webinars and my special guest host is Kevin Lewandowski, script coordinator extraordinaire. He helps out with a lot of my projects, social media projects here and he's subbing in for Phil and he's doing a great job. So welcome Kevin.Kevin Lewandowski:Thank you again for having me.Michael Jamin:You screwed it up. You already screwed. No, I'm only messing with you. You're doing great. Thanks.Kevin Lewandowski:Yeah, I'm not going to apologize for not being Phil anymore, so fair Phil. But no, I'm happy to be here and this how professional screenwriters overcome Writer's Block is one of my favorite topics to talk about. Oh good. So I think it's super, super interesting and there's been, when we dive into it, I'll say my favorite line that you always say that just unlocked the excuse sometimes we use for when we have writer's block.Michael Jamin:I'm curious to know what your favorite line is.Kevin Lewandowski:Alright, I have so many Michael Jainism that I think my all time favorite is Shit Happening is not a story.Michael Jamin:By the way, we have that on merch now, guys. Yeah, we do. We got merch and you can go get it@michaeljamin.com/merch where all the crazy things that I say, you can get it on a on mug or a notebook or whatever. We got merge. Go get it. I should have plugged it before, but I forgot. But anyway, these questions came from our last webinar that we did and if you're not on my webinar list, sign up for it's free. Go to michael jamin.com/webinar and you can sign up. You can be invited when we do our next one. And so yeah, Kevin, we had a lot of questions people asked. We didn't have time to get all the questions answered and so here they are nKevin Lewandowski:Here we go. These first couple of questions are going to be about kind of course related stuff. So this first one is from David Zilo. I feel like we see his name a lot. I feel like he comes to these webinars a lot and ask a lot of questions. The question is, how does the story structure change when say a character does not, cannot achieve a goal in the tragic story, for example,Michael Jamin:Doesn't change at all. It's the same old story structure that we use. Whether the character achieves their goal at the end or not, it's the same damn thing.Kevin Lewandowski:Yep.Michael Jamin:The guys you're just asking, he's just asking at the end, what if the last two minutes are different, so what? Nothing.Kevin Lewandowski:Yeah, I think it's always more interesting for me when that character doesn't achieve their goal. I think the breakup with, but yeah, Vince v and Jennifer Ston, they don't stay together in the end. No. It's one of the few rom-coms that I think they decide to go off the beaten path and not haveMichael Jamin:Them end often. We call this the joyful defeat in a movie or the character doesn't get what they want, but they get what they need. Yeah.Kevin Lewandowski:Next question, Rob. Robert, when is the latest the stakes should be made clear?Michael Jamin:The sooner the better because the story does not start until the audience knows what's at stake. And so until then you're boring them and you're daring them to change the channel or read another script or do something else with their time. So the sooner the better, and that's a note you'll get from a network executive. They'll always say, can we start the story sooner? And so wherever you have it, they'll give you that note. If it's on page four, they'll say page two.Kevin Lewandowski:In your experience, is there a realistic, for instance, if they were like, oh, it's on page three, we need it on page two, have you ever run into We just can't. We need a little bit of room to be able toMichael Jamin:SetKevin Lewandowski:SomethingMichael Jamin:Up. Absolutely. And so you'll move it up a little bit, but sometimes there's only so much you can do.Kevin Lewandowski:Yeah. But yeah, like you said, they'll always say, oh, can we start this sooner? Yeah, we'll take a look at it. We'll take a look at that. Coley Marie, can the goal change or appear to change?Michael Jamin:Yeah. Yes. And often it sometimes will. It's like because something happens and what the character thought they wanted is not what they want anymore. So yeah.Kevin Lewandowski:So how do you feel about, because sometimes it's, is there a fear of if you start writing it too much of a change, can it almost feel like, oh, okay, now we're following a different story to,Michael Jamin:It usually happens kind of like an act top of act three with the character discoveries. This thing that I wanted turns out I don't really want any. I got what I thought I wanted and it's not what I want. So that's usually late in the script.Kevin Lewandowski:Yeah. So you're saying in top of act two, if they wanted to,Michael Jamin:It wouldn't be top ofKevin Lewandowski:Act ride a pony at the end of act one. Top of Act two should be like, well, I want to win this prize at the CarnivalMichael Jamin:Now. Yeah, top of act two is one. Well, this is what we teach in the course. What tab of Act two would be, so yeah,Kevin Lewandowski:Arius Kennedy. So should we avoid high stakes conflicts?Michael Jamin:No. The higher stakes are good. High stakes are good. Higher the stakes are better. You want to avoid low stakes conflicts.Kevin Lewandowski:Yeah, low stakes conflicts are not that interesting. Heather Marie, vital, how do we find conflicts for TV shows with main characters without getting stale? That's kind of the job of a writer.Michael Jamin:Yeah, that's right. That's exactly, that's the job without getting stale, it's like, and again, this is not her concern. Concern. Your concern is to do it once and then let's a showrunner worried about it getting stale. Right now your job is to write one great scriptKevin Lewandowski:Are Barry, when it comes to an episodic show, there's the overall show conflict and then the mini conflicts of the episodes. So I'm assuming they're talking about, there's the A story, the B story, the C story,Michael Jamin:Or maybe they're talking about the overall arch of the show. I'm watching Show Gun right now and I'm only on episode one, so it seems like the overarching stories, how is this one? I dunno if he called the futile Lord going to maintain his position in the kingdom, but within each episode he has a challenge that he has to overcome, so to make that larger prop goal happen.Kevin Lewandowski:Meg Parker Wilson, when you are writing a TV show, do you plot out the entire story pilot to finale and then create all those moments episode by episode in terms of the arc and the structure?Michael Jamin:No, it's too much work. It's too difficult. What you really, and again, this is not something that she needs to worry about, but maybe she's just asking me out of curiosity, we'll come up with a pilot and we'll have that pilot broken. We know what that story is going to be and then we have a vague idea of what season one might be. But I'm talking vague, just enough to bullshit our way through this because it'll change when we're breaking the story. As we discover writing and digging into the character, we'll discover something that might be better. So what are we going to do? Not do it just because we said we were talking out of our ass that this other thing was going to be better,Kevin Lewandowski:Right? Yeah. I think Vince Gilian, creator of Breaking Bad, I think he says something very similar. Yeah, we kind of have an idea, but part of going through different story ideas is you discover stuff along the way. Jesse Pinkman was only supposed to be four or five episodes, and then now they realize how much chemistry those two characters had. And could you imagine, would that show have worked if they would've killed off Jesse Pinkman? Because they said, well, we said our pitch, we have to kill em off after five episodes. We have to stick with that.Michael Jamin:I'm always surprised that people don't know that and they're worried about breaking the entire series. It's like, but breaking one episode of television when I'm talking breaking, figuring out what the story is and writing the outline in the script is so much work. How could you possibly do all that in advance and you have a team of writers doing all that work.Kevin Lewandowski:Yeah. Yeah. It's interesting. Sometimes you'll see people that'll talk about, yeah, I have this TV series I wrote and I have the first eight episodes done, and I'm like, oh, that's a lot to do withMichael Jamin:No theyKevin Lewandowski:Don't. One person,Michael Jamin:They really don't. They might have enough for one episode and they broke it up into eight episodes. They don't know any better. That's very common. I thinkKevin Lewandowski:I remember there's another example on friends that one of the writers was talking about. It's probably one of the more iconic moments of the whole series is when Ross is getting married to Emily and Rachel shows up and he ends up, he accidentally says Rachel's name, I Ross take the Rachel. And the writer was saying that wasn't anything we would've ever thought of. It was one day we were rehearsing or something like that. And he accidentally said the wrong name. And as writers, we all laughed and we thought that's super funny. He was like, we had the aha moment of like, oh, we need to include this. And that little moment had so much of a change for the rest of the series. Now it turned into, well, Emily will make them now. Okay. It's clear that Ross is still in love with Rachel and Emily. She's only going to come to New York if Ross stops talking to Rachel. So it was just that little moment of discovery and what would that scene or storyline have been if Ross married EmilyMichael Jamin:And they discovered that by accident and rehearsal and what are you going to do not do with this and that, that moment everyone gasped in the audience and people at home gasped. So what you not going to do it?Kevin Lewandowski:Yeah, and I don't think in their pitch they're like, okay, season five we're going to have Ross marry this British girl, but when he is actually up there, we're going to have him say Rachel's thing. It was just discovery.Michael Jamin:You don't think that far in advanced. You can't. It's too much work.Kevin Lewandowski:Let's see. So this next question from Sarah, there's a bit of terminology from your course, so I'm going to not use that terminology, but does the end of act two have to be in direct relation to the conflict with the introduced in the first act? Can it be attributed to a different relationship conflict?Michael Jamin:No, no, no. Pretty much no. If you're telling one story that's your A story or your act two break to be on the A story. If it's coming out of nowhere and it's like, what's this? It's not going to feel earned. It's going to be like, what's going on?Kevin Lewandowski:Rob, Robert again, how do we make funny? Because it can be so subjective.Michael Jamin:Yeah. One thing I say is in my course, I can't teach you how to be funny. I can maybe teach you how to be a little funnier. I could give you tips that will help you be a little funnier, but if you're not funny, I can't help you be funny. It's okay. You can write drama. There's plenty of work for drama writers and just write what you're really good at. But it is a little heartbreaking. I see sometimes when people, I want to be accommodator, but you're not funny, so you don't have that in you. That's okay. Write some other stuff. Drama's great too.Kevin Lewandowski:Yeah. One of my other favorite things you say, and this wasn't the one I was talking about earlier, is you have to find new ways to say old things in a funny way. Yeah. Every version of a joke has been told to a degree. So how do you make it relevant to today and your story and your characters and make it so it hasn't been heard that way before.Michael Jamin:You know what though? I just got an email from, I don't know how I'm on this list, whatever. I got an email from a writer and she's doing a public appearance and she said, come see me the headline, come see me. I don't bite. And I'm like, oh God, you're supposed to be a writer. Don't tell me you don't bite. That's so unoriginal. That's so clammy. That's not something a writer should ever say. Find a new way to say, I don't bite. I was so unimpressed. I was like, oh God, you just embarrass yourself. Don't do that. You're a writer. You have to find a new way to say old things.Kevin Lewandowski:Yeah. Okay, so these are kind of more craft related questions, Nathan Shapiro, what are the rookie mistakes you see new writers making both in writing as well as from the business side. What is something you wish you had known when you were starting out? And then part two, which I think this is actually part three, do all supporting lead characters need an obstacle and goal? Or is it sufficient that they're simply there to facilitate the main hero's journey?Michael Jamin:This guy's gotKevin Lewandowski:Questions. We'll split this up. So the first part was what are the rookie mistakes you see new writers making both in writing as well as from the business side.Michael Jamin:I mean, a rookie mistake in the writer's room is what we call when they bitch instead of pitch. The expression is pitch, don't bitch. So it's very easy for a new writer to shoot down an idea in the room without having a better one because it's hard to come up with a better one. So that's a rookie thing. I don't care if the idea on the table is bad, if you don't have a better one, shut up because it's what are you there for? You're not a critic. Your job is to make it better, not to say this is bad. AndKevin Lewandowski:Also don't defend your joke if the showrunner doesn't think it's good. If you put something, they're like, ah, I don't really know. Okay, that's it.Michael Jamin:Don'tKevin Lewandowski:Fight for it. Don't just let it go. Think of a better one.Michael Jamin:What was the other question?Kevin Lewandowski:So the next one is, what is something you wish you had known when you were starting up?Michael Jamin:Well, to be honest, everything