Podcasts about seavers

Heather Heil from the Green Bay Children's Museum swings in to fill us in on a great fundraising event tomorrow night! Prohibition New Year's Eve starts at 6pm and promises to be a Roarin' Good Time. Come in your best 1920's 1920s-era outfit for your chance to win a prize! And be ready to dance to live music by Meet the Seavers. This 1920's 1920s-inspired event will be at Prohibitions Spirits & Cigar Lounge. The former Green Bay Packer Rich Moran joined us via phone to give us his assessment of the loss to Minnesota. This segment is sponsored by Burkel's One Block Over! Maino and the Mayor is a part of the Civic Media radio network and airs Monday through Friday from 6-9 am on WGBW in Green Bay and on WISS in Appleton/Oshkosh. Subscribe to the podcast to be sure not to miss out on a single episode! To learn more about the show and all of the programming across the Civic Media network, head over to https://civicmedia.us/shows to see the entire broadcast lineup. Follow the show on Facebook and X to keep up with Maino and the Mayor! Guests: Heather Heil, Rich Moran

We bring to you the 100th episode of The Victory Couch! Due to the depth of material, we had to break it into two parts. We discuss why we continue putting out new content even in a challenging podcasting industry, AND we might just have a few surprises for you amazing listeners up our sleeves. Squish on in and celebrate with us! You are welcome here (The Victory Couch is hosted by Rick and Julie Rando). Show notes: Connect with us on Instagram @thevictorycouch, Facebook, victorycouchpodcast@gmail.com, or www.thevictorycouch.com Please review us! Want a new Victory Couch sticker for your water bottle, laptop, guitar case, etc.? Send us a message and we'll mail you one. SUBSCRIBE to The Victory Couch e-mail list by visiting https://www.thevictorycouch.com/ and click SUBSCRIBE at the top of your screen. Leave us a voice message through Spotify for Podcasters: https://podcasters.spotify.com/pod/show/thevictorycouch/message The Holderness Family https://theholdernessfamily.com/ After listening to all 100 episodes what's your favorite episode or favorite story? Pretty Woman https://www.imdb.com/title/tt0100405/ Recent movie quote episode https://open.spotify.com/episode/6nISaFmPbAHsdl4QyP9hyw?si=uckeuiXWQUKRW9YMHc18sA “Big fun with the Wretched” The Cosby Show Season 6 Episode 22 https://youtu.be/bYpVzc3qunE Do you think teenagers or young adults could get something from listening to the VC? What would you tell people who have not listened to the VC what the podcast is about? Annie F. Downs https://www.anniefdowns.com/ Guest #1 couch crumb: trying to find shoes in Western Maryland Guest #1 prop your feet up: hosted a successful Thanksgiving dinner What would you like to have on the VC we haven't gotten to yet? What would you like for Season 5? Which episode stands out in your mind as the most memorable? Sarah McLachlan https://www.sarahmclachlan.com/ Growing Pains https://www.imdb.com/title/tt0088527/ If you had to choose between the Seavers on Growing Pains or the Keatons on Family Ties who might you want to live with? Family Ties https://www.imdb.com/title/tt0083413/?ref_=fn_all_ttl_1 Pluto https://pluto.tv/ The Cosby Show https://www.imdb.com/title/tt0086687/ Stevie Wonder https://www.steviewonder.net/ Macbeth Gilligan's Island https://www.imdb.com/title/tt0057751/ The Addams Family https://www.imdb.com/title/tt0057729/ Leave It to Beaver https://www.imdb.com/title/tt0050032/?ref_=ext_shr_lnk What kind of suggestion do you have for our listeners who are trying to get more in touch with their creative side? If you could summate what The Victory Couch is-- what is it that we do? What do you think it is about The Victory Couch that can be appealing to those who are male? Guest #2 couch crumb: lots of people out there hurting, volatile time after the election still Guest #2 prop your feet up moment: having grown sons come home Was it tough being a dad of twins? The Olive Garden https://www.olivegarden.com/ Couch crumbs: between season 3 and 4 we lost all of the acuired reviews our first two years as podcasters, Thanksgiving was so sweet and went by far too quickly Prop your feet up: outdoor décor was finished by Thanksgiving, Wicked the movie https://www.imdb.com/title/tt1262426/, Dylan as JoJo in Seussical

WISCONSIN MUSIC PODCAST  WMP Linktree: https://linktr.ee/WI_Music_Podcast  AMPLFYING WISCONSIN MUSIC  Episode 160   Meet The Seavers  meettheseavers@gmail.com www.MeetTheSeavers.com In this episode of the Wisconsin Music Podcast, hosted by Zach Fell, listeners are introduced to the eclectic sounds and dynamic journey of 'Meet the Seavers,' a band known for their unique mix of swing, odd time signatures, and musical theater. Zach interviews Jace Seavers, the upright bass player and vocalist, who shares his rich musical history, including playing bass for a gospel choir in Chicago and writing lyrics for Island Records. Jace and his wife Dorothy moved back to Manitowoc, Wisconsin after years in Nashville, where they hosted a musical variety TV show from 2014 to 2019. The episode dives into their experiences, challenges in the music industry, and their advice for aspiring musicians. The Wisconsin Music Podcast is available every Tuesday, with past episodes aired on Fox Cities Indie Radio every Thursday at 6 pm and Sunday at 3 pm.

This episode is proudly sponsored by BARK! Learn more about the great solutions they've developed to help parents like you balance the need to keep your kids connected with the desire to protect them from the harms that come along with it at the link down below! LEARN MORE!

‘The Fall Guy' follows Colt Seavers (Ryan Gosling), a stuntman for world-famous actor Tom Ryder (Aaron Taylor-Johnson) who abandons the industry and his girlfriend, Jody Moreno (Emily Blunt), following an accident on set. When Ryder is cast in a new film directed by Moreno, Seavers is lured back into the game later by producer Gail Meyer (Hannah Waddingham) at what he believes is the request of his ex. But arriving on set, he learns it's because Meyer needs him to track down Ryder, who's gone missing. As he tries to bring back the star, reconnect with Moreno and save the film, Seavers finds himself a real-life stuntman as he lands in the middle of international crimes much bigger than he had imagined. Reggie “The Reel Critic” Ponder shares his thoughts on the film, which he describes as “an action movie on steroids” — though it has some flaws. ‘The Fall Guy' landed in theaters on May 3. Find showtimes at thefallguymovie.com. "The Reel Critic" is hosted and produced by Reggie Ponder. Follow Reggie on Twitter and Instagram @TheReelCritic, and on Facebook @ReggieTheReelCritic.

‘The Fall Guy' follows Colt Seavers (Ryan Gosling), a stuntman for world-famous actor Tom Ryder (Aaron Taylor-Johnson) who abandons the industry and his girlfriend, Jody Moreno (Emily Blunt), following an accident on set. When Ryder is cast in a new film directed by Moreno, Seavers is lured back into the game later by producer Gail Meyer (Hannah Waddingham) at what he believes is the request of his ex. But arriving on set, he learns it's because Meyer needs him to track down Ryder, who's gone missing. As he tries to bring back the star, reconnect with Moreno and save the film, Seavers finds himself a real-life stuntman as he lands in the middle of international crimes much bigger than he had imagined. Reggie “The Reel Critic” Ponder shares his thoughts on the film, which he describes as “an action movie on steroids” — though it has some flaws. ‘The Fall Guy' landed in theaters on May 3. Find showtimes at thefallguymovie.com. "The Reel Critic" is hosted and produced by Reggie Ponder. Follow Reggie on Twitter and Instagram @TheReelCritic, and on Facebook @ReggieTheReelCritic.

"The Fall Guy" ist eine Liebeserklärung an die guten alten Filmstunts. Angelehnt an die Kultserie "Ein Colt für alle Fälle", gelingt Ryan Gosling die Transformation von Ken aus "Barbie" zum Stuntman Colt Seavers. Der Film verspricht Action und Humor. Burg, Susanne www.deutschlandfunkkultur.de, Studio 9

Heute wird mal gar nicht über Filme geredet. Also nicht im geringsten. Nicht einmal im Ansatz. Großes amerikanisches Ureinwohnerehrenwort. Folgt uns auch sozialnetzwerklich: Instagram: https://www.instagram.com/h2sooo_podcast/ Facebook: https://www.facebook.com/H2Sooo-100776148771160

2024-03-08_after_further_review_03-07-24

2024-03-28_after_further_review_03-07-24

Greg Cerbana, VP for Public Relations and Government Affairs for Weidner Apartment Homes shares that we are all created to contribute in one way or another. Meaning comes not as much from the work that we do but from the impact that we make. The Seavers, Lety and Ric, have found that having their own children involved with them as they serve has become integral to the success they have building community on their property. They also make it their mission to love on, support, and show appreciation to their Property Manager. It is a demanding job for all managers. The Seavers bring a healthy dose of encouragement in many ways.  