that I teach in the course, I didn't know any of it.Kevin Lewandowski:Yeah, I think it's just, yeah, I mean, again, Michael's course has unlocked a lot for me and someone that's not a very intelligent person, he really simplifies it.Michael Jamin:Yeah, make it easy.Kevin Lewandowski:It's easy to understand. I don't understand the terminology of progressive complications and sight incidents, all that stuff. IMichael Jamin:Don't understand it either.Kevin Lewandowski:Any sense to me? I won't tell you what the terms are that Michael uses. You'll have to take this course, but they're much easier toMichael Jamin:Understand. Yeah, I think writing should be simple. It's not easy, but it's simple.Kevin Lewandowski:And then the last part of this question, do all supporting lead characters need an obstacle and goal, or is it sufficient that they're simply there to facilitate the main hero's journey?Michael Jamin:Well, often they are an obstacle in the main hero's journey. Sometimes if you don't give 'em too much to play, they can be the Greek chorus, but generally every character in a scene has to have an attitude on something, and if they don't wire in the scene, if they don't have, they're not just there to stand around. Yeah.Kevin Lewandowski:So do you also think when in the context of the story structure that you teach in your class, those B stories that aren't necessarily as emotionally empowering as what the A story is, do you think it should still follow all those structure points or just enough or doesn't really matter?Michael Jamin:No, a b story doesn't carry the same emotional weight as the A story. So it doesn't actually have to carry, it doesn't have to be structured the way an A story is, but stuff does have to happen and it can't be random. It has to be on that story that we're following.Kevin Lewandowski:Okay. Next question. If it's an ensemble cast, like Orange is a new black or stranger things, does each character have to have a stake or only a main character? So very similar to thisMichael Jamin:Question. Yeah, usually you're following. I mean, I haven't watched Stranger Things in a long time. Maybe they have two or three running storylines in each episode. I don't know. They probably do.Kevin Lewandowski:Who is the hero in horror movies like Friday the 13th? Is it Jason or the person who survives at the end?Michael Jamin:Well, you're not rooting for Jason. You're not rooting for him to murder everybody. And again, I haven't seen those Friday the 13th movies, but you're rooting for the person in the summer camp.Kevin Lewandowski:Michael. Is there such thing as an anti-hero?Michael Jamin:Yeah, of course there is, and I talk about that, but the problem is I think it's unnecessarily complicated. What's interesting, an anti-hero and a hero. Why don't you just call it a hero and make it easier on yourself? Oh, because your anti-hero is a little bit unlikeable or a little bit dirty or villainous. Well, that's okay. There's still a hero.Kevin Lewandowski:I think there was an example you used of if you're writing something about the devil, him being what we all think the devil is, that's not interesting. You make him where he has compassion with some things and you give him layers like Sopranos. You talk about the example as well, and I think it's those villains are, they're the hero in their own story. We may not agree with it. They're the hero in their own story though. Yeah,Michael Jamin:I think Tony Swan, I don't think he's an anti-hero. I think he's a hero.Kevin Lewandowski:Okay, next question. Do you have to know the end when you start the story? Can it change?Michael Jamin:And often it does. You'll get often it does. Often it does, but usually when we're breaking a story on the board in the writer's room, no one sent off to outline or script until we know what the ending is. But it's not uncommon to get a draft back and you go, you know what? This ending isn't working. Let's figure out a new Act three.Kevin Lewandowski:And in your experience, do you think for something like the ending doesn't feel right, do you think that was potentially because it wasn't broken in the best way? Or do you think the writer didn't maybe necessarily deliver the dialogue the right way?Michael Jamin:Well, often problems in act three requires solutions in Act one. So in other words, it wasn't set up right. The ending wasn't set up early, and so it's unusual to say, okay, all we have to do is fix Act three. No, you got to fix all of it.Kevin Lewandowski:And that's when you have the really late nights and you do dinner in the writer's room, which everyone hates when that PA comes around is All right. What does everyone want for dinner?Michael Jamin:Yep.Michael Jamin:You are listening to What the Hell is Michael Jamin talking about? Today's episode is brought to you by my new book, A Paper Orchestra, A collection of True Stories. John Mayer says, it's fantastic. It's multi timal. It runs all levels of the pyramid at the same time. His knockout punches are stinging, sincerity, and carcass Review says Those who appreciate the power of simple stories to tell us about human nature or who are bewitched by a storyteller who has mastered his craft will find a delightful collection of vignettes, a lovely anthology that strikes a perfect balance between humor and poignancy. So my podcast is not advertiser supported. I'm not running ads here. So if you'd like to support me or the podcast, come check out my book, go get an ebook or a paperback, or if you really want to treat yourself, check out the audio book. Go to michael jamin.com/book, and now back to our showKevin Lewandowski:From Rachel. It helps to do homework before even writing. Yes. If you're new to fantasy, read some fantasy scripts or books first.Michael Jamin:Sure, a lot as much as you can, but I'd also ask you why you want to write fantasy then, if you've never read any or what's attracting to you, to you if you don't even know anything about it.Kevin Lewandowski:Next question. What's with the job titles that writers end up with? What do the different kinds of jobs actually cover?Michael Jamin:So there's different levels to writers. They're just ranks and in terms of how much it's big pay grades basically. So the lowest level writer is called a staff writer. Even though everyone, it's confusing because every writer on staff is a staff writer, but the lowest level writer has the title of staff writer. Then the next higher up is called story editor, then executive story editor, then co-producer, producer, supervising producer, co-executive producer, executive producer, the executive producer's the showrunner, and so they're the boss and everyone else. They're just different levels that determines how much you're going to get paid. Often it determines how much responsibility you have. If the showrunner leaves the room, often it's the co-executive producer who will run the room in their proxy or they'll do the set, they'll work on the set, they'll do whatever that's based on their experience. But in terms of job responsibilities, other than that, it's really up to the S to determine how much they want. Maybe they'll say if someone's a producer, they may let them go to the set on their own. I mean, it just depends on the showrunner, what they want them to do.Kevin Lewandowski:Yeah. One of the shows I worked on, I think we talked about this in the last podcast, Steve Rudnick, who wrote Space Jam and Santa Claus movies. He was a supervising producer on The Muppets, and he spent a lot of time on set and he really liked it. It's just fascinating to watch how those puppeteers canMichael Jamin:DoKevin Lewandowski:Their stuff. Next question from Steven. Can stream of consciousness work for screenwriting?Michael Jamin:Sounds terrible to me. I'm not a fan of stream of consciousness. I'm not really interested in reading your thoughts. If you're going to take me someplace, take me by the hand and lead me there. To be honest, just going to say it right now, I feel stream of consciousness is masturbatory. I feel like it's for yourself and no one else, but I could be. Someone else may enjoy it.Kevin Lewandowski:So when you say hold my hand, because I think there's also this, people sometimes assume, well, well, I don't want to put that on the page. It's just going to take a page. The audience will get, the audience will understand what I'm going for, and I think is there that fine line of figuring out, okay, what do I need to hold the hand of the audience through versus what do I think they're going to be able to pick up?Michael Jamin:Yeah. I like to write. When I'm writing, I like to check in with the audience, let 'em know. Yeah. When I say hold their hand, let them know. Remind them what's at stake here. This character wants, I'd like to just check. So it's not a mystery. Now, often that's the difference between sometimes you'll see a really smart writing, they won't kind of do that. They expect a little more of the audience. It just depends on what kind of show you're doing. If you're doing a broad silly show, you check in with the audience knowing that that's not what they're there for. They're there for something silly and fun. You got to keep checking in with them. But I just saw a zone of interest, which is really smart, and they didn't check in with the audience, and that might win. The Oscars a wonderful movie also. That's not a movie for the masses. I don't think it's going to be a movie that's a blockbuster. It was a great movie though.Kevin Lewandowski:What are the stakes of 2001 a Space Odyssey?Michael Jamin:God, I haven't seen it in forever. What were the stakes was the guy I am trying to remember. They went on a spaceship. They had a mission, but then the computer was sabotaging the mission and there was going to basically, I think the computer was going to kill them, basically take 'em on a mission that would kill them. Is that that I remember. So the stakes were life or death.Kevin Lewandowski:Those are pretty mistakes.Michael Jamin:And how do we defeat the computer? Who's the boss of the whole thing? How do we fool the computer? I believe that's what it was, right? It was a long time ago.Kevin Lewandowski:Yeah, it's been a while since I've seen that, and I guess if they don't, they die.Michael Jamin:I think so, yeah.Kevin Lewandowski:Next question. How would you recommend doing a man versus a system conflict, like perhaps is seen in Cool Hand Luke?Michael Jamin:Well, I mean, yeah, that was the whole thing. He wanted to get out of prison. They were trying to, and again, I haven't seen that in 10, 12 years. I don't remember. He was in prison and the system was trying to break him down. Right? That's like anything you escape from Alcatraz to the same thing. How do we get out of this prison? So yeah, but I'm trying to remember in Cool Luke, there was probably a face to the system. It wasn't like a system. I'm guessing it there was a warden or something, or there were other inmates who was the face of the system trying to remember. They called me off guard.Kevin Lewandowski:Yeah. So I was thinking about when you said I was Shawshank Redemption, and I think it's, yeah, there's the system, but then kind of the warden represents the system. In that context,Michael Jamin:There was the warden and then the warden's proxy, the guard, and there were definitely, it wasn't so much the system. They were faces of the system. Yeah.Kevin Lewandowski:Okay. Can the conflict be hidden from the hero? The hero thinks they want control money, but they really don't want to be alone because they were abandoned as a kid.Michael Jamin:Well, I mean, all of that is fine, but your hero is not going to want a hero. Wanting money is not a reputable goal. Who cares? So what your hero wants it sounds like, is companionship. If they're abandoned or or whatever. That's what they're really wanting. So yeah, I mean, all of that is fine, but I'm not sure why it's not hidden for the, yeah,Kevin Lewandowski:I think thinking about breaking bad, I think a lot of people would think, well, Walter White wanted money. No, that'sMichael Jamin:Not what he wanted. Walter White wanted to provide for his family. He was going to be dead soon, so it wasn't the money he wanted. What he wanted was very reputable. He wants to give his family something so they could live when he's dead to, because he can't provide for them. So it wasn't like he wanted a new Ferrari,Kevin Lewandowski:And I think that slightly eventually morphed into he just wants to maintain being powerful.Michael Jamin:Well, then it turned into something else. Then he went down this path of it was about power and control, and he went down that, but that was only seasons into it.Kevin Lewandowski:AI and equalizer for skill and creativity in this competitive era of artists?Michael Jamin:I don't think so. I think ai, I guess it's a cheat code if you want to be a writer, if you wanted to be a race car driver, you'd learn how to race, car drive, and you'd go to courses and classes and you'd be really good at shifting and all that stuff and understand the apex of a curve and how to attack a curve. Or I suppose you could get behind the wheel of a Tesla and put it on autopilot and you could just fall asleep. But why do you want to be a race car driver then if that's what you aspire to do? Do you just want to be a dummy in the wheel of the car?Kevin Lewandowski:I think one of the other things you always say too is AI may never be able to write true human emotion and never be able to really write what my personal stories have been my life. And I think until it can do that, I think we're fine.Michael Jamin:Yeah, we'll see. They're doing some, I guess, crazy amazing things, and I don't know. We'll see. But I'm not sure. I don't know why you or any other aspiring writer would want that. I would think you would want to root against that.Kevin Lewandowski:Oh yeah.Michael Jamin:I think, don't you want to write stories? Don't you want to be the author of the stories, don't