In September, I hosted a webinar called "How To Write A Great Story" where I talked about what a "story" really is, as well as how to use personal stories to help your writing. 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 Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptMichael Jamin:It's not that The stakes of rocky areas are not about will Rocky win the fight? Who caress? Will Rocky win the competition? The contest who caress? No one cares if he wins. The stakes are, will Rocky finally feel like he's not a loser? Will he finally feel like he's not a bum? And that's something something all of us can relate to. 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 another episode of, what the Hell is Michael Jamin talking about? Well, today I'm talking about, I'm answering questions. Phil, I'm back here with Phil Hudson. Hey Phil. What up? So why do these webinars every three weeks? And I try to answer questions during them and we don't have time to get to all of them. So I'm going to be answering them right now and Phil's going to feed 'em to me.Phil Hudson:That's right. He'sMichael Jamin:Going to baby bird them to me. He's going to chew them up and dip 'em into my mouth.Phil Hudson:I'm going to spit 'em into your mouth. Regurgitate 'em. Love it. Yeah. You guys know the thing. We've been doing this for two years now, so we've got plenty of these episodes in the Can questions came up. We're going to dive into 'em Again, some of these things that were asked, we're not going to go over Michael because we've talked about 'em a thousand times,Michael Jamin:ButPhil Hudson:There are always some of those things that are still being asked that worth talking about a bit. So we'll go through 'em. I've broken 'em up into kind of categories just to make sure that it's easy to get through. Just be more, there are a couple of questions about your course in this I thought were worth bringing up because that was a lot of the questions that came up in September.Michael Jamin:Let's do it.Phil Hudson:Alright, let's dive into craftMichael Jamin:Michael.Phil Hudson:Dr. Adam wants to know, and these are YouTube. YouTube usernames forMichael Jamin:Anybody interested? Yes. Doctor IPhil Hudson:Help you with Dr. Adam wants to know how important is it for someone else to edit your writing,Michael Jamin:Edit? Well, when we work in television, it's very collaborative, so your work will be rewritten often heavily by the showrunners or the writing staff. But it's a very collaborative process from the beginning. We all work together to break the story, meaning figuring out what the story is, and I teach this in the course, how to break a story, and then you get notes in the outline, the first draft, the second draft, and the table draft, blah, blah, blah. So it's very collaborative. But if you're talking about, I dunno if the doctor's talking about some other kind of work other than television writingPhil Hudson:The Good Doctor.Michael Jamin:Yeah, I don't know, doctor, I'm not really sure what you mean other than I hope I answered your questionPhil Hudson:To me. Either way.Michael Jamin:You're getting my bill.Phil Hudson:Yeah, if you're billing the doctor, I love it. For me, this is a question more about, it's a common question I've seen with people starting out, which is getting feedback or peer review, if you will on things. I had a couple of friends over Mike Rap who's a writer on Tacoma d and Kevin who will feature the podcast soon and is in the screenwriting course. There were football and we talked a lot about this kind of stuff in writer's room stuff. They both work in writer writer's rooms and getting notes from peers even outside of the writer's room at our level, Kevin and I have probably spent 40 or 50 hours on Zoom now giving each other notes onMichael Jamin:Writing.Phil Hudson:That's incredibly helpful, but it's not so much that they're editing my writing, it's more of them talking about This didn't work for me, or Hey, I got confused here. And that's the feedback that you always talk about, which is the valid feedback is someone gets lost, they don't understand. It's not compelling. It's not really on page three. You have this ticky tack note where you overcapitalize a word or something like that.Michael Jamin:Yeah, editing could be not so much getting answers from someone, but just getting questions. And the questions could be, if someone's reading your work, they could say, I, what were you going for here? I didn't get what you were going for. And then you get to decide whether you want to clarify or keep it muddy. And probably keeping it muddy is probably not the greatest choice. So you just want to make sure that your audience is along for the ride. And I was going to do a post about this soon where I think part of your responsibility as a writer is to make sure you're holding your audience's hand and taking them along for the ride and not letting go because you don't want them to get lost. If they get lost, they're going to find something else to do.Phil Hudson:Yeah, that's a great point. Yeah, it's an interesting too, when you work with people who know story structure and they've been in writer rooms and they're giving you these notes. There are times where this thing didn't make sense to me, but I understand what you're going for there. Or I would consider this doing a different way. But then you get a note from the other guy and they're like, I loved this part. And so that conflicting thing is like, okay, I can keep this one. That's a choice. But when they're both like, Hey, I got really bogged down in this piece, that's a clear sign. You've got to fix something.Michael Jamin:Yeah, right. Thank you DoctorPhil Hudson:Alex Kier, any tips on writing a story with multiple characters and stories like love? Actually?Michael Jamin:Oh, well, first of all, stories have multiple characters, but you're talking about multiple storylines. And so love actually is not that uncommon. It's a fun movie, but it's not that uncommon. You're basically just having multiple storylines and all the storylines are united by this one thread, which is love during Christmas. That's it. And there's different types of love. There's Brotherly Love. The way the Rock Star character had for his manager, what was that guy's name? But there's brand new love the way the two characters who met on the porn set. That's like an awkward way of meeting. And there's other romantic love between a couple that's been married for a long time, and that was Emmett Thompson's character with Alan Rickman's character. Then there's Love, new Love Upstairs, downstairs, love, which was, what's his name? Hugh? Hugh Grant, come on. Hugh Grant, thank Hugh Grant's character.I don't remember her name, but he was the prime minister and she was the lowly chambermaid or whatever she was supposed to be. And then you have another Love one character was a love where they can't communicate. So it was Colin Firth's character and I don't remember her name, but she didn't speak. She was the Portuguese maid and she didn't speak English. So you're just examining love over Christmas between different types of love and that's how they're all united. So that was the theme. And every story has to tell a version of that. Oh, then there's one of the love there was brand new love, like puppy love, right? There was a storyline between the kid and what's his name? He was like the young kid and his stepfather, Liam Neeson. And he's trying to coach him into, wasn't that in love actually, or is that somethingPhil Hudson:Else? I have never seen love actually.Michael Jamin:Oh, you got to watch it. So yeah. So those are my tips. So that's it. And you're just kind of integrating these very stories so each one can stand on its own. Each story can stand on its own. And you're probably, if I had to time it, I would imagine that most stories, so there was one other, there was unrequited love where the guy had a crush on his best friend's, new wife, Kira Knightly, and so all different kinds of love. And I imagine if you took a stopwatch and you timed out each storyline you'd get to, they, they're all approximately the same amount of weight in terms of screen time and that's it. And if they weren't, I imagine it's because some of the stories got cut down because we weren't quite as compelling on camera as they were in the script. But I talk about this a lot. Maybe I should do a breakdown in the course of love. Actually, I talk aboutPhil Hudson:This. People love that. And you brought love actually up in stuff in the courseMichael Jamin:I did. Okay. We already talked about it.Phil Hudson:Well, I don't think you've done a case study. And for those who are unfamiliar, Michael has these awesome case studies in where you'll talk about movies you love Amle, and you'll talk about, I think, did you do Rocky Ferris Bueller's Day Off Castaway, just looking at films and TV shows and kind of breaking 'em down for story structure and talking about what works, what doesn't. And then you also hypothesized this, I imagine got cut in editing becauseMichael Jamin:AsPhil Hudson:A writer, there's a thing here that could be here or was missing, that kindMichael Jamin:Of thing. Yeah, there was a scene that I think that was missing from love actually, that I imagine they shot, but they just cut it for the sake of time.Phil Hudson:But I think it would be worth doing that. I think the members in the course would be pumped to get another case study,Michael Jamin:But there you go. Take the course if you want to learn more. But that, it's a good question.Phil Hudson:You hit on something that you talk about in one of your webinars that we're going to be putting back into the cycle because people really liked it, which is how do professional writers create great characters? And there's this nuance you talked about in the September webinar thatMichael Jamin:BecamePhil Hudson:A full webinar, and it's about how you pick your characters. So I'll leave that a bit nebulous. So anybody's interested in that, come attend the nextMichael Jamin:Webinar. Yeah, please do. Because free in the next one, I'm talking about either character or story structure.Phil Hudson:So when this podcast drops, it'll be like tomorrow, literally tomorrow, that's going to be the podcast that we're talking, the webinar we're talking about. And you can sign up at michaeljamin.com/webinar to get notified.Michael Jamin:Yeah.Phil Hudson:Cool. Leanne Allen, how important is it for the goal to be broadly relatable?Michael Jamin:Well, it's very important. I mean, the goals should be hugely important to the character, and it should be something that we could all hopefully relate to. I mean, if the goal is redeeming yourself in your mother's eyes, that's very relatable. If the goal is, I know if the goal is winning first prize, first place in a contest, who caress, it has to be more than that. It has to be more relatable than that. To be honest, I don't really care about winning contests, so I don't really care if your character wins a contest, but if winning the contest is a way for this person to finally feel good about themselves and their lives because it's validation, because they're a loner and because no one's ever looked at them twice and win this contest as a way of them being able to hang their head up high publicly, that's a relatable goal. Understand. But winning a contest in itself, who cares?Phil Hudson:And that's the value of what you teach in these webinars and in the course is the difference between plot and story. Plot point would be they have to win this contest. The story is like, why does this matter? ToMichael Jamin:Why?Phil Hudson:How is this going to affect them? It's the internal need versus the external need. Winning the contest is the external, but the internal is the reason we watch it. And that's the relatable piece.Michael Jamin:Yeah. Yeah.Phil Hudson:Awesome. Desmond Bailey, how do you not front load the pipe?Michael Jamin:Oh, well, boy, I talked about this a lot. I wonder why they're askingPhil Hudson:This. And just to clarify for people, this will be helpful. These are questions directly coming from the chat in the webinar when people are asking questions and they're questions we didn't get to in the q and a portion of the webinar, so this is something you had related to, or they're setting something you set in the webinar, which was don't front load your pipe or don't be pipe. And so maybe explain pipe and expedition to people.Michael Jamin:So pipe is what we call in the business, we call it exposition. So it's all the stuff that you need to know. It's the background story. It's the story before the story begins. And generally it's boring. Pipe is just like something you need to hear, not you don't want to hear it. You need to know to the characters. And so generally, the faster you can get to the pipe, the better, or you have to be artful about the pipe. So here's a bad version. You'll watch a show and you'll say, Susie, you're my sister. Why would I ever do that with you? My sister? A character would never tell another character, you're my sister. That's pipe. Because that character, she knows her sisters, Frankie, we've been best friends for 18 years, Frankie knows this. And so there are ways to get through the pipe artfully so that your audience doesn't feel like, Ugh, why people don't talk like that. Often a way to do this is by introducing a third character. So when a third character comes on the screen, the person who are you just talking to? Ugh, I was just talking to my sister. Now we know who that person is. Right? Sis, anytime you hear someone, a character calling the character sis, you