you? Isn't that why you want to be a writer, to take what's inside of you and express it in a way that entertains people? Or do you want to be just the person who plugs the computer in the morning and say You're a writer?Kevin Lewandowski:And I think about the writer strike we all went through, and that was a huge topic of conversation, and writers took a sacrifice to stop this from happening to help protect writers that are going to be coming up. And I think it's probably going to be an ongoing battle for a while.Michael Jamin:Yeah, the world's changing fast. Yeah. Scary.Kevin Lewandowski:Yeah. Too fast.Michael Jamin:Yeah, too fast.Kevin Lewandowski:Is it possible to have two showrunners attached to one project, the creator of the show, and one more experienced showrunner?Michael Jamin:No. I mean, they're not going to be equal. I mean, I suppose anything's possible, but it's very unlikely. I've been on shows where someone, a younger writer created it and then they assigned a showrunner. And the showrunner on that one show, the showrunner was very gracious, and he included this young writer and a lot of the decisions, and it wasn't like he made it a partnership as best as he could, but at the end of the day, he was still the boss. Someone has to be the boss, but he was very gracious about how he treated this young writer and he really wanted to mentor him. But again, when you're a mentor, that means more than the other person.Kevin Lewandowski:And you and Seaver have run shows together, right?Michael Jamin:Yeah. But we're a partnership, so that's a little different. But this person is talking about one person created another one. Everyone wants to be a showrunner, which is again, why it's so freaking hard. I want to make all the decisions, but you don't know based on what you don't know what you're doing. Why would you want that? Is it an ego thing you want to tell people you're a showrunner or don't you want to learn? Do you assume? When I was starting off, I didn't want to be a showrunner for 10 years. I didn't want to be a showrunner. This is a hard job. I don't know how to do it. And then you get to the point in your career where it's like, it's either that or unemployment. So I'm like, all right, sign me up for showrunner.Kevin Lewandowski:What, even with that, the rooms I've been in, you just see how many meetings that the showrunners have to be in that aren't necessarily directly related to the writing and the story. It's costume stuff, it's hair and makeup stuff. It's set pieces. It's all these different things that they have the final, final approval on andMichael Jamin:And that's the easy part, all that stuffKevin Lewandowski:Breaking in. Any advice for being hired in a writer's room without coming up with an original show idea? Or do you have to bring an original idea to an interview?Michael Jamin:No, you don't have to. You can write a script on an existing show. You can write a great Game of Thrones spec script, and as long as the showrunner wants to read it and thinks it's great, you're hired.Kevin Lewandowski:Yeah. Do you think in today's world, from what I've heard, spec scripts sort of aren't really a thing anymore. Do you think a lot of that has to do with just because there's so much out there that if I'm like, here, Michael, here's a specs on whatever show, there's a real chance that I've never heard of the show.Michael Jamin:Yes, that's exactly, and that's why, that's why I think it's unfair. I mean, life is unfair, but that's why I think it's harder today than it was back when I was breaking in. Because you could write a spec sip on an existing show on er, and everyone knew what ER was. Yeah.Kevin Lewandowski:It's interesting too, because then I've heard you say this too before, if you're running whatever show and it's in season two or season three, and you're interviewing me and you read my original pilot, you're more like, well, this is great, but I want to know, can you write my show? That's what I want you for. Your original pilot is cool, has nothing to do with my show. I want to know. Can you write my show? Do you have the character's personalities down?Michael Jamin:And it's harder to create an original show, a pilot. It's much harder, I feel, than creating a spec script of an existing show. That's the days we live in. What are we going to do?Kevin Lewandowski:Yeah, I think that might've been all of our questions for right now, but I did want to say, so the one thing I always take away when we talk about this is when writers overcome writer's block, something you always say is Writer's block isn't really a thing for professional writers. You don't get to say, I'm going to go to the beach for three days and clear my head. And if you're really struggling with the writer's block, chances are you don't necessarily have the structure down to a point. And that'll help unlock a lot of problems for you. And that's what Michael scor teaches is those structure points and what you need to know. And I think there's little instances of writer's block where if I'm just kind of like I'm a little frustrated, go for a walk for 15, 20 minutes, and I live by a mall here in Glendale, and it wasn't too long ago, I remember I was walking and I was just thinking about something.I saw these two people, and it looked like it was a boyfriend and a girlfriend, and she had her Starbucks, and she was taking a picture of it, and someone bumped into her and she dropped it everywhere. And I just happened to see this interaction. And the guy, his reaction was kind of like, well, and I thought that was so fascinating because I was like, okay, what's the relationship between these two people? Because this is definitely not a first date. Because if it was a first date, he'd be like, oh my gosh, let me go get you a new one. And so then I was like, okay, so have they been dating for a while? Okay, then it's like, okay, well, if that was his reaction, has this happened so many times? He's just sick of her shit, always posting it to Instagram. He's like, I told you this was going to happen.And then I start kind of building this story in my head of what if this is her moment where she's like, I'm going to break up with you. This is bullshit. You're laughing at something bad. That happened to me. And I remember coming back to my apartment that day, and I felt like more just relaxed and calm. I saw this live event unfold that I don't think anyone else was watching, but I just happened to see this unfold. And I don't think that was anything I could have really written. I think I would've wrote like, oh, she drops it. He picks it up. He wants to impress her because he wants to get laid later. But his reaction was like, yeah, I told him this shit happens all the time. Stop taking pictures. Just drink the damn coffee.Michael Jamin:Yeah, it's good. You're observing. That's what you should be doing.Kevin Lewandowski:It's good. When I worked at a theme park,Get a lot of material there from people, a lot of different personalities, I used to jot down a lot of stuff I used to see and just how people would interact. And it's nice to, when you kind of feel those moments of writing and you're kind of stuck, go back to those notes you took in that can help unlock something. I know you always show on your webinars, you have your black notebook that you've been carrying around your entire career and things people have taught you along the way, and you write 'em down in there. And that's just, that's gold right there.Michael Jamin:Yeah. Write it down. Keep a list of your, like what you're saying. Those specific things are just interesting.Kevin Lewandowski:And because you always say too, when you're driving, you don't really listen to the radio or anything. You just kind of talk with notes on your phone just to get it out there and start thinking about it. AndMichael Jamin:Yeah, if I'm working on a story, I won't listen to the radio. I'll just obsess over this one moment I'm trying to fix in the story. And if I get it, great. Now, that was my writing for that morning was fixing that one problem. Yeah.Kevin Lewandowski:Well, I think that is all we have question wise, Michael. WeMichael Jamin:DidKevin Lewandowski:It. We did it.Michael Jamin:We did it. Thank you everyone. What else do we got to talk about? If you want to come to our free screenwriting webinars, you could sign up at michael jamin.com/webinar if you'd like to. I got a newsletter. Get on that Michael jamin.com/newsletter. And of course, we're unplugging my book, which I worked on for four and a half years. It's called the Paper Orchestra, and it asks the question, what if it's the smallest, almost forgotten moments that are the ones that shape us most? And someone asked me on the live, if I could explain it a little better what it is. And I think what the book, one way to explain it is imagine they're very personal and intimate stories, and I'm sharing them as if, imagine me reading my diary, but performing it out loud knowing that you are going to be watching it. And so I'm going to say it in a way that's going to be entertain you, but it's still my diary. But it's structured in a way, so it's like, I know I have an audience here. And so that's kind of what it is. They're stories, they're true stories, but hopefully they're told in a way that is engaging and makes you laugh and hopefully makes you feel something. It's more importantly.Kevin Lewandowski:Yeah. Yeah. So go to michael jamin.com, check out his book. There's a bunch of, just go to his website, michael jamin.com, click around. There's webinars, there's the podcast. Get uploaded there. There's a couple of free lessons you can download, scripts he's written. There's so much there. And like he said, that you can get his book there and you can get a signed copy from him on his website. And it's Amazon. It was when you originally launched it, it was number one in five different categories on Amazon, so it was pretty wild. So yeah, check out the book, join the class, join our webinars, follow Michael on social media. He's still giving out free tips and trying to help people. And yeah, that's all I got.Michael Jamin:Excellent. Alright. Thank you Kevin. Great job. And if they want to follow you, Kevin, where do they follow you on social media?Kevin Lewandowski:Yeah, so it's Kevin Lewandowski. It's a long last name, I'm sure after you just type the first five letters, it'll pop up.Michael Jamin:Excellent. Alright everyone, until next week, keep writing.Michael Jamin:Wow. I did it again. Another fantastic episode of What the Hell is Michael Jamin talking about? How do I do it week after week? Well, I don't do it with advertiser supported money. I tell you how I do it. I do it with my book. If you'd like to support the show, if you'd like to support me, go check out my new book, A Paper Orchestra. It asked the question, what if it's the smallest, almost forgotten moments that are the ones that shape us most? Laura Sanoma says, good storytelling also leads us to ourselves, our memories, our beliefs, personal and powerful. I loved the Journey, and Max Munic, who was on my show says, as the father of daughters, I found Michael's understanding of parenting and the human condition to be spot on. This book is a fantastic read. Go check it out for yourself. Go to michael jamin.com/book. Thank you all and stay tuned. More. Great stuff coming next week.

You can watch the VIDEO version of this episode here: Retro Movie Geek: Ep. 330 - The Running Man (1987) Movie Review (youtube.com) On this episode, the Retro Movie Geek crew is joined by Chris "The Seavage" Seaver (check out more from Chris here, here, and here), and they're geeking out over The Running Man (1987) and Arnold and the cast Arnold and his one-liners a short PSA about queefing over-the-top fun-filled action and much, much more! Synopsis: Arnold Schwarzenegger is running for his life in the high-tech futuristic action-adventure The Running Man. Co-starring Maria Conchita Alonso, Yaphet Kotto, Dweezil Zappa, Mick Fleetwood, Jim Brown, Jesse “The Body” Ventura and, in a critically acclaimed performance, Family Feud host Richard Dawson. The year is 2019. Television is now ruling people's lives. In the 21st Century, the most popular “audience participation” game show is “The Running Man” - where convicts can win pardons instead of “parting gifts”, by defeating murderous henchmen known as “stalkers”. The stalkers haven't had much of a challenge lately... until Ben Richards came along. Wrongly convicted of slaughtering 1500 innocent people, Richards is the next contestant to fight for his life... and his freedom. When Running Man host Damon Killian says “Come on down!”, be prepared to pay with your life! But Ben Richards isn't going down without a fight. Off Schwarzenegger goes into the burned-out sections of Los Angeles to face four of Killian's ace stalkers: Subzero, wielding his razor-sharp hockey sticks; Buzzsaw, the maniacal motorcycle-riding slasher; Dynamo, practicing his deadly electric shock treatment; and Fireball with his mighty flame-throwing arsenal. Now, the entire country is glued to the tube in a heart-pounding “sudden death” battle! ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: If you'd like to support Chris' WELLSVILLE NIGHTS project (of course you do) click HERE! ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: LISTENER FEEDBACK: Leave us your voicemail feedback at (484) 577-3876. Check out Darrell's other cool podcasts here. Check out Peter's Retro Reviews over at ForgottenFlix.com here. Check out The Forgotten Flix Podcast here. Special thanks to Kevin Spencer for the fantastic show logo! Special thanks to Hayden for the use of his fantastic music for our opening theme this episode! You can check out more from this amazing artist here! Special thanks to Retro Promenade for the use of music from the album Carpenter. Music use permitted under a Creative Commons license. CLICK HERE and get a copy of the album and support these fantastic artists!

On October 28th, I hosted a webinar called "How To Write A Great Story," where I talked about how to come up with interesting and unique story ideas, as well as how tapping into your everyday life interactions with people can help with this. This episode addresses questions you asked in our Q&A session that we didn't have time to answer. There's lots of great info here, make sure you watch.Show NotesFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptMichael Jamin:Yeah, you better figure that out because your story needs to be about one thing everyone wants to throw in the kitchen sink. And it's about this, but it's also about this, but it also has elements of this. It's like, no, no, you don't know what your story is. You got a hot mess. You can't kitchen sink it. Your story's about one thing. And if you think it's about two things, congratulations. Now you have a sequel or you have another episode, but your story's about one thing. And if you think I'm making it up, read stories that you've enjoyed and ask yourself the same question. What is this about you're listening to? What the hell is Michael Jamin talking about? I'll tell you what I'm talking about. I'm talking about creativity, I'm talking about writing, and I'm talking about reinventing yourself through the arts. Hey everyone, welcome back to What the Hell is Michael Jamin talking about? And today I am answering your questions and I'm back here with Phil. Welcome back, Phil,Phil Hudson:Good to be here. Thank you forMichael Jamin:Having me. We had a delay because I borrowed some of Phil's mic equipment for a few weeks and then I gave it back to him with the wrong card. And then Phil, you learned a lesson. The lesson is no good deed goes unpunished.Phil Hudson:Oh man, I feel like's. I'mMichael Jamin:Happy to have taught you that lesson. ThankPhil Hudson:You for teaching me that lesson. I feel like the theme of every story I've ever written is that you get screwed either way. Just so everyone knows. Sometimes high tech is low tech and we have these awesome zoom recorders and they only allow you to have a 32 megabyte SD card. And then the American way of gluttony. We bought massive SD cards for the podcast, missed an SD card somewhere. SoMichael Jamin:Here we're won't run, but we're back and we made it work. We had a little delay. And so today I have these webinars every three weeks or so where I talk to people about writing. And anyone's welcome to join. It's free, go to michaeljamn.com/webinar for the next one. And we have a rotating list of topics that I cover and they're all writing related. And so these are some of the questions I didn't have time to answer during these webinars.Phil Hudson:And you are often testing new subjects too, so if you've attended them in the past, make sure you come sign up so you can get into those.Michael Jamin:Yeah.Phil Hudson:Alright, well, we've got several topics and as we do, I tend to group these together based on subject matter, and these are raw questions just ask during the podcast. So I apologize in advance for ruining people's names and mispronouncing everything, but let's start with craft. I think that's the thing people care a lot about is how do they get better at writing? And s sl junk indie author asks, how does the story structure fluctuate depending on genre, I should say too, this is from your podcast, how to Write a Great Story, which is one of your MyMichael Jamin:Webinar. My webinar. YourPhil Hudson:Webinar, yeah, yeah. Excuse me. Your webinar, how to Write a Great Story, which is one of your most popular webinars that we have. So if you haven't signed up for that, go do that the next time it's up. So how does the story structure fluctuate? Depending on genre, if I'm writing a horror, but I'm used to fantasy, what are some things I need to consider when structuring my story?Michael Jamin:I really don't think there's that much of a difference, to be honest. I think if you're writing a mystery that's different, and I think writing mysteries, people do it wrong all the time. Rich are a little harder to do, but you're just telling the story structure is very similar. You're telling a scary story. A horror story is just a scary story. A fantasy is just, it is a fantastical story, but they're just stories. I mean, everyone gets hung up on these genres. You get to decide the tone and the tone of your story is scary or fantastical, but it's still a story.Phil Hudson:Yeah. Something that you told me privately that I think is interesting for everybody listening, you were approached by a publisher who said, we want to make you the next Save the Cat. We want you to publish this book series, and you've never read any of those things. But for those of us who have, this is commonly taught, what are the tropes of your genre? What are the things in your genre? What is the story structure of your genre? And it's like you read between the lines and it's like what you've said many times. You're taking something apart and reassembling that and it's not the right way. You need to start with structure and then move forward. It's the same reason you do a foundation and then a frame, and then you do the rest of the house.Michael Jamin:You can paint the house any color you want, and that's whether it's scary or funny or dramatic or whatever. That's just color of paint. But the house still looks the same for the framing, still looks the same regardless of what paint you want to put on it.Phil Hudson:Awesome. Just Mason May. How does someone overcome the concern that our work won't live up to its potential?Michael Jamin:Oh, it never does. To get over it, you'll never be happy. You'll never be, oh, I should have done it. This. When you're done, you're always going to look at it and go, I wonder if this could have been better. I think any artist is going to feel that way, but if the question is how do I make sure it's good enough to even share, well, then you can just give it to your friend or your mother or whoever and have them look at it and read it. Take your name off the cover and ask them, did you enjoy reading this? When you got to the bottom of the page, did you want to turn the page or not? And if you wanted to turn the page, you did a good job. And if you didn't, something's wrong.Phil Hudson:Right. Aside from that, what would you recommend people do to overcome the fear of rejection or the fear of someone hating their work?Michael Jamin:I get over it. I mean, that's the job you're signing up for this. Hopefully no one's going to be too mean to you, but just know that when I was starting off, I was no good. No one's good when they start off. I mean, no one starts every single artist you admire, musician, actor, writer, whatever, performer, they were not good when they started. Listen to them in interviews. They'll say as much, so you get better. The more you do, the better you get.Phil Hudson:Yeah. We watch these kids shows now that I've got small children, and one of our favorite shows is Bluey, which I've talked about before. And they just dropped a bunch of new episodes yesterday, and one of the episodes is about drawing. And the daughter bluey is not good at drawing, but the dad's not good at drawing, but the mom's really good at drawing, and then the little sister doesn't care at all. She's just a kid and she's just drawing whatever she wants. And so the dad's super conscientious, self-conscious of what he's drawing. And so bluey the protagonist becomes a little self-conscious of her drawing, and they tell the story that the dad made fun of when he was a kid. So he stopped and the mom, just, her mom incentivized her, encouraged her, you're doing great for a 7-year-old. And she was like, oh, and that was enough. And then she became a wonderful artist. So at the end, bluey and the dad are both freed up to draw the things that they got made fun of or were worried about. And it's this beautiful allegory of just, Hey, just let it go. Who cares? That person's just being a jerk and it's because they envy what you do. That'sMichael Jamin:A good lesson. That's a good lesson from that show.Phil Hudson:Yeah, it's a great show. I bet we should watch it with your kids, Michael.Michael Jamin:My kids are too old to watch TV with me now.Phil Hudson:Yeah, that's scary. It's so sad to hear that. Rachel Zoo, I would like to get my motivation for riding back and for everybody. You have this other webinar you just put out, which is about how professional writers overcome writer's block. And I think that kind of addresses this, but this was before that. But what general thoughts do you have about getting motivation back to write?Michael Jamin:Yeah, I mean, well, first of all, I can't motivate anyone. I mean, if you don't have the motivation in you, then it's not going to get done. So you have to be self-driven. But probably what you're experiencing is the fact that you just don't know how to do it. And so when you don't know how to do something or you think you're bad at it, it's not fun. Why would you want to do anything when you feel like you're horrible at it? But once you learn how to do it and story structure can be taught and it doesn't make writing easier, it makes it easier. It doesn't make it easy, but it makes it easier. So I think the problem that you're facing is you just dunno how to do it yet. So come to some of my webinars and that'll help you a lot just to learn. You're flailing. I don't blame you. It's no fun. When you're flailingPhil Hudson:For everybody who is unaware, you also give away the first lesson of your online course for free @michaeljamin.com/free. And you teach this beautiful lesson about what is story. That alone is worth its weight in gold because it's just something we all miss or forget. And you've even said you forget sometimes.Michael Jamin:Yeah. I mean, I was watching a movie that I got a screener the other, and I'm getting halfway through, I go, there's no story here. I'm bored. And now my wife was bored by it too, but she didn't know why. I knew why because I'm a writer. I'm like, what's the story you're telling? No one knew. And yet the movie got made. I dunno, I got to tell you.Phil Hudson:Yeah. The other thing that comes to mind is many people have heard this guy, and you've heard me talk about him before, this guy, Jocko Willink, former Navy Seal leadership consultant, multiple New York Times bestsellers, a huge podcast, and he has this motto that says, discipline equals freedom. And he's like, it's a little bit counterintuitive because you think if you're disciplined, then you don't have choice and you can't do things. And his point is, if you are disciplined, you don't have to rely on motivation. And that's what I hear from you and I've heard from other professional writers is being a professional is doing it When you don't feel like it, motivation doesn't matter.Michael Jamin:You know what? I'll tell you as well, I post every day on TikTok or at least five or six days a week. I find, and I've talked to other creators who feel the same way. If I take too many days off, it gets harder to get back on. So two is the max, and you got to, because I know people think it's easy to, it's not easy posting on social media. It's like I got to think about what I'm going to say. I got to rehearse it, I got to shoot it, then I got to tag it, upload it, make all the meta tags. I don't do it in two seconds. And yeah, it's like brushing your teeth. You have to do it,Phil Hudson:And that's like any habit they say you can mess up once, don't mess up twice. It's like dieting, don't make two bad choices. If you made one, that's okay. Now continue to get back on track, but it's discipline, discipline, discipline. You just need to sit down and do the work because that is what is required. And if you're not willing to do that, this is not the career for you. It might be fun for you to do on your own, but even then I imagine that's going to be pretty brutal if you don't have the discipline and the habit of just sitting down and doingMichael Jamin:It. Oh, even if it's a hobby, it'll still be more fun if you know how to do it. I mean, golf is a hobby for most people. The better you get, the more fun it is to play.Phil Hudson:Yeah, I don't like being bad at things. That's very true. Great. Stephanie Anthony, what are daily writing exercise exercises that are invaluable to helping to build stronger storytelling muscles?Michael Jamin:Well, I don't do exercises, but would certainly have. Keeping a journal or a diary and writing it, knowing that no one will read it is very freeing. When I was in high school, I wrote, I had a creative writing class and our assignment was to write daily entries in this journal and we gave it to him at the end of every class and then he would read it and he was always so kind. He always said such nice things about what I wrote. He was looking forward to reading it. I thought that was really nice of him to do. I'm sure it wasn't very good, but I was trying to entertain him and he appreciated it. Yeah, just write and read how those are your exercises. Write and read.Phil Hudson:I've talked before about some of my experiences translating for the Sundance Labs and some of the things I got to do with the scholarship I had through Robert Redford and this woman Joan, who runs these workshops at the labs for whether you're a writer, a director, whether you're doing editing, whatever it is, everyone goes through this basic storytelling lab with her, these workshops almost