roll your eyes. I've never met anyone who called her sister Sis.Yeah, and I talk more about that in the course, but I just happened to watch, I was sent a short to potentially work with someone and they shot a miniature TV show. I guess it was sent to my agent or somebody. There was a lot of pipe in it. It was a lot of clunky pipe because they just didn't know how to do it Every time it just stops the story cold.Phil Hudson:So the question is, how do you not front load the pipe? Do you have any tips for how to do that? I mean,Michael Jamin:ObviouslyPhil Hudson:The character, but if I've got to get this stuff out, and maybe you don't need to get it out at the front, because I saw someone do this masterfully where a character was introduced very late in the film, and it added this beautiful plot point that tied back to something at the beginning and explained something. But it was intriguing enough that I got through two thirds of the film before this part mattered. But it's rare to see that. It seems like people are just, act one is laying down the pipe and getting you set in your wall.Michael Jamin:YouPhil Hudson:Understand? And I don'tMichael Jamin:ThinkPhil Hudson:What you teach us is that that's the wrong way to do that.Michael Jamin:Yeah, because pipe is so boring. All that exposition is boring and you think it's important. You think you need it, and I'm telling you, you better figure another way around it. No one wants to hear it. So you could drip it out slowly as the audience needs it, or you could burn through it fast or you could, there's just a number of ways of doing it, but giving me entire scenes of pipe is not the way to do it. That's going to bore the hell out of everybody. No one wants to watch pipe.Phil Hudson:Yeah, makes sense.Michael Jamin:Yeah.Phil Hudson:Awesome. So those are our craft questions for this episode or for this, but we've got breaking in one question on this, Kelli Art, what's the best way to get paid to learn writer's assistant? How do you get such a competitive job?Michael Jamin:Yeah. Well, so writer's assistant is a fantastic way, but it's not an entry level job because you have to know how to do it. I've talked about this before. I'm not qualified to be a writer's assistant. I don't really know the ins and outs of the job, even though I've been a showrunner several times. So the way you learn how to be a writer's assistant is you start off often as a production assistant and you hang out with the writer's assistant. You ingratiate yourself and you ask, Hey, can I watch you work? And then you learn how they do it. Then hopefully that writer's assistant falls deathly ill, and you take their job away from them, and that's how you do it. Then once you're in the writer's room, that's the best way to get paid to learn. You will learn so much that you'll get lost. And so it's a long process. But yeah, that's a wonderful way to do it.Phil Hudson:And if you're a writer's pa, we've talked about it on the podcast many times, you still get to learn. You're sitting outside of the room within ear, so if they need something, they call you. So you're sitting outside the room listening to them, break the story and tell jokes. And I had this moment where Kevin Heffernan walked in one time and he's just like, and I still really knew it was maybe a month into me being a writer's assistant. This is the showrunner for people who don't know. And he's like, how's it going? You watching a lot of shows? And I was like, Nope. He's like, man, why not? You're sitting here all day. And I was like, I'm just riding. He's good for you. And he just walked away because that's what most people do is they get in that room and they sit there and they just watch Netflix or they do something. But I treated it, and this is probably because of advice you gave me from what you did, is that is craft time. You're sittingMichael Jamin:Down,Phil Hudson:You are riding. So when they're breaking stories, I'm listening to how they're breaking stories. I'm listening to pitch things when they're not in or somebody's out, then I'm working on my stuff. It's just taking advantage of every moment.Michael Jamin:I learned this from my first roommate when I moved out here. I had one of these PA jobs and I was not happy with it. And he's said, just think of it like you're getting paid a lot of downtime. Think of it. You're getting paid to learn how to write. And I was like, okay, you're right. You're right about that. So in that downtime, I just started. And then of course you could read scripts, you could talk to writers, you could ask them, why did you make this change? You get to talk to people and they'll give you little tips hopefully.Phil Hudson:And by the way, Michael, this is advice. You kind of gave me the preamble to this advice really before I even got to la. But then there was a moment where you kind saw, it was two years in three years into doing this stuff, and you gave me that same advice. Just look at it as you're getting paid to learn. I dunno if you could see it in my face or something, but it was like,Michael Jamin:Well, it's hard. I know what it was. It's a souls. It can be so frustrating. You're so close to the job you want. Literally, you are three feet away from the job you want and you're there for years. And it's like, when do I get to move up to that other seat that I want to sit in? So it's very, how is it not frustrating? But it's just how it is.Phil Hudson:But it's not individual either. Like I said, I was just here with Mike Rapp and Kevin, and they're both worst. One has been a script coordinator. The other was a script coordinator who bumped and broken as a staff writer,Michael Jamin:AndPhil Hudson:They were talking, they'd never met each other, so they're just kind of giving each other the resume. And it's like, yeah, I moved here and I was at Disney working in the parks for four years, and then I met someone whose husband was an executive and AB, C, and he brought me in for the pilot season. And then I got hired as a writer's PA on the Muppets. And I was like, this is it. I'm in, because it's the Muppets, it'll never get canceled. And then it got canceled, and then it was hopping between show to show from different job to different job for seven years until he finally got the bump. And Mike rep was not really any different. He moved here and he was in a production company and always dangling the carrot of, we ever get a show, we'll get you into, be in the writer's room. And six years finally got a show and got the job.Michael Jamin:But you know what though? I've been on shows where PA has worked on the show and the PAs have gone to some of the PAs who worked for me. One is big in Chuck Laurie's world, so he's like a exec or, and he's directed several episodes of Sheldon or Big Bang, one or the other. And the other one has done a lot of, it's always Sunny in Philadelphia. And another one is co-executive producer of Bob's Burgers. And these are all people who started off as PAs underneath me. And so that's where they are. So it's like it'sPhil Hudson:Just a process.Michael Jamin:Yeah, it's a process. You got to hang in there.Phil Hudson:I was thinking on my drive today, I went out and had to get some stuff and I drove around and I was like, yeah, I think people just think that this stuff is beneath them, and you can't have that attitude. I came at it thinking, look, this is just the path. This is the apprenticeship model. I want to learn from these people. And you talk about this, people always want to jump further ahead in their careers and become a showrunner and sell their first thing and do that. And we all want that because the dream, but you're kind like, you kind of don't want that. What you want is to learn how to do the jobMichael Jamin:Because you'll get fired so fast if you don't have to do the job. I was going to answer a post like that on social media soon, but someone had a showrunner question. So I'll do a post about that soon.Phil Hudson:Awesome. Cool. Couple of questions about the course here. Tank a Soar. Do you have a lesson on how to write a French farce? And this is a topic that came up in theMichael Jamin:Webinar? Yes, goodPhil Hudson:Question. So maybe define what that is for people. I don't think that's a term many people know.Michael Jamin:A farce is three's company did a lot of Farces, Frazier did a lot of farces. So it's a lot of slamming doors, people overhearing things, misinterpreting things, and only hearing the conversation and assuming that this person wants this thing. And it's a lot of doors slamming and just people crossing and misinformation. It's a lot of fun. And I said in the webinar that I wrote for Joe Keenan, who was one of the Frazier writers, and he created with Chris Lloyd, a show called Out of Practice that I wrote on for a year. And Joe is brilliant, brilliant at writing FARs. I don't know anybody better. I watched a show, a famous episode of Frazier, just to study for this. What could I talk about FARs? I watched an episode, I think it was, I dunno what it's called, the Ski Cabin episode or something. It was very funny. In my opinion, FARs is a really, they're hard to do well and they're hard to sustain. The stakes are always, to me, they're hard to sustain because the stakes are always, it's always about a misunderstanding. And so it's always silly. And so very, very hard in my opinion, to really write a really good farce. And I wouldn't necessarily start there if that was what your goal is, I'd start writing something a little easier. I don't know.It is hard. And they're a little tortured, and that's okay. But yeah, I don't know. You're asking me how do I hit a grand slam? Well, let's talk about how they get on base first.Phil Hudson:Yeah. And the question was, do you have a lesson on how to write a French forest in the course?Michael Jamin:Yeah, there is no, and I thought about after I watched that episode of Frazier, I go, maybe I should do a lesson on that. And then I watched, I go, nah,Phil Hudson:I don't think I should. I think it personally, I just think it would be a mistake. You're going to send all the hundreds of people in your course down a rabbit hole of riding French farces, and they're going to get lost in that, I think.Michael Jamin:And there's no demand for it. Like I said, I think it's just don't start there. Don't start there.Phil Hudson:Shiny object syndrome. We find something new and that's what we want to do. And then the reality is you got to focus on the fundamentals. That'sMichael Jamin:All thatPhil Hudson:Matters.Michael Jamin:Yeah.Phil Hudson:Keith Shaw wants to know is the beat board, the unpacking of the crate? And for context, everybody, Michael has this story he's talked about on the podcast and brings up in the webinar occasionally about how to unpack a story. And there's this crate of parts, and then it's how you unpack that, and that's what a story is. I don't want to give too much away, but whatever you want to give away, Michael.Michael Jamin:Yeah, I mean, so every writer room I've ever been in has a big whiteboard, and the s showrunner will send the whiteboard and we'll start pitching the idea and then we'll figure out how to break it on the board, figuring out what the act break is. First act break is second, act break middle to two top, you lay it out all the parts, and you look at it as a whole and does it hold together? And then that could take a week, and then you start writing an outline off of the board. So when they say the analogy, I talked about unpacking a crate. Yeah. It's similar to what a board is. The whiteboard is. It's like what's the order in which we're going to unfold all the, unpack the elements of the crate to tell an engaging story.Phil Hudson:Yeah. Yeah. Awesome. James Moore, what's the difference between a log line and an outline?Michael Jamin:Oh, well, a log line is one or two sentences. And outline could be 10 pages if you're talking about a half hour TV show. So that's the difference.Phil Hudson:And line is you've alluded to, everyone needs a log line. If you don't understand it, you don't know what you're writing. And an outline is a step in the writing process. And it typically, it's a couple steps after you break a story.Michael Jamin:And the log line, a lot of people don't know if I ask you, what's your story about? And they go, well, it's about this and also about this, and also about this. It's like, okay, if you can't explain what your story is in one or two clear, succinct sentences, if you can't explain your story, then you don't understand your own story. And if you don't understand it, the audience isn't going to understand it. So it's really important to have a clear log line about what your story is about one or two sentences. That's it. Simple. Einstein said it. If you can't explain something simply, chances are you don't understand it.Phil Hudson:Yep. David Campbell asked a very similar question about the order. I think we answered that. So David, that should answer that question for you. JY Tau, does the course teach you how to get your work produced?Michael Jamin:Oh, no. And a matter of fact, that shouldn't be the goal. The goal, that course teaches you how to write a great script. And that's the only thing you have control over here. Most people want to skip that step. This guy's asking me, will the course teach me how to become a millionaire? No, the course doesn't teach you that. Does the course teach you how to give an acceptance speech at the Oscars? No. It won't teach you that. The course, all that is look, that comes later. Hopefully the course will teach you how to write a good script or hopefully a grade script. And everyone skips that step. They assume they already have it. And I'm here to tell you, you don't. And maybe you're the 1% that does great, but 99% of the people think they're in that 1%. And most people who go through the course say, oh, thank God, I wish I know. Now I have to go back and rewrite that script because I thought it was great. And now I'd realize it's not so.Phil Hudson:Amen. I'm one of those people. And this is a bit of the Dunning Kruger effect, which is this moment where you learn a little bit of something and you think you're an expert in it.Michael Jamin:AndPhil Hudson:Then the more you learn, you realize there's a lot to learn. And then there's a certain point where you know more than you think. And Michael, even at your level, I hear you say this, sometimes I'm not as good as that guy, or I'm not that. And that may be factually true in terms of talent, but it's also, that's the humility of being an expert is knowing how little in this space,Michael Jamin:That's another thing is if you were to ask almost any showrunner I've worked with or worked for, they'll all tell you, oh, writing is so hard. It's the people who are just starting out who will tell you, Hey, I'm good at this. And you don't know what you don't know yet. And the more you do it, and now I'm at the point where I'll look at something, I'm like, oh God, I'm starting to unravel and I have to trust myself because it's like, is this the best way to tell the story? Maybe there's a better way.Phil Hudson:That's no different than my career in digital marketing though. I'm at the point where I can say I'm an expert. I've been doing it for how many years? Over a decade. But there's plenty of time still where I'm like, oh man, I don't know. Is this going to work? And then you have toMichael Jamin:JustPhil Hudson:Go back and say, there is a pattern and a history here of results that back up what I think I need to do. And I just have to go with that because million different caveats and details you got to pay attention to in all of this. And Michael, by the way, this is a big thing you helped me with was just focusing on the detail. Stop being so, I don't want to call it lazy writing, so much time and energy that goes into it, but it's the passing over the detail and the detail is the devil. It's in theMichael Jamin:Detail. Yeah, the little things stand out.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 michaeljamin.com/and now back to, what the hell is Michael Jamin talking about Mishu Pizza.Phil Hudson:So if we take the course, do we get certified?Michael Jamin:Phil has tried to convince me to offer certification.Phil Hudson:I think there's a good certification. I want to be clear.Michael Jamin:Its thePhil Hudson:Type of certification we'll explain after yours. SoMichael Jamin:Here's the thing, if I were, I have said over and over again that if you got a degree in screenwriting and MFA in screenwriting or certificate, whatever, the degree itself is worthless. You're not going to go into a meeting, you flash your degree. When I go into a meeting, I don't even talk about my college education. No one caress. No one caress where I went to college. It doesn't come up. All they care is, can I put words on the page that compel people to turn the pagePhil Hudson:And the fight you got into with your wife the previous day? That's the story.Michael Jamin:Oh, we'll talk about that. Yeah, the degree, if I offered a degree, I think I'd be hypocritical. Hey, I have a degree from Michael Jamin University, or whatever the hell it is. I know some people want that, but I feel like, again, it's that's not going to open doors. Your script's going to open doors. And if I can teach you how to write a great script, that's more important than a gold star for me,Phil Hudson:My pitch for everybody was that Michael put out a certificate. So when you complete the course, you get that says, congrats, here's your fancy certificate, it's worthless. Go write something good. You goMichael Jamin:Write something. Yeah, we could do something like thatPhil Hudson:That I thought would be kind of just chef'sMichael Jamin:OnPhil Hudson:The whole thing. Desmond Bailey question, do you build this story? I wonder if his name's Desmond Bailey question or if this is just Desmond Bailey has aMichael Jamin:Question.Phil Hudson:Do you build the story world first and then inject the characters or focus on characters and let the world procedurally generate as they navigate it?Michael Jamin:So I spoke about this though in the webinar, so I feel like he probably was jumping the gun. IPhil Hudson:Think it's a good question. I think it'sMichael Jamin:Worth, yeah. Well, I answered it and I basically say you do it at the same time. And I think about what the world is first and who are the best characters to put in this world, or as I've said in the webinar, who's the worst character to put in this situation? And if you want to know what I mean by that, you're going to have to come to the next webinar where I talk about character. But that's the way I look at it. Who's the worst person to put in this situation?Phil Hudson:Yeah, there you go. Alec Cuddle back. My stuff is usually story driven and people criticize preferring character driven. Why is that?Michael Jamin:Oh, because plot is boring. Okay, what's this person's name?Phil Hudson:Alec Cuttle.Michael Jamin:Alec, alright, Alec. Okay. So I dunno if you're young or old, but there's a movie called Rocky, starring Sylvester Stallone. The first Rocky was fantastic. It won the Oscar put Sylvester Stallone on the map after they did Rocky, they did eight more Rocky, eight more. I don't know how many Rockies they did, including Creed and Creed One and Creed two or whatever. They've made countless sequels to Rocky. Every single rocky has the same exact plot. You put someone in a boxing ring and they get the shit kicked out of them, and then maybe at the end they're alive. So the plot itself for Rocky and most of the Rockies are not considered great. Only one won the Oscar, and that was the first one, even though the plot is virtually identical. So the difference between Rocky won and Rocky a hundred is the story. One had a just amazingly compelling small story, and the other ones lacked that. And so what this guy's Alec is talking about is it sounds like he's just got, I got a lot of plot. Well, who caress the plot is not the good stuff. You got to have a good plot. But it's, the story is what makes people cry. And if you want to know the difference between plot and story, you have to come to my next free webinar because I talk. It's an hour long discussion.Phil Hudson:Excellent. Cameron Billingsley, how do you know you have drawn out the anticipation enough when you're building anticipation in yourMichael Jamin:Storytelling? Yeah. Well, I wonder if the person's talking about any kind of reveal or I guess we don't really know.Phil Hudson:I think this was specifically tying back to the crate, unpacking the crate.Michael Jamin:Oh, okay. Well, how do you know? It's like these moments have to be built to anytime you have a big reveal or a moment in Act three, whatever it is, the big fight scene, the fight scene in Rocky or whatever, you have to build to it. And it's literally putting the steps on a pyramid and then you get to the top. And then if you skip a step or if each step doesn't build, you're not going to get to the top of that pyramid. And the top is the view, the top is everything. And so how do you know? Well, that's the process of writing is taking your, how do you know when you've built the anticipation? That's all of it. So if I were to write Rocky, I'm thinking in my mind, I'm building to the moment when Rocky, at the end, when Rocky's getting the shit kicked out of him, boom, time after time again by Apollo.And he keeps getting up and he keeps getting up. And I want to build that last moment where they're both down on the mat, or I don't even remember which Rocky it was. But when Rocky, the fight's almost over and Rocky's on the mat and he stands up again, just this guy won't go down. And that is even thinking about it, I get chills, but you have to build to that. That's what you're building to, which is a guy who will not quit. And why is it so important? When we talked about earlier in this podcast, it's not that the stakes of Rocky are not about will Rocky win the fight? Who cares? Will Rocky win the competition? The contest? Who cares? No one caress. If he wins, the stakes are, will Rocky finally feel like he's not a loser? Will he finally feel like he's not a bum? And that's something all of us can relate to, is that feeling, that self-worth. And so you have to build to that. How do you know? Well, that's everything. That's what you focus on. And if does help, if you're seen does not add one step on that pyramid, then to build to that final moment, then why are you have it in there? Why is it in the script?Phil Hudson:The next question from Willow is how do you know the difference between true story that should be included versus minutia and unnecessary information? I think you just answered that.Michael Jamin:Yeah. Because if you don't need it, why is it in it? Why is it in there?Phil Hudson:So tying all this together for people who are newer, and good recap for me, because again, you got to remind yourself of the fundamentals every day. You even talk about how you have to remind yourself, oh yeah, this is hero, obstacle, goal, kind of that stuff. So we have a log line, and the log line helps me understand what I'm trying to accomplish with this story. But that's typically based off of a theme and that theme, my opinion generally included inside of that log line, so that I understand this is what I'm trying to accomplish with this. So the log line for Rocky is, can a bum from Philly go the distance with the champ? It's not even, can he beat the champ? It's can he go the distance? And so everyone tells him he can't think he can, and then at the end, there's that moment when he gets up, you're talking about, and Apollo creed's like, soul is taken. Are you kidding me? He'sMichael Jamin:StillPhil Hudson:Getting up. This guyMichael Jamin:Won't get down.Phil Hudson:And that's the moment where it's like, that's him getting up. And then he, Apollo wins and he's like, I did it. And it's like a victory for him because this guy won't stop and everyone's celebrating Rocky. And Rocky goes, Adrian, I did it. Right? Yeah.Michael Jamin:And I think the last line, Apollo says, there ain't going to be no rematch. And Rocky goes, don't want one. He doesn't want, he got what he wanted, and of course they made 10 more. But yeah, a beautifulPhil Hudson:Story. But they all stack and build all of these details build, like you said, you're building them to this and all of them play off the theme and the log line. And that's why all of these details, breaking the story, outlining the story, they all have to be there. Because if you're just, and we talk about how all these writers have different styles, and for some people it's making it up as you go. But professional writers, there's a process. You break the story and you do your thing, and then you do your outline, you do all these things, and then you do your rewrites and many rewrites because you're still figuring out those tiny details. But it's not like I'm going to make it up as I go because you need plant and payoff. You need these things and these symbols almost that allude to the theme and the theme plays throughout the whole thing. And if you're not structuring that like an architect, it's going to feel very hodgepodge Frankenstein. And that's a note you gave me Frankenstein together.Michael Jamin:Yeah. Yeah.Phil Hudson:So there you go. People are going to be pissed. I talked to you not long on your podcast, Michael,Michael Jamin:I'll tell you. No, no, no,Phil Hudson:No, no,Michael Jamin:No.Phil Hudson:Couple more questions here.Michael Jamin:Yeah.Phil Hudson:Justin had another question for short comedy films on YouTube. Max lengths is one minute. That's shorts.Michael Jamin:That's for shorts. Clarify.Phil Hudson:Yeah. Does short structure still apply to any length film? Curious how you would approach writing a story for a one minute film? This is a format question for people who are not in the know. YouTube stories are the equivalent of Instagram reels or Facebook reels,Michael Jamin:YouTube shorts.Phil Hudson:YouTube shorts,Michael Jamin:Right?Phil Hudson:And they are, excuse me. Yeah, so they're 60 seconds, and then IMichael Jamin:Think there's 90. You're saying there's 60,Phil Hudson:That's Instagram. Instagram is expanded to 90, but YouTube is 60. And that's what this is referring to, which is a medium on YouTube, not necessarily a cap on what you can put on YouTube.Michael Jamin:Yeah. So I would say it's really hard to tell a complete story in 60 seconds, but you could tell one part of a story in 60 seconds and then another part, another 60 seconds. You could stretch it out. You might be able to tell a compelling scene in 60 seconds and a scene should have a shape to it, but don't think, can it be done? Yeah. I don't think it could be done that well. I don't think anyone's going to be that satisfied. I think you need more time to get that plane up in the air and land it. But think a bit of it like this, if a story is a journey, how far can you go in 60 seconds on a journey? Not very far at all. You can go to the end of the block. The view at the end of the block is pretty much the same, the view from my house. So I think you need more time. That's just my opinion now.Phil Hudson:Yeah. To see good shorts that you've recommended to me was go back and watch