every day. And it's about taking, basically it's what you talk about in your course, mining your life for stories. And I remember that one time I went and she saw me and she recognized me from doing this Redford scholarship stuff, and she was like, it's so good to see you here. And I told her what I was doing and she was introducing everybody in the room and I introduced myself and she was kind enough to say, and Phil is a very talented writer, and I made the mistake of saying, well, that's why I'm here translating. And I've been thinking about that literally today as doing the work and practicing and getting better and then getting acknowledgement from other people is important. The practice of doing it every single day is the exercise. And then I think the other exercise is accepting people's praise when it's earned and deserved.Michael Jamin:Take the compliment because you know why it's insulting not to. It insults the person, not if you shit on it, then they gave you a giftPhil Hudson:And I did.Michael Jamin:I see people do it all the time. You're not the only one. It's normal. You also feel like, well, I'm not good enough.Phil Hudson:My thought was like, well, I'm not in the labs, so I'm here translating, but I did it in front of people and I did apologize to her after, and she was very kind and we had a good chat about it, but that was ringing in my head today.Michael Jamin:It's hard to take a compliment for a lot, a lot of time I feel the same way. I feel the same way,Phil Hudson:But if you say no or you shoot it down, then it's all going to be harder because you're reinforcing unconsciously that you are not good or it isn't good enoughMichael Jamin:AndPhil Hudson:You got to take the wins. Take the wins.Michael Jamin:Yeah, right.Phil Hudson:Awesome. A couple of questions related to the topic, and you're online screenwriting course, so they're kind of bundled together, Joel Riedel regarding execution of an idea in a script. How do you know when you've taken a script far enough? In other words, how do you know if it's ready?Michael Jamin:Well, kind of the same. I kind of touched on this earlier, but basically give it to someone and take the title sheet off. If so, they don't know you wrote it and then give 'em a week or so to read it. And if they get to page 20 and they ask, they're going to say, what do I know? I'm not a Hollywood director. How do I know if your script is any good? You say, well, no. When you get to 20, do you want to read more? Does it feel like I gave you a gift or a homework assignment? That's it. You don't even, because your reader is your audience, they don't have to be a Hollywood insider to know whether they like something or not. Do they want to turn the page or not? And if they do, it's good. If it's not, if they don't, that's a problem.Phil Hudson:Yeah, there's levels of that too, because I've written things that I've given to friends and they said this was great and then given 'em to you and you've given me good praise, but solid feedback and things that I could improve, and it's the quality of the feedback is also important, but what I'm hearing you say is regardless of that, if you have a show on tv, whoever's going to sit down and invest their time to watch your story, they need to all understand there's a story here and it's worth the hour of my time, the 27 minutes of my time, whatever it is that they're doing.Michael Jamin:Yeah, because no one's obligated to watch your show. They'll turn the channel now. So that's how you judge things.Phil Hudson:Yeah. Are you ever at a point when you write things where you feel you've done enough, I'm happy with that one, that one's good to go, or is it always like, I can make that better. I just got to turn it in?Michael Jamin:Yeah, I always feel that way. Even with my book coming out, I always feel like I could have done that a little differently, but it's like, no, you got to let it go. You got to let, but I saw an interview with Frank Geary and he was looking at, I think it was 60 minutes, and he was staring at the Disney Concert Hall, which he designed, and he's a fantastic architect. I think he was with Leslie Stall, and they're admiring his work and she goes, when you see this building and it is one of the most beautiful buildings in la, yeah, it'sPhil Hudson:Great. It's gorgeous. If you guys have seen Iron Man, I want to say Iron Man one, they go to it,Michael Jamin:They do. It's very sculptural. It looks like a piece of sculpture, and she said, when you look at this building, what do you see? He goes, I see all the things I would do differently now, and he's a master, so you just never get past that stage,Phil Hudson:But that's not the job of a pro, which is what you teach. The job of a professional is you do the work, you turn it in, you move on.Michael Jamin:Yeah, you move on to something else and make the next one better if you can.Phil Hudson:Well, you always do the best you can with the time you have. Is that accurate to say?Michael Jamin:Yeah. Yeah, for sure. That's definitely what with tv, we got to turn on an episode of TV and at the end of the week, so we do the best we can.Phil Hudson:Yeah. Awesome. Camika Hartford in creating a story with structure in mind first, is it ever useful to organically write or figure it out, then go back and pick out the pieces you want to create a solid narrative, or is that just wasted time? This is in regards to Greta Gerwig process. That's a little bit different than most people. That'sMichael Jamin:A great question, and if you were writing a movie on your own time, sure, you can write it. You don't have time to schedule. You could take four years to write your movie, and if you want to discover it organically and if you understand how to do that, if you understand what that means, it means you have to write and write and then you figure out what the story is. Then once you finally find the story, you can go back and rewrite all the other stuff that's not the story and then fix it. But you still have to understand what story structure is to know what you're fixing. If you were to on a TV show though, you don't have that luxury. You're on staff with a bunch of other writers in a room, and before one word is written, you break the story on the whiteboard and then you outline it. Just don't discovering the story. Everyone agrees on what the story is in the writer's room, so it's a very different process. One is more organic, the other is definitely more efficient.Phil Hudson:You said everyone agrees, and I've been in the room, or I've seen people not agree with the showrunner.Michael Jamin:When I say everyone agrees, I mean the showrunner agrees. Yeah,Phil Hudson:So just for a point of clarification for people, it is not your job to approve every decision in a writer's room, but like you said, when you're writing something for yourself, you have the luxury of doing that. So yeah, fascinating question and answer. Thank you, cam. Gleb, Lin, how can I bring my vision to life through a screenplay?Michael Jamin:How can I bring my vision to life? I'm not really sure. Are they asking how do I sell it orPhil Hudson:How do I think? What I'm hearing from this question based on the topic is, alright, so I've got this vision for what I want my story to be, and I've chosen screenplay as my medium. How do I get what's in my head on the pageMichael Jamin:And justice?Phil Hudson:You knowMichael Jamin:What? I saw this short by Wes Anderson last night, God, I can't remember what it was called, damnit, I don't remember what it was called. It was with Ray Fines and Ben Kingsley. It was a half hour long and it was typical Wes Anderson only, it wasn't shot like a movie, it was shot like a stage play, and so the character would talk and behind the character, the sets would move and would fly in this different set. Then he'd pretend to walk and then he'd be in a different set, and it was wonderful to watch. It was so creative, but on paper, it's the most boring thing in the world. There's no magic on paper. You have to see it. So if that's what you want to do, you're going to have to just build that yourself. You're going to have to got a phone, you got a camera, you got friends, make it yourself and don't spend a lot of money. Whatever you think it's going to cost, I guarantee you I can shoot it for much less because it's not about the money. It's always about the words and the more creative you are. I did a bunch of commercials that I wrote for,Phil Hudson:It's just about to talk about, wereMichael Jamin:You going to say that?Phil Hudson:I was, yeah.Michael Jamin:For Twirly Girl, my wife had a company called Twirly Girl, and we shot all these commercials and I wrote and produced them and I hired a bunch of high school kids to shoot it as my crew and the sets, I built the sets out of cardboard, literally I got cardboard boxes and I built everything. And the fact that it was made out of a cardboard made it funnier. It made it silly,Phil Hudson:But tonally on point too because it's a children's clothing line, right? Yeah.Michael Jamin:But it was magical, but it had the same, Wes Anderson has that same kind of magical thing about him. It doesn't exist so cool about it.Phil Hudson:For those of you who haven't seen them, are those published anywhere? Are they on Twirly Girl YouTube? I know we have in your Vimeo account. I've seen them.Michael Jamin:I know there, I mean, I think you could see some of them. If you go to twirly girl shop.com,Phil Hudson:Would you ever want those published on your site just as examples?Michael Jamin:We can do that. Do you think someone is interested? We should put some there.Phil Hudson:Why don't you guys, if you guys are listening to this, just go comment on Instagram and just put hashtag twirly girl in the comments, and so we know if you guys want to see 'em, we can load 'em up on your side. Yeah,Michael Jamin:We can make a page for that, but it's probably a good idea, Phil. I think it should be inspiring. Each of those commercials, they're about three to five minutes long, whatever. Maybe they're five minutes, but I cut 'em down to three and each one costs, the first one I think was 1200 bucks. You can do it cheap. You can do it cheap.Phil Hudson:My business partner Rich, he was one of my professors in film school, actually he's teaching at Grand Canyon University in Arizona. He's teaching film right now. And so for the final project last semester, he had them shoot a video, basically that kind of commercial for pickleball brand. And the thing looks incredible. There's amazing camera, there's crane movement, there's drones, it looks good, and $128.Michael Jamin:Yeah. Oh, that's great. That's great.Phil Hudson:Yeah, it looks like it was 10 grand. Now there's, it got to perform as an ad. I dunno, but the quality was definitely there and what I'm getting to is when you talk about getting your vision to life, it is the job of the writer. It is the job of the writer to get the vision on the page so that anyone who reads it can see that vision. But it is the director's job to take that and work with the art department and everyone else to expand it. Or in tv, the writer is typically the showrunner. That showrunner has that same capacity to get the vision made beyond doing it yourself. I think the other piece of advice that I might give would be you need to understand your craft. You need to understand what a screenplay looks like, and your formatting and your own style and tone are going to influence your ability to do that on the page. If you're not going to produce your own stuff, and I don't mean that to counter what or contrast with what you're saying, it's just the person who's not going to go shoot those things. If you're just talking about it from a writer's perspective, you got to have your story there. The structure has to be sound, and then you need to be able to use the words and the style and format of screenwriting to get the job done to convey that vision.Michael Jamin:And as you were talking, I forgot to tell you this morning on TikTok, someone tagged me and they said they're in law school and that they're taking an entertainment law class and their professor assigned them to watch my channel.Phil Hudson:That's awesome. Why?Michael Jamin:I don't know why. What a weird homework assignment.Phil Hudson:Love it. Love it. Maybe he's going to just call out all the things that you could be sued for. Yeah, maybe. That's wild, man. The world's shifted in the Michael Jamin sphere over here. You got Michael's got his own Wikipedia page too. Yeah,Michael Jamin:I'm on Kpia. Yeah,Phil Hudson:A couple of years ago you would've never wanted any of this attention, right?Michael Jamin:No, I still struggle with it a little bit. I still strugglePhil Hudson:Just highlighting that for everybody here who's struggling to put their stuff out there, what a lot of these questions are about, you wanted to do something, just publish this book and you said, what do I need to make that happen? It's been over two years in that process. And your book will be coming out pretty soon.Michael Jamin:Yeah, we'll do a special episode on that. But yeah, when I'm yelling at you guys to build the damn mountain to build it yourself, I just want you to know everything I recommend, either I have done or I'm currently doing, so I'm not talking out of my ass. SoPhil Hudson:Zero hypocrisy here with the recommendations and I will defend you on that because I see it happening. Yeah. Alright. Sucks