the Broad City original shorts that were put on YouTube.Michael Jamin:Okay. How long are they?Phil Hudson:They can be 90 seconds to three minutes, but they're not full stories necessarily. They're more kind of skits and you introduce your characters and we learn more about them and more interactions in different episodes of,Michael Jamin:That's just really, I never saw those. I saw the TV show Broad, which I love, but I didn't watch the shorts. Got it.Phil Hudson:Someone had a question. Again, these are miscellaneous. Someone wanted to know when they could see your CNN interview. So the day we did this webinar, you had just gotten off with CNN and joined the thing. But yeah, you've been on CNNA couple times now, right?Michael Jamin:Yeah. I think you can go to my website, Phil, right? Isn't it upPhil Hudson:There? Yep. It'll be live is MichaelJamin.com And then you can just go to the About tab and you'll see it.Michael Jamin:Is it on the bound? I thought it was going to be on the pressPhil Hudson:Or something. It's press tab. Yeah, but we don't have the URL final right now, but by the time this comes out, it'll be out because we're doing some cleanup. We redesign on michaeljamin.com.Michael Jamin:Oh, it's Jill's doing a great job. It's going to be exciting. Appreciate that.Phil Hudson:AppreciateMichael Jamin:That.Phil Hudson:Jill Hargrave, she inMichael Jamin:The, oh, wait, hold on. If anybody wants their website redesigned, go check out Rook Digital, which is Phil's company. This is what he does.Phil Hudson:Yeah, Shannon was plugged. Thank you, Michael. Appreciate that. Jill Hargrave, she's in the course, right? Jill?Michael Jamin:I don't know.Phil Hudson:I believe she is. Yeah. If you're writing a biopic, does the story definition apply as the story is at least one event in the person's life and sometimes many more events than just one?Michael Jamin:So ifPhil Hudson:You're writing a biopic, does the story definition apply? I'm guessing is a biopic, is it the whole person's life, or is it a moment in this person's life?Michael Jamin:I don't know. It's kind of what you decide to write it about, I would assume. Yeah, it is what you want to decide. I've seen it both ways. You might write about JFK the early years, and maybe you're following his life in college in Harvard, I think, and that could be a whole thing. Or you could tell JFK's entire life story up until the moment he died. I mean, you could do that as well. But either way, you have to know how, and I talked about this as well. I spoke about, I really hope people come to this next webinar. I use an example of Amadeus, which is, in my opinion, the best biopic ever made. It's a beautiful movie. It's probably three hours long. There's an intermission. There's an intermission fucking movie. That's how long it is. It's myPhil Hudson:Amazing, my wife's favorite movie, by the way,Michael Jamin:Is it, isPhil Hudson:She wants me to name one of our children, Wolfgang. And I was like, come on, man. Wolfgang Hudson.Michael Jamin:I don't know Wolf. I don't know. I don't know. I'm Amm on her side.Phil Hudson:I'll let her know. She'll be pumped.Michael Jamin:Yeah. Yeah. So I spoke about that, about come listen to, I hope they come to the webinar. Well, she did. She heard it where I spoke about You're still just telling one aspect of his life of Wolfgang Mozart's life. You're not, there's a lot. They left out, the guy lived, I dunno how long he lived, but the movie's three hours and the guy lived longer than three hours. So there's a lot they left out. They only just filed this one thread of his life. And that's how you tell the story. So don't tell. In other words, don't tell. I feel like you don't want to tell the story. Someone's life story. You want to tell one story from their life.Phil Hudson:And Oppenheimer, I think is the very current version of that that did a great job. It is building up to help us understand why this person was uniquely put in this position, why it was taken from him, and then how ultimately he got justice with having to, because of his character.Michael Jamin:And there's a lot they left out, and I'm sure, I think it got some criticism for that, but what are you going to do? You can't tell everything. You have to pick a story.Phil Hudson:Yep. Yeah, adaptation. Right? It's a whole different segment of screenwriting. That is brutal. Absolutely brutal. Because you're just cutting things and combining things, and it's just a different part of the world. Helga G. How do you deal with the other characters in your life that might not be comfortable being in your story?Michael Jamin:You don't put 'em in. You don't put 'em in it. It's not your story to tell. I'm actually reading, I'm just about to finish a wonderful book by this Canadian author, Sheila Hetty, and it's called How Should a Person Be? And in this book, which is an auto fiction, so it's a true story. She uses some of her friends as characters in the story, and she talks about the blowback she got from that, which is so interesting. And I'm going to have her on my podcast soon, but I don't do it for that reason. I don't do it exactly for that reason, but I'll talk to her about it.Phil Hudson:Yeah. Awesome. Last question, Rob Kao, CAO might be C Chao, I don't know. Is that Italian? CAO? It's like CI. AoMichael Jamin:Would C-C-I-A-O.Phil Hudson:Yeah. Sorry, Rob, ruin in your name. Within the last year, I've had an idea of writing a script with two specific actresses in mind. What do you recommend that I do?Michael Jamin:Well, they're not going to do it. Just know that, right? I mean, I write for actors all the time. It's just for them having someone in my mind as a placeholder. But I don't think if they're famous, unless they're the people actors in your apartment complex, then that's fine. And they're going to be in your movie, that's fine. But if you think if it's a star, they're not going to do it. So use them as a placeholder, as a template to give you as a muse. I do that as well, but I don't think I've ever written a role for someone. And they actually wound up taking itPhil Hudson:In the Tacoma FD spec that I wrote. I alluded to a famous actor who plays this type of person. I was like, just think this person. And the comment I got back, I was, oh, that was so helpful. And I know you have to be a bit careful with that because you don't want to, it can derail your script a bit.Michael Jamin:Actually, I want to take that back. We wrote an episode of Marin that we wrote it with Chet Hanks in mind, who's Tom Hanks' son. And we reached out to him and he took it. I got to say the guy killed it. He killed it. He was perfect and a really good actor.Phil Hudson:That's awesome. If you guys haven't seen Marin, go watch Marin. That show's incredible.Michael Jamin:That show's fun. Yeah.Phil Hudson:Is there anywhere to go see The Hidden? Because they were two pilots, right? There was the first pilot and thenMichael Jamin:It was a presentation, so it was only a few scenes. Got it. I don't know if I have it.Phil Hudson:Yeah, I thought it was on Prime. I think I got it on Prime originally.Michael Jamin:Wow. Was part of what theyPhil Hudson:Were doing. I'll go check. I'll see if I still have it. But yeah, it was, it's just a great show. Just massive show. And I was at an influential time when I was just really learning this stuff at a deeper level. So just seeing it play out in really tight scenes with limited characters and justMichael Jamin:Amazing, amazing. That's what was so fun about that. And I tried, we wrote some one episode where there wasn't enough of a stakes, and it was the one on dead possum where he finds a dead possum.Phil Hudson:I love that episode. That's the one I think of every time.Michael Jamin:That was a good one. But the original draft didn't have the storyline of him apologizing to his dying stepfather, not stepfather, his dying. It was missing from that. And we turned that draft into the network, and they thought, she was like, there's nothing here. There's nothing. The story's not about anything. And I'm like, don't you get it? That's the whole thing. I was trying to pull a fast one on her. I was like, but it's like waiting for Gau. She's like, no, I'm not buying it. The studio exec. And she was right. And so we wound up talking, Seaver and I, pardon? We ended up talking about it. We came up with this storyline where when Mark was afraid to go under the house to get a dead possum, that's just enough. There's not enough there. There's not enough debate for a story. And so instead, we had a concurrent storyline where he was afraid to confront his dying Father-in-Law because Mark broke up with his daughter. And in so doing, he kind of destroyed, he, mark was a coward. He didn't want to apologize to his father-in-Law for that. And so it was really a symbol. So when Mark was afraid to go under the house to get the dead possum, but he was really afraid of, was apologizing to his father-in-Law, those stakes are much higher.And so those stories kind of work really nicely together, but that was not in the original draft. Yeah,Phil Hudson:That's a great episode. There's one of the biggest laughs I've ever had. I think it was like your, might've been your end of act two, your act two, bottom of Act two with the kid fromMichael Jamin:When he says,Phil Hudson:Yeah, I was molested himMichael Jamin:Some. I think that was Seavers line.Phil Hudson:It's just like,Michael Jamin:What?Phil Hudson:Not making light of that degree. It's just theMichael Jamin:Context ofPhil Hudson:It, the setting.Michael Jamin:Yeah. It was like, you shouldn't have said that. That'sPhil Hudson:Funny. Alright, Michael, there you go. There's a bonus episode for everybody.Michael Jamin:Yeah, we're not making light of it. It was just that the guy confessed to having been molested as good, but it was like, no, we weren't talking about any of this.Phil Hudson:And then they have to talk and he's having this breakdown where this realization of he's a coward, and then now he has to be a surrogate father and listen to this kid. He's talking about his assistant and it's just like, the timing is just excellent. You guys handled it well. It's not disparaging or mean-spirited at all. It's just great. That was aMichael Jamin:Funny one. Alright, everyone. Yeah. Come to my webinar. Go watch that episode of Marin Dead Possum.Phil Hudson:Awesome.Michael Jamin:If you can find it somewhere,Phil Hudson:Michael, anything you want these guys to do other than come to the webinar,Michael Jamin:There's that. I'll be dropping my book soon. A paper orchestra, if you want to know more about that, that'sPhil Hudson:Michaeljamin.com/book.Michael Jamin:Oh, is that what it is? It'll be book. Book. Okay. TherePhil Hudson:Are a couple pages. You got AP Orchestra touring, you've got an events page, you got this. So I figured that was the easiest way to get people to the page is michaelJamin.com/book.Michael Jamin:And so the book is a collection of personal essays. If you want to learn more about what it's like to actually be a writer in Hollywood, but that's not what it's about. It's really about the premise is what if the smallest, almost forgotten moments were the ones that shaped us most. And so in the end, I have a little bonus section of the book where I talk about, so I perform the book as well. And if you want to come see that seem, be on the road, go to michael jamin.com/upcoming. And at the end of every performance, I do a talk back where I talk to the audience and they ask questions. And so I decided at the end of the book, there should be something like that where I talk about, it's basically a virtual talk back, right? I'm preemptively answering questions that people have asked me that I think people found interesting about the writing process. So that'll be in the book as well. So a little bonus for those of you who are interested in learning about writing, that'll be the last chapter. Yeah,Phil Hudson:Great. And the live performance still great. It almost a year. I can't believe it was almost a year ago. And it still sits with me as a father. It still sits with me.Michael Jamin:Yeah. Thank you. I want to start performing again. That'll hopefully start in February or March or whatever. Once that book is out, we'll start performing again.Phil Hudson:Great. Cool. All right, Michael, anything else? Thank you.Michael Jamin:I think that's it. Get on the newsletter. We're rev revamping the newsletter. We've revamped the podcast so there's more stuff, but better,Phil Hudson:More better, better streamlined, a little bit easy to get around. It kind of outgrew itself. So we talked about that on episode 1 0 4. But yeah,Michael Jamin:We didn't know what this was going to turn into, so we had to evolve it.Phil Hudson:Yeah, it's a good spot. Great to be back on the podcast, Michael. Thanks for having me.Michael Jamin:Yeah, thank you Phil. Alright, until next time, keep writing everyone.So now we all know what The hell Michael Jamin's talking about. If you're interested in learning more about writing, make sure you register for my free monthly webinars@michaeljamin.com/webinar. And if you found this podcast Helpful or entertaining, please share it with a friend and consider leaving Us a five star Review on iTunes that really, really helps. For more of This, whatever the hell this is for Michael Jamin on social media @MichaelJaminwriter. And You can follow Phil Hudson on Social media @PhilAHudson. This podcast was produced by Phil Hudson. It Was Edited by Dallas Crane and music Was composed By Anthony Rizzo. And remember, you can have Excuses or you can have a Creative life, But you Can't have both. See you next Week.

The boys want to take a nice look back to the fabulous 80s and what better way to see what life was like for the average American at the time than to check out the Kirk Cameron-led Growing Pains? The show features not only Cameron but also the VERY charming Alan Thicke, plus a character named Boner!Not all is well for the Seavers, however, as young Mike (Kirk Cameron) somehow finds himself at a cool kid party where everyone is doing cocaine in the bathroom. Naturally Mike doesn't want to do anything cool or fun, so he freaks out and ruins Boner's chances of getting laid. There's even a "don't do drugs" PSA at the end

Our first look at The Fall Guy and Six Flag and Cedar Fair's big deal! We'll talk about it all in today's #MikeJonesMinuteCon.

Since television sitcom series began, we have been watching shows about families. The very first sitcom to air on television was a show called Mary Kay and Johnny. It starred a real life married couple. Since then we have watched many television families for many years. From the Huxtables to the Seavers,…

On this week's episode of the podcast, we tackle your screenwriting questions from the February Webinar, "Becoming a Professional Writer: 4 Things You Must Know."Show NotesFree Monthly Webinar - https://michaeljamin.com/webinarMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutomated TranscriptsMichael Jamin:That's the thing some people think because there's so much bad stuff on the air. Well, I can be bad. I can be just as bad as them. There's so many reasons why a show might be terrible. Some, not all of them come down to the writing. Sometimes you'll have a star and the star. This is what the, this is what they wanna do. And writing be their writers be damned. Sometimes it's coming from the network or the studio. This is what they want. And so they're paying for it. Sometimes there's so many chefs in the pot, executive producers giving notes. You don't even know what you're doing anymore. I mean, to me, it's almost like the business is designed to make mediocre shows. And only occasionally something breaks through. And god bless when that happens. You're listening to Screenwriters. Need to Hear This with Michael Jamin. Hey everyone, it's Michael Jamin and welcome back to another episode of Screenwriters. Need to hear this. I'm here with Phil Hudson. He's back. Phil is back. I, Phil.Phil Hudson:Hi. Good to be back. And I got a new microphone for all of you concerned about my audio.Michael Jamin:That's a good looking microphone. I gotta say, Phil, if you looked better than mine, that's the one real podcasters use.Phil Hudson:It was very expensive.Michael Jamin:I feel like mine is like a tin can. Yeah. . Yeah. All right. It's fine though. So here we had a special episode. Yeah, I always say that, but I always mean it. Cuz we've been doing a lot of free webinars. Phil and I have been doing once a month. And, and so we get a lot of questions and so we couldn't answer all the questions. It's about an hour long. And we choose a topic we really dive in. The past ones have included, what are they included, how to write a good storyPhil Hudson:For things you need to know to become a professional screenwriter. There was a, yeah, one we got leaving me.Michael Jamin:We got Mon Mo. We got one once coming up as well. Kind of like how to get past in industry gatekeepers, how to get your material seen by Hollywood Insiders. All this kind of stuff. Each, each topic. One week, it's each month it's gonna be a different topic. And if you'd like, if you'd like to be invited you can go to my website, MichaelJamin.com and, and just sign up for there. We, you know, we do it once a month and it's free. Why not? And, but one thing I've noticed, Phil and I've noticed is that we do these things. We get a ton of signups and maybe only a quarter or so of the people actually show up, which is so interesting cuz it's free. It's not the money. It's, and, and I, and I know I'm preaching to the choir cuz anyone who's listening to this podcast is not someone, is the same kind of person who show up to a webinar. So I know I'm preaching to the choir, but I say this because there's so many people who definitely want to make screenwriting a reality. They wanna sell their screenplay, but they don't put the work in. Like, if they don't, like, if you're not gonna show up to a free webinar from a hosted by a guy who's telling you what you should do, then how are you going to make it? It's just not gonna happen. Phil. Like, what are you doing?Phil Hudson:I 100% agree. And it's also, it's interesting, right? But I think it highlights what I've been saying is there are a lot of people who are seamers. I think that's a term we talked about early on in the podcast. Mm-Hmm. people want to seem like they are a screenwriter. So they go to the coffee shop, they have their screenplay open, they talk about their screenplay. It's the same screenplay. They never finish it. They never move on. I can't go do that. I'm working on my screenplay and they don't show up. This is an opportunity to sit with a working showrunner telling you exactly what you need to do to break in the industry and how to write good stories, all of these things. And they're just nohow.Michael Jamin:But it's also, it's like, all right, so you wrote one screenplay, but that's not enough. Like, and, but for the people listening, if you are doing what I'm telling you to do or are suggesting, at least you're writing more, you're writing more, you're taking classes, you're writing, you're getting feedback, you're going to event like you're non, this is nonstop until you break in. And then once you break in, it's non-stop again. Because it just doesn't end. You don't, the doors, you know, I don't know. So anyway, I commend everyone who's listening to this. If you want to come to the webinar, you're more than welcome. Go to michael jamen.com and you'll see thePhil Hudson:Free webinar, MichaelJamin.com/webinarMichael Jamin:Webinar. And yeah, you'll get an invite and then it's free. And then we send you a replay within like 24 hours. It's also free then if you miss it after that, I think, we'll, it'll be available for a small purchase fees because there's, there's work involved in putting these things up. But yeah, go get it. It's free. It's free. Okay. Are we, are you ready, Phil? So we got a lot of questions. I couldn't answer all them cuz there's a time limit. So here are the ones that that I couldn't answer.Phil Hudson:Yeah. And, and this is for the February webinar because we've had, you've had a lot of great interviews coming up and we didn't wanna hold those back. And you got some good ones in the pipeline too. It was pretty exciting. Oh yeah. So February q and a, again, if you do get on that, we will answer your questions. Now, there are some questions that we've answered in previous q and a, so I'm gonna skip some of those. Some of them continue to come up, Michael. Yeah. And for your new audience members, I think we'll address those because they're important questions. And I think you're gonna prevent a lot of people from struggling and spending a lot of money in places they don't need to to be writers.Michael Jamin:Yeah.Phil Hudson:One other note that I thought was pretty cool feedback for everybody. We did have someone sign up for your course and it was because they've attended three of these webinars and I thought it was pretty cool. He said he'd spent $4,000 on direct mentorship and your free webinars were better than that. And that's why he signed up for your course.Michael Jamin:That's, that's the problem. Where's he getting the, where's the mentorship? Like who's thePhil Hudson:What? We don't know. Four grandMichael Jamin:4K guys. So yeah. Come to these webinars, you'll get, you'll save $4,000,Phil Hudson:$4,000 value guaranteed. All right. I can't guarantee anything for Michael Jamon, I promise. Anyway, Norwood, let's go to question oh one, Norwood Creach, ask copyright. What is the status of writing a screenplay if it has a copyright?Michael Jamin:I don't know, , but here's the thing. I don't give legal advice on my at all. I guess it protects you in some way, but I don't, I don't, I've only registered one script I ever wrote with the writer Guild of America. That was the first one I wrote. But after that, every script that I make is copywritten by the studio that I sell it to. So there, it's their, it's their legal headache if someone wants to steal it. So if you want to copyright, you can. And, but I, I've done talks about, I don't know, your biggest problem is someone should wanna steal you. Your biggest problem is if your, your work is so good. Someone wants to steal it. That's usually another problem you have. Right? Here's the problems. Your work is so terrible, no one wants to steal it, so. Right,Phil Hudson:Right. Cool. And then are you concerned, there are a couple follow up questions. Are you concerned with AI screenwriting?Michael Jamin:You know, not right now. I, I, I'm concerned. I have bigger pro, I have bigger concerns with ai and that is destroying the world. That's why they want to do this pause on it. Of all the writing that AI is gonna take away, I think, I think creative writing will be last on the list. They will take away technical writing. Mm-Hmm. instructions and stuff like that. And maybe some forms of copywriting.Phil Hudson:Marketing writing is going away. I mean, I, that's a search engine optimizer for most of my digital marketing career. That's a real concern for us. And Google is leaning towards allowing that type of copy.Michael Jamin:Oh, okay. ButPhil Hudson:In terms of, so it would be authoritative and you have to know how to communicate with the machine. But anyway, Uhhuh .Michael Jamin:But in terms of ai, you know, I'm not, I'm not worried yet. Maybe I'm being Pollyanna, is that what word? But I'm not worried yet. Cause it's not, it's certainly not there yet. Maybe in five or 10 years, but right now it's not there at all. And it's not even close to being there. So, yeah.Phil Hudson:Okay. Awesome. And then do you have any suggestions for writing narratives for young writers?Michael Jamin:Yeah, I mean, it's the same suggestions for everyone else. I, I, I have that free lesson at michaeljamin.com/free. It's a, it's the same lesson I would give an older writer. There's no difference. The, the, the advantage that older writers have is that I think when you're writing, you have any two things, and I've said this before, but you need to have something to say and you need to know how to say it. And I teach people how to say it. That story structure, how to unpack it and having something to say that comes with, unfortunately that comes with age and wisdom and that, you know, it's not, it's, it's unusual when someone young really has a, knows what they want to say. My daughter, who's only 20, she's got something to say and it shocks me. Cuz when I was her age, I didn't have anything to say. So, but but don't, you don't have to worry about that yet. Just continue writing.Phil Hudson:Awesome. Annie k ask, what's the best way to know if your script is ready to be passed on or get you a job? Is it competitions, is it a mentor? Any other suggestions?Michael Jamin:Well, we've talked about competitions. I'd say there's, and you may know more about this than I do. I'd say about three of them that are probably worthwhile. Right. Yeah. And Austin Nichols and, and Sundance Sun.Phil Hudson:Yeah. Sundance has different labs. They shifted things a little bit prior to the pandemic where they're doing not just strict screenwriting labs anymore, but they have lots of different things. In fact, I'm, I'm attached to a screenplay coming out of Ecuador now because they have a fund Okay. Working with several fellows and things. And that's you know, I'm not writing the screenplay or anything, they're just attaching me as a script consultant because I have background there and been in the laps. But those are the only real ones that do anything. I mean, there, there are some other ones, like Big Break I think is a really good one that's on my final draftMichael Jamin:And you get to meet. Oh, okay. I hadn't even heard of that. I hadn't evenPhil Hudson:Heard