to suck has a question. Great. Great. Username story build finding, planning the path of the characters. This is a statement, it's not a question, but when you're story building, how do you find or plan the path for your characters? What are their arcs?Michael Jamin:Yeah, I mean, that's something I teach in my course, my screenwriting course. Come sign up michael jammin.com/course, but that's not a 32nd answer. That's a 14 hour course. So yeah, come to my webinars. I did a webinar a couple weeks ago where I literally gave away part of the course. Not a lot of it, just a small part of it.Phil Hudson:I was surprised. It's a lot though. It's a lot of nuggets in there of,Michael Jamin:Yeah, there's a lot of good stuff in that. I was like, I kind of felt like, guys, if you don't hit the whole thing, you're missing out because this is pretty good stuff.Phil Hudson:What was that? How professional writers create great characters? Is thatMichael Jamin:What it meant? No, it was, I don't know. It was not. It might've been getting past writer's block or what was the onePhil Hudson:After that? Both of those are pretty good, and I think you've given a lot of new context and a lot of context in there for that. I think it was a great characters was one specifically on this subject, and you talk about this, I don't want to spoil it for people who are going to miss it, but you talk about the principle of how to put the right character in a story and it is worth watching. I don't want to steal the opportunity for you to learn that lesson by listening to Michael.Michael Jamin:Come to my talk on characters that it'll help you a lot and it's free.Phil Hudson:Awesome. Sammy Cisneros, how strict should we follow conventional story structure?Michael Jamin:I would say don't break the rules until you understand them. So I would say very strict, and just so you know, I don't break the rules and I've been doing it for a long time. If it ain't broke, why fix it? Honestly, once you're in that story structure, there's still so much creative freedom that you can have once you understand, it's not like I don't feel handcuffed when I'm writing a story that way. I feel liberated. I understand how to do it. There's the roadmap that'll help.Phil Hudson:You discussed this principle of Picasso in your free lesson, which I think everyone should go pick up or rewatch if you've signed up for it in the past, but you talk about what it means to become a master and it's visually apparent when you look at the way you display that in that lesson.Michael Jamin:Yeah, go watch. Yeah, that was in the free lesson,Phil Hudson:Michael jamon.com/free.Michael Jamin:Yeah, go watch that. That'll help.Phil Hudson:Great. Leoni Bennett, when breaking a story, do you keep track of both plot and story?Michael Jamin:Yeah, it's all yes, all yes. And if you don't know what that means, there's a difference between plot and story, and I talk about this in I think the free lesson, but yeah, you have to keep both in mind. You don't do one without the other. It's the same time. You can have a plot if you have a good plot, but no story. You got nothing. If you've got a good story but no plot, you also have nothing. So you need both.Phil Hudson:Yeah, I think lesson two in the course is heavily dedicated to this, and you do touch on it on the free one, but second year in the course and you get to lesson two, it's like, oh, okay, this makes a lot more sense. And I've always said this since we started the podcast and doing this stuff together. You're the only writer I know online who talks about story and not plot everyone else's. What are your plot points? What is this plot? What is this beat? How does this beat build to this? What is your inciting incident to this thing? To crossing the threshold to the Boone? And they're mixing all this jargon from all of it's youngian, it's Joseph Campbell. It's like all this stuff. It's very hard to even wrap your head around. And I'm egotistically. I consider myself to be a pretty intelligent person who's capable of learning. And very often when I started studying screenwriting, I was just beating my head against the wall because it's like I don't even understand what subtext is, and you're telling me to use it, but no one's teaching how to use subtext, which you talk about, but it's that. Yeah, it's the story. It's story, story, story. And then the plot is, to me, it is the painting of the story. It's what makes the story matter.Michael Jamin:Well, I watched a movie the other day and there was plenty of plot. Things were moving along, things were clipping, things were happening, but the whole time I'm like, so what? Who cares? Why do I, this is so who cares? And so the story is really the who cares part. Why shouldPhil Hudson:Write that down? WriteMichael Jamin:That down. Yeah, write that down. It's the who cares. It's what to me as the viewer or the listener or the reader, it's all the same. Why do I care what happens to the main character? And if you don't, I won't say it on camera, I won't say which one it was, but it was a big movie, big budget, big director who's done some great stuff. You shouldPhil Hudson:Just text me so I know what itMichael Jamin:Is. I'll tell you later, but I was like, who cares? Why do I care about any of this?Phil Hudson:Yeah. Dave Crossman, who is pretty active in the course we've talked about before. He has said that I have a coined phrase now when I read someone's script. It's a lot of things happen, a lot of people doing things and nothing's happening.Michael Jamin:Okay, yeah,Phil Hudson:That's good. Lots of stuff. JustMichael Jamin:Plot is so boring.Phil Hudson:Cool. Yeah. Alright. David Campbell, how do we determine which contestants, which content to reveal in what order?Michael Jamin:Oh yeah. I have a whole analogy that I go through in one of my free webinars about the order in which you unpack the details of your story is really important, and that's what I teach in the course. But for sure, yeah, a lot of times you'll read new writers and they just do a dump. They just dump everything out. But that's not how you tell a story. The story is like you as the author, you get to decide when your reader learns this, and that's how you keep people turning the page.Phil Hudson:Yeah. I have bought a lot of self-published books from friends and people I went to film school with and some are good and some are like, wow, what you just put in a chapter could have been a whole book and you ended this chapter in a place that makes zero sense. And it's because of the way they're laying out the story. They have so much they want to say they're just rushing through it or they have so little they want to say it's dragging on. And to me, I think that's what we're talking about, story structure. If you understand structure, then the artistic way you unfold that sort of unravel that story is your craft and your voice and that the person who comes to mind for me is Guy Richie. I think Guy Richie does that masterfully in his stories.Michael Jamin:Yeah, I'm working on a story right now, which I'm writing, and there's one of two ways I want to write it. And so I'm not sure which way I'm supposed to do it, but I'll choose one and I'll go down that path and if I find it halfway through, it doesn't work, I'll go back and do the other way.Phil Hudson:So you're saying you're not married to the words you wrote. They're not precious written in stone and can never be changed.Michael Jamin:No. It's all about, yeah, exactly. I've tossed out so many stories that weren't working, but I am always thinking about what's the best way to compel the reader to turn the page.Phil Hudson:High level note there, guys, write that one down too. WriteMichael Jamin:It down.Phil Hudson:Paul Gomez, seven 90 Should a story center around subject or a character, is there a different approach for each? What I'm hearing with this question is should I focus on theme or character when I write my story?Michael Jamin:Honestly, I think you focus on a character and then theme comes a little bit later, but I've seen some movies, the very interesting setting, very interesting subject matter, very interesting. But because I don't care about what the character wants and I'm not invested in the character, I was very unsatisfied with the movie, even though the subject matter was really interesting.Phil Hudson:Yeah. Previous podcast episode we've done, we talked about basically picking a word. There's a word that's going to color my story then to me is theme. What is the theme of this that might help shape the character that I'm telling to convey that theme, but the character has to matter or it doesn't matter what the theme is.Michael Jamin:Yeah. When my partner and I are writing, often we pretend there's a drinking game. That theme will keep on appearing, and often you'll see a word recurring over and over in a script, and we always will drink, drink, and then when we're done, we go back and change those words. So it's not so obvious we disguise it. But if you're doing it right, that theme will reappear many times and throughout your script, but you just have to hide it a little better.Phil Hudson:Yeah. Yeah. Good stuff. Good stuff. Guys. I know some of you are advanced enough to know how much gold Michael's just dumping his pockets right now. Just gold nuggets. For those of you who are newer, this is worth re-listening to so that you can pick up that gold. This is stuff that will shape you, and I would come back and listen to this one six months from now because you're going to be a different place as a writer at different things. I've definitely seen that even just listening to our podcast with questions I've asked you. The answer is that I got two years ago apply very differently to me. Now. I'm a father of two kids now I am dealing with all these other different life issues than I was two years ago, and that affects the way I tell my stories and what things I want to talk about.Michael Jamin:And I'm still learning, guys, just, I mean, you're never done learning when you're writing, so I don't know everything. I just pretend toPhil Hudson:More than he gives himself credit for, but he's going to take credit like we talked about, right?Michael Jamin:Yeah. Right. Yeah. Hey, it's Michael Jamin. If you like my content and I know you do because you're listening to me, I will email it to you for free. Just join my watch list. Every Friday I send out my top three videos of the week. These are for writers, actors, creative types, people like you can unsubscribe whenever you want. I'm not going to spam you and the price is free. You got no excuse to join. Go to michael jamon.com/and now back to what the hell is Michael Jamin talking about?Phil Hudson:Alright, is that my voice asks the beats? Is that what we are referencing here when we talk about story structure are the beats?Michael Jamin:The question is what? What'sPhil Hudson:The question? Yeah, so the context of this is from the webinar, how to write a great story. And when you're asking the question, what is a story or what is story structure? They're asking, are you referencing beats? Is that what you mean when you say story structure? They'reMichael Jamin:Beats, so they're about seven or eight beats in every story, and it doesn't matter whether you're writing a half hour, an hour and a half feature, whatever that you must hit, in my opinion, in order for a story to feel fulfilling. And so those are the beats I talk about. And one is at the bottom of act one, bottom of act two, these are all important beats and I teach that. But yeah, and there's still some creativity you can have. Well, a lot of creativity you can have once those beats.Phil Hudson:I want to highlight something because I know you don't read any of the other advice that people are giving. And again, a lot of these people are not riders. In my intro to storytelling class, which is writing 1 0 1 in college, my professor asked this question, how many beats, beats are in this thing? And he'd have us watch a movie and count the number of beats. And then he put up this image on the board and it was 40 beats. And he says that every feature should have about 40 beats. Now, that's the difference between sequences and beats, and you already can tell this is again very confusing, right? But this is the formulaic approach that is very confusing and shackling to people who are starting out and what you're saying, I don't want people to misconstrue what you're saying by saying there should only be eight moments in a script or eight scenes, but he was describing scenes as beats and how you progress through things. And that comes from a book, and I can't remember which book, but it lays that out.Michael Jamin:That's just too many. How are you going to keep all that in your head? I feel like eight is manageable. Eight not eight scenes, but eight moments that you have to hit. And then it just like when you go from A to B2C to D, you can take a little side trip from A to B, but you still got to get to B.Phil Hudson:Yeah. And I think that USC and UCLA, I think they use what they call eight beat story structure, which mirrors pretty close to what you teach, but you'd expect that because they're proper film schools taught by professional writers, directors, producers, editors who are just doing that now because they've moved out of their first career. So yeah, I just want to make sure people are not misconstruing the two or conflating 'em. NRS creates How can