of that one. Yeah. So there are some, and we've talked about that in other podcast episodes as well with what the list is. But I can tell you, and we did talk about this a little bit on our webinar this month, the lot of that is a, is a way of funding the rest of the film festival. Mm-Hmm. , it's getting the judges to attend. I was working with a guy who ran some film festivals and he actually had me reading the scripts and giving my opinion and deciding who would get the best and Right. You know, I was a studentMichael Jamin:And that's the problem. I mean, and if you're gonna, people say, whoa, I placed in the, like, you gotta, you gotta win or come in second or something. I don't think placing and then they still think it's gonna change their life. It rarely does. You still have to continue the hustle, you know? I was gonna do anotherPhil Hudson:Hmm. Go ahead, go ahead.Michael Jamin:Well, I was gonna do another talk about this. Some woman made a post, she's like, yeah, I've one, I placed at all these contests and I still can't get an agent. I'm like, even if you did get an agent, it wouldn't change. Move the needle. You gotta do all this yourself. So mm-hmm. and I, and I'm gonna do a whole webinar on that. I did, and I actually did that. I did one where we talked about it to some degree, but I'm gonna lean into it a little bit more. It's like, nah, you got, you're not doing enough, you're not doing enough.Phil Hudson:This is anecdotal, but someone in the chat in your last webinar said that they had a friend who placed on the blacklist mm-hmm. , and they were promised all this industry connection. Nothing happened.Michael Jamin:They didn't even get a meeting or, or what?Phil Hudson:No, nothing came about. Nothing came of it.Michael Jamin:Yeah. So, so it's, it's not enough. Like Winnie, you know, these contents are relatively new. They weren't around when I broke in. But then again, the industry's changed so much and things are, you, can, there are things available now that would help you that weren't available then? Namely the internet, namely making your own stuff on your phone name. I mean, namely, like learning so much from people who are around industry. When I broke in 90, well, I moved outta, I got outta college in 92. There was no internet, there was no, how do I get a job? I had to drive out to Hollywood just to meet people to ask the questions. Now you can find out the answers on the internet, you know, so there's way more access now. So it's not, I wouldn't necessarily say it's harder now, it's just different. Yeah. And in some ways it's easier.Phil Hudson:Yeah. And you've, you give out tons of free resources and most of your audience knows this by now, but you've got the free lesson. You've got your social media, which is great @MichaelJamin, and yeah, there's lots of good stuff out there that you put out that just didn't exist before.Michael Jamin:Yeah.Phil Hudson:Alright. Daniel will ask, what's the ideal job to pay rent and have the time to pursue screenwriting?Michael Jamin:The ideal job would be assistant to an executive producer. Perfect job. Because you're basically sitting at their desk answering the phones that don't ring. That's what I did for a couple years. And so during that time, I wrote, and I would ask them questions, and that's the ideal job. The next best job would be a writer's assistant. So you're in the writer's and you're, I mean, in some degree, in some sense, that may even be a better job. You're in the writer's room and you're listening to these writers. You're learning how they break stories, but then you don't have the time to write or you write, you have to write it on the weekends or at night. So the, the both are great jobs,Phil Hudson:But you're learning so much through osmosis just being in that room, listening. Yeah, yeah. And seeing it happen.Michael Jamin:Yeah. So that would be a fantastic job.Phil Hudson:All right. Follow up. How can I stay home and write while not making my girlfriend think I'm a bum ass?Michael Jamin:Your girlfriend isn't into you anyway, so you don't have to worry about it. How can you stay home and write? You know, you're gonna have to, you're gonna have to make priorities. That's the, that's the thing. That's the, I I feel because you know, my my writing partner, I don't wanna talk about him. Well, it's not really, I don't wanna tell his story, but he, he was going through similar things. You know, he had a girlfriend and he had he had to write on the side. And it was, it was the struggle. How do you, how do you balance? Oh, you're just gonna have to make that happen. I didn't have a girlfriend at the time. I don't have to worry about it. Yep. Phil Hudson:For me, when I was dating, I had what I call the red carpet test. I, I was so fixed on knowing exactly what I wanted to do with my life, which is be a professional writer. Yeah. That when things started getting serious with a a girl, I would ask them, how comfortable would you feel on a red carpet? Correct, mm-hmm. and no girl passed that test. They were all, they, I'd feel really uncomfortable. And then I asked my wife and she said that, and she said, oh, I, I wouldn't have a problem with that. And she's so supportive of me, like, so absolutely supportive of everything I do, that she understands that that's what I want to do. And she, I, I also prioritize what she wants though. It's, it's a give and take and a balance. Yeah. And, but that's, you just gotta find the right relationship. I think that handles that.Michael Jamin:Yeah, you're right. And if you're in the wrong one and they don't like you, then resentment's gonna your're bo 10 years from now, you're gonna resent her if she's gonna resent you. So, yeah.Phil Hudson:That, that's hard, hard advice to hear. But it's important advice is oftentimes your relationships, family and romantic will be the thing that holds you back from achieving your goals.Michael Jamin:Yeah. You know, my wife, she ran a, a, well, you know this for the girls. She ran a, a, a girl's clothing company and I, for, for it's 15 years. And I handled all the marketing and I wrote all the commercials. And then, then when she stopped doing that, she threw herself into helping me doing what I'm doing now. And she was like, I was like, well, you know, thank you for your help. She said, well, you, you supported me just as much, so now I'm just doing it for you. So it, it's that kind of thing. You, if you're not in a supportive relationship, you've got a problem. Yeah.Phil Hudson:Breakup. That's the answer. Yeah. Michael's not telling goesMichael Jamin:Back to, I told you she wasn't into you. .Phil Hudson:Alright. Delara, Casey, what would you consider a giant following on social media isn't requiring somebody to have a car? Oh. And then there's a follow-up question. So let's go with what would you consider a giant followingMichael Jamin:? No, I have no freaking idea. I have no idea. And I asked this of my agent on my book agent. I said, Hey, how big of a following do you need to have? I don't know. Okay. I don't know. I, I don't know. I don't know. I have no idea. And I asked my you're gonna have to ask a kid. I told, I had a, I had lunch with my nephew a couple weeks ago, and his friends, you know, they're young kids. They're, they're twenties, they're in college. And we were talking about TikTok and I told him, he said, yeah, we had a, a visitor, a lecturer come guy had a lot of followings. He had like 800,000 following followers. I'm like, oh, okay. That's a, i I got I got 412 and they thought, , they thought I'm meant 412 , right? Like 412 followers. And I said, no, no, 412,000. And they're like, oh, that's a lot. . So I don't know what I,Phil Hudson:I have an answer for this.Michael Jamin:What is thePhil Hudson:Answer? So, so because of my, what I'm currently doing, and you know, I'm, I'm now posting things professionally on my social media about being a, a writer or a, an associate producer or an assistant to these guys. And they're currently having me help them run their social media and do the promotional stuff for them for their new film. Quasi comes out on April 20th on Hulu, and that means I'm traveling with them and I'm sitting with a, a publicist from Searchlight Pictures and their publicist, who is the publicist for about half of the top comedians standup comedians, 50,000 followers.Michael Jamin:50,000 is considered an influencer in that spacePhil Hudson:That allows you to, they want to engage with you to selfishly promote their product or their people. ButMichael Jamin:What platform, cuz 50,000 on TikTok is said, it doesn't an Instagram,Phil Hudson:She said it doesn't matter. So anybody who has over 50,000, she wants me to write 'em down so that they can engage them about helping promote the film.Michael Jamin:It doesn't matter. She says.Phil Hudson:Yeah. So I'll confirm. I mean, I'm going back on the road with them, you know, in a couple days and I'll ask that question as a follow up, but 50,000,Michael Jamin:But I wonder number because reach has really changed. I wonder if they're aware of, of there's no reach anymore. Yeah. ,Phil Hudson:It's, it's a numbers thing for sure. Yeah.Michael Jamin:Okay. Interesting. There's your answer. 50,000.Phil Hudson:All right. Follow up question from Delara isn't requiring somebody to have a car, a form of discrimination to be a production assistant?Michael Jamin:You know, is it required? Is is is having two arms form of discrimination to be a baseball player? Well, that's the, you gotta swing a bat. So, you know, I don't know what to say. I mean, I don't know what to say about that.Phil Hudson:There, there have been people, by the way, there have been famous pitchers with one arm who have done the job Yeah. And done it. Well, the, the, I think this is just my opinion, a hundred percent Phil Hudson's opinion here. Mm-Hmm. , I think that we're too focused on discrimination and less focused on what is the requirement to be able to do the function of the job. Mm-Hmm. , if you have to get from white Woodland Hills, California to Pasadena to hand a script to an actor, and that's an hour and a half in your car in traffic, you can't rely on a bus to get you there to do that job. No. No. And that is a function that is a requirement of the job. And so having the vehicle is, and, and they don't say quality of the vehicle, by the way. And they, they cover your miles for the car, which is the wear and tear and the gas in the vehicle. Right. So that you get compensated for those things, but you just have to be able to do the function of that job.Michael Jamin:I mean, it would great if the studio had a car, a beater that, okay, you gotta drive the car. You here's the car, here's the, here's the studio car, and now you gotta run errands with the car. That'd be fantastic. But you know, there's, they, I don't know. You still have to get to work, you still have to find a way to get to work. You still have to know how to drive. Yeah. There'd still be obstacles in your way. SoPhil Hudson:No, no. If you're set PA and you're on set all day, that's a different story. Cuz you can get two set on time. Someone can drop you off, you're there for 12 to 14 hours and then somebody has to pick you up and take you home. Yeah. It's a different story. You can carpool with other people at work, if you're in the camera department colliding, whatever those are, you can do those jobs. But to be like an office pa or writer's pa you're getting people's lunches. You're, you're like going out and running errands. You gotta have a vehicle to do that job. So I don't think it's discrimination.Michael Jamin:I mean, the at the bottom line is like, people who have some money are always gonna have it easier than people who have absolutely no money. Mm-Hmm. . And so that's just the way it is. Is it fair? No. It's just the way it is. So I, I don't know.Phil Hudson:Yep. Until the machines start picking us up and we just get in the car without knowing why.Michael Jamin:Yeah. Maybe that'll happen. That's right. They'll have self-driving cars and PAs will be outta work. SoPhil Hudson:I don't know. Yep. There you go. They just throw stuff in the back.Michael Jamin:Yeah.Phil Hudson:All right. Ariel