a series pilot with more than eight main characters work without story overload?Michael Jamin:You wouldn't want to have that many go back and watch some of these old pilots or any pilot even towards whatever season five or eight. They may introduce a lot of new characters, but in the pilot, how many characters were in the pilot? And if it's a sitcom, you're talking probably five or six. It's if an hour long, you're going to have a few more. You might be eight, but you should be able to service eight characters in an hour long story. So it shouldn't be a problem. It's when you start growing the cast, it gets more complicated.Phil Hudson:Yeah, I think lost is a great example of this. Tons of people, plane crash, there's mayhem happening all around you, and we're looking at four or five people. And then as the series goes along, they introduce more people and the stories become more complex and there's side things happening. But in the pilot, which is two hours, I think JJ Abrams and Damon Lindelof did that masterfully.Michael Jamin:Yeah, great pilot.Phil Hudson:Richard Monroy, life, death Rebirth. These themes are found in art. How can this be applied to screenwriting?Michael Jamin:Well, I mean, what else are you going to write about when you're going to write about all events that happen to you in life? Jealousy, anger, love, betrayal, vengeance, whatever. That's what you're going to write about. So you're going to you life mirrors art and art mirrors life.Phil Hudson:Yeah. I think that ties back to our theme as well, right? You pick your theme and then that's the thing you're deciding to talk about, and then your characters and the story and the plot all play to paint that picture. Yeah. David Campbell, another question here. Do you have to write a log line for every episode or story?Michael Jamin:Yes. One of the things, when my partner and I run a TV show, what we make all the writers do, including ourselves, is we write after the story is broken on the whiteboard and one writer is chosen or a team is chosen to write that script, the first thing they got to do is write what we call a book report, which is a one page summary of what we just discussed in the writer's room for past week. And this is not as easy as it looks. We need to make sure everyone's on the, were you paying attention? Did you understand what we finally agreed to? And at the top of that book report, we make them write a log line. What is it about? What is this episode about? And it's amazing how that one simple thing can really, really be beneficial. I never assume anyone understands what it's about.And sometimes I tell a story that a couple of years ago, I think it was on Tacoma, my partner and I were writing an episode, we're writing the outline and we're figuring out these scenes. We start arguing over what the scene should be. And I was like, I'm right. And he's like, he's right. And I'm like, wait a minute, what do you think the story's about? And we didn't agree on what the story was about. We literally didn't agree. So we stopped and went back to the whiteboard to figure out what the story was about. Even though we had spent a week working on it, we couldn't agree.Phil Hudson:Yeah, that's how much it matters. I don't know that there's anything to add to that. That's great. Henry Wind, as an audience member, I'm really trying to catch the details and the dialogue so I can understand what is happening in this scene between two actors. How do you deepen subtext?Michael Jamin:Well, characters often don't say what they're actually thinking. And so that's the difference between writing directly and writing indirectly. And again, I talk about this in the course to greater detail, but writing directly is, I'm really mad at you. You hurt my feelings. The other day when you said this about that's writing directly, writing indirectly might be just me ignoring you or me telling you that your hat is stupid. So you know what I'm saying? Who cares about your hat? I'm really mad about you for what you did. And so that's the difference. And the more indirect you can write your writing, the better the smarter it seems.Phil Hudson:Yeah, it's amazing how this is human nature though. Just last night, my daughter, she just turned three, and so she's throwing a little bit of the terrible three tantrums. I've heard terrible twos, but it's really the threes is what every parent says. And she wanted to do something and we said, no, it's time for bed. And so her lovey, her stuffy Is Cob the Cow? And she's like, I don't want cob in my bed. And my wife who's wonderful, says, just because you're mad at us doesn't mean you should take it out on other people. And she said, okay. And then she cuddled her little stuffed animal, but it's human nature to do this. She didn't say, I'm mad at you. She's like, I don't want COB in here. I don't want to sing songs. I don't want to read a book. She's mad atMichael Jamin:Me. She's writing indirectly. She's a writer.Phil Hudson:Yep. She's human nature. The beautiful things you learn from kids, man. All right. Moving on to breaking in the Broken Breaking Seas. That's an apt name. Can you talk about working with a writing partner a bit? I'm very curious what that process is like.Michael Jamin:Well, it's sort of a marriage and you get to decide who you want to marry. I've been working with my partner Seaver for close to 30 years. And at this point there's a lot of trust and there's a lot of, we try to argue as little as possible. The truth is I don't really care if it's his idea or my idea. I really don't. If it's his idea, great. That's one less idea I have to come up with. It's not about my ego and it's really about what's best for the work. And then great. I mean, it helps to have one, it helps have one bounce idea. We can bounce ideas off each other and often he'll shoot down my idea, say whatever. I don't really care. It's really about getting the work done.Phil Hudson:We did a whole episode about writing with partners on the podcast, so go check that out as well.Michael Jamin:Yeah.Phil Hudson:Alright, moving on to miscellaneous questions. We got about 10 left, Michael, does that sound good? Sure. We hit those in the next 17 minutes and wrap this up in an hour. Sounds great. Lisa J. Robinson, for a beginning writer, what program do you recommend to write a script that is very user-friendly? Imagine thatMichael Jamin:RightPhil Hudson:In my mouth. Didn't even know, didn't even know Michael. This question in October would serving today. SoMichael Jamin:Every single television show, movie, everything I've sold, every single one of them have been written in a program called Final Draft. And that is considered to be the industry standard now. So it's the best as far as I'm concerned. Now. They offered me a brand deal a couple months ago, and so I've since done some spots for them and I had no problem doing it because it's not like it's a product that I have. I use the product, so Sure.Phil Hudson:And you've turned down so many deals from people with different writing software. Even when we first started doing this, people were reaching out. It's like, Hey, we'd love to pay you to talk about our screenwriting software, and you turn them all down.Michael Jamin:No. So thisPhil Hudson:Is a bigMichael Jamin:Deal, but if you want to use Final Draft, we do have, they gave me a brand deal, so if get on my newsletter, we said, well, there'll be a link on my newsletter and you can click on that link and you can get a discount 25% off on finalPhil Hudson:Draft. Do you want to give them the code? Do you want toMichael Jamin:Give the I think so we could do the code. Yeah.Phil Hudson:It's M jamming 25 I think, right?Michael Jamin:24 I think.Phil Hudson:Correct. For it's 24 M jamming 24, but it gives you 25% off your purchase. And I used it and it worked on my upgrade from vinyl draft 12. So you saved me 25 bucks on something I was going to buy anyway.Michael Jamin:Yeah, you can upgrade. You can upgrade at some point you have to continue, you got to upgrade your, so it doesn't fall out of surface andPhil Hudson:And there's new stuff that come in. There's all kinds of stuff that comesMichael Jamin:That, yeah, there's bells and whistles, but honestly I've been using Final draft since final draft five. They don't update it every day, every couple of years they improve it.Phil Hudson:We used a final draft for the collaboration mode in the writer's room.Michael Jamin:The collaboration is a good feature.Phil Hudson:And while I was doing this yesterday, this is totally unprompted, I was looking for this. You sent me a bunch of stuff and in 2016, just as I was going to move out here, you were asking me for my resume, like, Hey, there's somebody out here who was interested in getting your resume. And I sent it over and you told me in here, and I'm trying to find the exact words, but it was basically study final draft and know it like the back of your hand. And that was 2016, so that you've been preaching this for a long time.Michael Jamin:Yeah, it helps to know that program. Yeah.Phil Hudson:Great. Alright, Mimi, how to find the main idea from a lot of ideas you have in your book. So I'm assuming she's writing a book and she wants to know what the main idea. Yeah,Michael Jamin:You better figure that out because your story needs to be about one thing everyone wants to throw in the kitchen sink. And it's about this, but it's also about this, but it also has elements of this. It's like, no, no, no, you don't know what your story is. You got a hot mess. You can't kitchen sink it. Your story's about one thing. And if you think it's about two things, congratulations. Now you have a sequel or you have another episode, but your story's about one thing. And if you think I'm making it up, read stories that you've enjoyed and ask yourself the same question. What is this about?Phil Hudson:What's the difference between an A plot B plot C plot though, if it's only about one thing,Michael Jamin:Right? So an APL will occupy two or three characters, and that's a story that has the most emotional weight, and that's the one that has the most time on screen. YouPhil Hudson:Have, it's usually the leads too though, right? It's your main character.Michael Jamin:But if you have five leads on your show, then two of them will be in the A story. And then you have to occupy your other characters. So you give them a B story and maybe a C story if you still have to occupy some of them. But they don't carry as much emotional weight often they're just lighter.Phil Hudson:You don't want 'em sitting in their trailers cashing a check, right?Michael Jamin:Yeah, you got to pay these people. The audience wants to see them too. So you want to give the audience what they want.Phil Hudson:Great mental pictures. Love to know an example of a log line on a whiteboard in the writer's room.Michael Jamin:So a log line might be, okay, we wrote an episode called Fire Choir, and I think the log line was Eddie joins a malePhil Hudson:Choir acapella group. It was like firefighters, acapella choirMichael Jamin:To basically recapture the lost fame of his youth. It was something like that. So you knew what the plot was and you also knew what the story was. Oh, he's there to recapture his law. He was famous, whatever. He was in a garage band when he was a kid, and here's the chance to feel like a star again. So that's what it's really about. It's about the fame partPhil Hudson:And a great episode with one of our favorite characters. Wolf BoykinsMichael Jamin:Wolf. Yes. So played by Paul Soder.Phil Hudson:Paul Soder says, hi, by the way. Oh, you should have him on the podcast.Michael Jamin:I should. I'll get him on. That's a good question. Yeah.Phil Hudson:Richard Monroy, can you describe this Greta Gerwig style in more detail? It seems more unstructured and organic.Michael Jamin:It's not unstructured, it's just the fact that it's definitely not unstructured. It's just that how she comes about finding the structure. So I believe she still hits the same eight points that I'm talking about, but whereas in TV or even in movies, for the most part, you'll think about this before you're ever writing a word. You're figuring out what those story points are. And you might spend weeks or months if it's a movie before you're actually writing. But she doesn't do it that way. But she's Greta Gerwig until you become her, you may want to rethink how you do this, but what she does is she starts writing, oh, I think this is what it's about. And she starts typing the script and she'll say the same thing. I've heard her talk about it. Alright, now I have an 800 page script. Well, we can't shoot an 800 page script. Now she has to go back and throw out 700 pages and figure out what the story is. So it's very inefficient, but it's organic. But again, she can do it. She knows what story is. And by the way, that movie made a billion dollars. It's not for me to say that she's doing it wrong, she's doing it right. It's just that it's just inefficient. And unless you really have a good grasp upon what story structure is like she does, you're probably going to screw it up.Phil Hudson:This just popped into my mind, one of the best tiktoks I've ever seen was this story. And you've seen 'em before. And it's like everyone told me that I was a loser and I would never make it as an artist. And over the years I've practiced and honed my craft and it shows all these different art. You see their art evolving year over year, and now here I am and look what I've done. And then they show the worst drawing of a horse you've ever seen. And it brought me to tears because mocking this thing, which is the reality, is you can't be a one year in rider or a four year in rider and think that you can write the way someone's been running for 20 years will, you also can't do it, but think you're going to paint or draw the way in one year or two years. The way that Picasso or Van Gogh or anybody else has done who's devoted their life to that craft. It's effectively, I'm hearing you say, is she's earned the right to do things her way and it shows in the box office, and that is not an excuse for you to do it that way, and that's not to say you won't do it that way, but you have to learn structure and process and all of those things form light balance. You have to learn those things before you can make artMichael Jamin:And it's not easy for her. I saw an interview where she was saying, look, every time I sit down, I'm like, I don't know how to do this it, you're starting from scratch. I feel the same way. It's like, ah, I don't really know how to do this. I do, but I still feel like I don't, it's hard.Phil Hudson:Yeah. Yep. I saw that interview too. And that's going back to what we talked about earlier. That's the discipline. It's hard, but she sits down and does it and then she's able to get billion box officeMichael Jamin:And sometimes I'm writing, I'm like, am I saying too much or am I saying too little? Am I taking my audience? Am I insulting their intelligence by saying too much or am I taking their intelligence for granted? That's a hard question.Phil Hudson:Yeah. EG wants to know what if the notes you receive from the higher ups make the story worse?Michael Jamin:Often it does. Your goal is to try to give them what they want without making the story too much worse. And what can I tell you? Sometimes they're not writers so often that's the give and take. Often you'll argue with them, you're almost never going to win the argument, and so you have to give them what they want. They're the buyer. And so sometimes people say, sometimes it makes it better too, but people often say, why does TV suck? Well, there's a lot of people involved and a lot of people have opinions and they all want to be heard. I've worked with actors who've had notes who make the story worse. What are you going to do? That's the job. It's it's life.Phil Hudson:I've talked about this documentary before, but showrunners, which you can find it in a bunch of places, they talk about an interview, a pretty well known actor. I'm blanking on his name, but he talks about how at a certain point, the first year, the showrunner, it's the showrunner story. The second year, it's the showrunner story, the third year, it's kind of a balance between the actors and the showrunner, and then the fourth, it's kind of the actors because they are the characters. And his whole opinion here was, I think famously he got an argument and a heated battle with the showrunner who created the show, and the showrunner got fired because he was the star of the show. And he said, it's my job to protect my character because that's me and who I'm playing. And I was like, yeah, that's just the reality of this. It's none of it's yours.Michael Jamin:You can't, the funny thing is, yeah, the showrunner hires all the actors. It's their show. They sold it, they created it, but at some point, if there's an argument between the actor, the star and the showrunner, you can always get a new showrunner. The star is on camera, and so the star is going to win that fight nine times out of 10.Phil Hudson:Yeah. Pretty interesting. Go check that out guys. Yeah. Richard Roy asks, if you're an independent writer, do you ever reveal what you're working on in early stages?Michael Jamin:Some people tell you no. I mean, some people will say, don't reveal your dreams to anybody because people will tell you how stupid it is for you to dream. So why keep it to yourself? That's a personal choice whether you want to share it or not.Phil Hudson:Yeah. My opinion is screw the haters.Michael Jamin:Screw the haters. But also, I mean, you can also put it out there and maybe they hold you accountable. Well, now that I went on record saying I'm going to do this, I better do itPhil Hudson:For a lot of people, a lot of people, that's some strong accountability saying, I'm going to do something. Eagle Boy, 7 1 0 9 0. How strict should we expect prospective studios to be about the page length of a historical drama limited series? I've seen some episode ones that are nearly 80 pages for an hour long show.Michael Jamin:Listen, the question is who do you think you are? I mean, when you write your script, your script is a writing sample and that's it. Stop thinking about what I'm going to sell it for, how much money I'm going to make. Some people ask me, how much money can you make as a first? Now you're spending the money. Your job first is to write a great script. That's it. One episode. Don't worry about episode 12, writing that one first. Great script is damn hard enough. And it's a calling card. And it's a writing sample. So some of these questions are for people like me, this is a question I might ask a fellow showrunner. I might ask them that question because we are doing, this is stuff that we have to worry about, but you don't have to worry about this.Phil Hudson:Yeah. Big note there too, that this is the big takeaway I've gotten from doing this work with you over the podcast is everything is a writing sample. If it sells, great. If it's good enough to sell, great. But right now, I need to be good enough to give me a job.Michael Jamin:Yeah, get me a job.Phil Hudson:Yep. Matt Sharpe, with the changes to TV writing rooms during the pandemic, do you see Zoom rooms still being a thing post the WGA strike? More to the point, do you still have to live in LA to write in tv?Michael Jamin:A lot of these rooms are still on Zoom. That's probably going to go the way at some point. I don't know. Maybe it's going to get back in person probably sooner than later, but someone made that point. I was going to do a TikTok on social media. What are you talking about? Everything's on Zoom. Okay. But how do you get the job? How do you get the job so that you can be on a show that's on Zoom. Tell me how you do that. Unless you live in la, there's no answer for that because you have to live in la. Sorry. There's a handful of screenwriters who work mostly in features who get to live other places. Maybe they have to fly to LA or maybe they live in New York. I follow Julia York from New York. She lives in York or Yorks, but she's in New York and she's able to make a living out of it somehow, but it's definitely harder. You made a hard career. You're making a hard career. Harder.Phil Hudson:Yeah. Tacoma FD is now streaming on Netflix, so everybody go watchMichael Jamin:That. Go watch thatPhil Hudson:Talk. Tacoma fd, which is the companion podcast that Kevin and Steve the showrunners do that dropped. And in episode four, I actually was in the cold open and I got put in the cold open. They talk about it on Sarco fna. It was very kind of them to mock me a little bit and poke fun. But what they said is basically what you have said to me all along is if you want to make it in Hollywood, you have to be in LA because they need you Now. It's not two a week from now. And evidence of this is I got cast in the cold open because the actor tested positive for Covid that day. And they said, well, this is a guy protesting pornography, and Phil is a religious dude. Let's get him out here. And then they were like, he came out and he gave this tirade of just Christian anti pornographic stuff. It's like he'd rehearsed it, you could tell. And it was like I'd done acting classes with Jill and with Cynthia. I've done prep work. I've been on set. I've seen how it's done, and I was just able to go and perform in this moment because of all of that prep work. And I only got it because I was on set standing next to the showrunner when he heard that this guy got covid.Michael Jamin:So two things, half of life is about showing up and two, but also being prepared for yourPhil Hudson:Could imagine, because you could have choked shot the bed. Imagine you could choked shot the bed

Summary James Crossland (Twitter) joins Andrew (Twitter; LinkedIn) to discuss the origins of modern terrorism. James is an expert on terrorism, intelligence, and propaganda. What You'll Learn Intelligence -The origins of modern terrorism  -19th century spymasters  -Covert action and assassinations -Intelligence as a weapon Reflections -Philosophy and ideology's effect on history -The power of fear And much, much more … Quotes of the Week “These waves of repression that feed into discontent and create more radical strains of discontent, that is a process that's really observable during this period. The reason why I think this is the first real age of terrorism is because you have all this stuff coming together: Communications that you need to promote terrorist activities to gain the attention you need, societal discontent, dangerous ideas … and it's all moving around together as part of the same process.” – James Crossland.  Resources  SURFACE SKIM *Spotlight Resource*  -The Rise of Devils: Fear and the Origins of Modern Terrorism, J. Crossland (Manchester University Press, 2023)  *SpyCasts* -Venice's Secret Service with Ioanna Iordanou (2023) -St. Ermin's Hotel, London – The History of a Legendary Spy Site, with Stephen Duffy (2023) -Espionage and the Two Queens with Kent Tiernan (2023) -The Lion and the Fox – Civil War Spy vs. Spy with Alexander Rose (2023) *Beginner Resources* -Terrorism, J. P. Jenkins, Encyclopaedia Brittanica (2023) [Short article / definition] -What Were The Most Important Events of the 19th Century?, C. Seaver, History Defined (2022) [Short article] -Marxism in Under 5 Minutes, Theory in 5, YouTube (2020) [3 min. video]  DEEPER DIVE Books -Sofia Perovskaya, Terrorist Princess: The Plot to Kill Tsar Alexander II and the Woman Who Led It, R. R. Riggs (Global Harmony Press Inc., 2018) -The Pursuit of Power: Europe 1815-1914, R. J. Evans (Penguin Books, 2017)  -Blood and Rage: A Cultural History of Terrorism, M. Burleigh (Harper, 2009) Primary Sources  -The assassination, who is responsible? (1901)  -New York Times “Empress of Austria Slain” Article (1898)  -New York Times “War On Terrorism” Article (1881) -La vérité sur Orsini (1872) [The Truth about Orsini] -Manifesto of the Paris Commune (1871)  -The Revolutionary Catechism (1869)  -On the Fenian Prisoners in Manchester (1867) -Procès de Orsini (1858) [The Trial of Orsini] *Wildcard Resource* -You may have already read his classic play Crime and Punishment, but have you read Dostoevsky's The Idiot (1869)?  This novel is known as Dostoevsky's most personal work, a story that clearly shows the threads of his own life experiences during 19th century Russia. The novel explores many of the same questions of philosophy and politics explored in this episode of SpyCast. 

It's our third installment of shows about the origins of Mother Goose nursery rhymes. Spoiler alert: Many of the real stories are hard to pin down.  Research: Cheadle, Roberta Eaton. “Dark Origins – Here We Go Round the Mulberry Bush.” Writing To Be Read. https://writingtoberead.com/2021/06/30/dark-origins-here-we-go-round-the-mulberry-bush/ Historic UK. “More Nursery Rhymes.” 4/15/2015. https://www.historic-uk.com/CultureUK/More-Nursery-Rhymes/ Halliwell-Phillipps, J. O. “Popular rhymes and nursery tales : a sequel to the Nursery rhymes of England .” London : John Russell Smith. 1849. Howard, Jennifer. “The Realities Behind the Rhymes.” Washington Post. 6/11/1997. https://www.washingtonpost.com/archive/1997/06/11/the-realities-behind-the-rhymes/9fbd7d36-4bb9-4fc0-af38-58fbe3fb7e43/ Ker, John Bellenden. “An essay on the archaiology [sic] of popular English phrases and nursery rhymes.” London. Whittaker. 1834. https://archive.org/details/b29309670/ Littlechild, Chris. “The Egg-Citing Truth Behind Humpty Dumpty.” Ripley's. 7/4/2019. https://www.ripleys.com/weird-news/humpty-dumpty/ Opie, Iona Archibald and Peter Opie. “The Singing Game.” Oxford University Press. 1998. Opie, Iona and Peter. “The Oxford Dictionary of Nursery Rhymes.” Oxford University Press. 1997. Overstreet, Mikkaka. “10 Disturbing Nursery Rhyme Origin Stories to Celebrate Nursery Rhyme Week.” Book Riot. 11/4/2021. https://bookriot.com/nursery-rhyme-origin-stories/ Seaver, Carl. “The Strange Historical Origins of the Humpty Dumpty Nursery Rhyme.” History Defined. 1/24/2023. https://www.historydefined.net/humpty-dumpty-history/ Tearle, Oliver. “A Short Analysis of the ‘Hickory Dickory Dock' Nursery Rhyme.” Interesting Literature. 9/2018. https://interestingliterature.com/2018/09/a-short-analysis-of-the-hickory-dickory-dock-nursery-rhyme-history-origins/ Tearle, Oliver. “A Short Analysis of the ‘Sing a Song of Sixpence' Nursery Rhyme.” Interesting Literature. https://interestingliterature.com/2018/10/a-short-analysis-of-the-sing-a-song-of-sixpence-nursery-rhyme-origins-history/ Thomas, Katherine Elwes. “The Real Personages Of Mother Goose.” Lothrop, Lee & Shepard. 1930. Wood, Jennifer M. “The Dark and Mysterious Origins of 10 Classic Nursery Rhymes.” Mental Floss. 10/28/2015. https://www.mentalfloss.com/article/55035/dark-origins-11-classic-nursery-rhymes See omnystudio.com/listener for privacy information.