Allen asks, do you recommend starting with short scripts and just working those before moving to full length?Michael Jamin:Well, short, I mean, that's what I do as a TV writer. I, I write short scripts. They're 22 minutes long. I don't write features. So, and I think writing a, you know, a short script, a 22 minute script is takes much less time than writing a feature. So I recommend Sure. You know, that's why I write fe To me it's more interesting. I like the, the pace, the change than spending all this time on a feature, which could take a couple years in the same amount of time. I could bang out several epi several or, you know, on half dozen or so episodes of television. So,Phil Hudson:Yeah. And I think, and this is old data, so it might have changed, but I doubt it. The timeframe when being offered a script assignment for a feature is six months to turn in your first draft.Michael Jamin:Uhhuh probably defense. They want it yesterday, to bePhil Hudson:Honest. Right. But, but I think you have six months to get in your draft is, they'll push you for it. But that's what the Writer's Guild has is the timeframe Okay. To get in draft one. And then there's a time for the, for draft two. So that being said, how many pilots can you write in six months of tv?Michael Jamin:Me personally?Phil Hudson:You personally, as a professionalMichael Jamin:Screener. Oh. Oh, I don't know. I, I mean, I don't try to write that many pilots. I, you know, we write, we might do one a season, you know, one a year, youPhil Hudson:Know, because you, you're working writer two, so we gotta consider that.Michael Jamin:Yeah. But you could write, it's, it takes less time to write an episode of television on, you know, spec script than a, than a pilot.Phil Hudson:Sure. Okay. Another follow up question. I live in Texas and I'm nowhere near. Oh.Michael Jamin:But you know, hold on, Phil. One, one second though. I don't, I say yeah, if, if I find it very hard to tell a compelling story, that's if it's too short. If you don't have enough time, if you're only doing like five minutes, if you wanna write a short that's a five minute short, I would have, I would've a hard time telling a compelling story that amount of time. I think for me it's like 20 minutes is kind of the sweet spot. Maybe 15. But any shorter than that, it's like I, I, I don't know. I need time to get the plane up in the air. You know,Phil Hudson:When I was in film school, the assignments were your scr, your short could be no longer than like five minutes or three minutes depending on the professor. And yeah. Some of the professors were my age cuz I was a, a, you know, an older student and I talked to them after and they're like, yeah, it's just because I don't wanna sit through that much boring content.Michael Jamin:Yes.Phil Hudson:Right. Cause they couldn't tell a story. And, and that was, I've talked about it before, amazing cinematographers, great camera work, but nothing happening and it's just boring to watch, even if it's pretty. Yeah. So they would have those caps and then I had to hit that restraint for my final project. And because of your mentorship and the work that I'd been putting into writing, I knew that my script needed to be 12 minutes long and it was a 12 minute script and I cut it down to a five minute. And after my professor in my directing class was like, yeah, you, that story needs to be longer because there was not enough time to breathe and to fill those moments. And so, yeah. Yeah. I, it's definitely, and the formatting was very different too. Writing a short, we, we talked about that all the time as students is there's just not a lot of ramp up time to get across the information you need. And when you talk about those three fundamental things you need to know in a story in your, you talk about that in your free lesson. Mm-Hmm. hard, hard to get that across super fast and finish that plot in three minutes.Michael Jamin:Well it's also cuz you wanna make that end, if you want that end to be impactful, to really hit somebody, it's like, it's not even so much about getting all the exposition out. It's about like, what do I need to do to make that ending feel like a payoff to really feel emotional. And like, if you don't have enough time to do all the other stuff, the ending is just gonna feel unearned. It's gonna, you know, it's gonna feel un unearned, which is the, you know, bad writing.Phil Hudson:Right. Alright, follow up question from Ariel. I live in Texas and I'm nowhere near quote the industry. Yeah. How do you actually gain connections in the film or TV industry?Michael Jamin:Well, I think, I think the problem is you need to be in Hollywood. You, you, you're Ariel's saying, I wanna work in Hollywood, but I don't want to work in Hollywood. Yeah. Like, well, there's a problem. Yeah. And so, andPhil Hudson:There is an industry in Texas. There are a lot of filmmakers in Austin and a lot of people are moving to Austin. But what do you want to do in the industry? And this is the question I have from a lot of people. Would you stay in la Why are you in la? It's cuz this is where the writing happens. Yeah. If I could live in another state and do it, I probably would. Yeah. Taxes are better, A lot of reasons why. Less traffic, less pollution, all those things. But yeah, this is where the writing happens. And so this is where I am until I achieve that. Or I'm at a level where I can move somewhere else and then, you know, do the job from elsewhere. And, and I know that's like feature writers at a really high level, like in years in, in Academy Awards mm-hmm. , it's not something that's,Michael Jamin:And even they have to come back in for meetings. Although maybe with Zoom it's less and less, but they have to, you know. Yeah. But that's the, I mean that's the thing. It's like, I know she doesn't wanna leave Texas for whatever reason cuz she likes it there. She has friends, family, she, you know, whatever reason she doesn't wanna leave. But there are people who will leave and those people are gonna have a leg up. Mm-Hmm. . Those people want it more. No one wants to move away from their friends and family. No one wants to. And so the people who come out here like yourself are hungry because they're uncomfortable. They wanna make it happen because they've already sacrificed. So those people have an, have an advantage. And to be honest, I think they should because they've already given up more. They want more.Phil Hudson:Yeah. Sacrifice.Michael Jamin:Yeah. Yep.Phil Hudson:Justin, via, you mentioned early in your career you started working under a working writer who helped show you the robes. How did you approach that relationship? I think this referring to the the book writing for Doe what's his name?Michael Jamin:Oh, well I had Bill Addison mean, I had, I had a writing teacher and he was a retired guy and he lived in the Pacific Palisades and he had a class once a week in his, you know, dining room. And we all drove there. That, so yeah, I studied under him. He gotta study. You gotta, I always felt like you gotta study. There were, there were classes offered. I could have taken a class at UCLA Extension or something like that, but I wanted to be sure of who I learned from. And I found him a guy I wanted to learn from, the guy who had the job that I wanted. And so he was retired sitcom writer. Perfect. I didn't wanna learn from professional teacher, which many of them are, some of them are not, but many of them are. SoPhil Hudson:This is a question leader. How did you find him? What did you do to find that?Michael Jamin:You know what I, I heard, I don't remember who told me, but I moved to la moved to Hollywood. Now I'm in the circles, now I'm hanging out. I'm, this is where everyone comes here because they wanna become a screenwriter or actor or whatever. And so you're meeting people at parties who wanna do, who want the same thing that I want. And then you're talking, and then someone mentioned this guy, someone, he, he wasn't in the phone book, he wasn't on the internet. There was no internet back then. Someone mentioned his. And then I, I met, I learned it from someone who I was talking to. This is why people come to Hollywood. And I was like, great. Gimme his number. And then I went. So I, I don't remember who told me, but that's how I found out.Phil Hudson:Did you develop any kind of relationship with him? I think that's ju Justin's second part of that question. How did you approach that relationship? Or was it really just a teacher-student relationship where you show up, you kind of listen, he dictates down that kind of thing, orMichael Jamin:Yeah, it was teacher student. He told me, I, after reading some stuff that I would never make it as a professional writer. He thought he was doing me a favor cuz he thought, well, don't waste your time trying to do this. Do something else with your life. He, he wasn't trying to be mean. He was trying to do me a favor, but he didn't know me well enough. He didn't know me, that he didn't know how hard I work and how I tenacityPhil Hudson:There, there's a tenacity there that most people don't have. And so he saw where you were and said, this is as far as you will go, not knowing Yeah. You'd hit the wall until it broke down. Yeah.Michael Jamin:Right. SoPhil Hudson:Huge lesson in that for everybody listening by the way. Like, that's what you have to do. Yeah. Hit the wall until it falls down.Michael Jamin:Yeah. In, in college I wanted to be a creative writing. I just wanted to study, wanted to be in the creative writing program. I was good enough to take classes, but I wasn't good enough to get into the program where I, that was my major. And so they told me I wouldn't be a writer either. Yeah. Who cares? No one's, no one's gonna tell me what I get to do with my life.Phil Hudson:Look who's laughing now?Michael Jamin:No one's laughing. not even the audience.Phil Hudson:Michael doesn't make anybody laugh.Michael Jamin:Phil Hudson:When you say, okay, and then follow up, when you say it doesn't matter whose hands your script gets into, would you go as upload your script to online?Michael Jamin:I I, I, not necessarily. I I would be really, you know, I wanna know who I was giving it to. Not, but, you know, I wouldn't upload it to the, to the interwebs. And I, I meant it in terms of a great script. Ha has legs the same way a great show has legs. This like, here's the thing. I saw this great show, and I was gonna talk about this in one of my upcoming webinars and made a note of it. There's this guy named Derek Delgado, and he put on a show, he had a one-man show, it was on Hulus called in and of itself. Someone told me about it and I watched it and I was blown away. It was so original and so creative. I was blown away. I stopped when I was done. Let's go back to the beginning start. I've never do this.I never go back to the beginning when I just finished it. Let's watch it again, forget it. But I did that. And then afterwards I started telling everyone, you gotta watch this show. This is amazing. And and, and, and I was doing it. Like no one asked me to share it. I was sharing it because I was giving a gift. Like, go watch this. This is amazing. You're gonna love this. And I would look good in that person's eyes because I was the one who discovered this precious gem that no one else was talking about. I'm the only one who's, this is my little thing and now I'm giving it to you. And I felt like a gift. And that's what a great script could do. Like, you show it to someone and they're blown away if they're like, oh, it's okay. You're, nothing's gonna happen. But if they're blown away, they will tell people, not because they're trying to help you, but because they're trying to help themselves and make themselves look good to the, to their friends and family. And, you know, look what I just gave you this great recommendation.Phil Hudson:You might have literally just equated it to this, but could your audience equate it to finding that, show that water cooler talk, the one everyone wants to talk about and share with their friends?Michael Jamin:Yeah. Right. It's, and it's not, it's not like, you know, at the end of the whatever water cooler, white lotus or whatever, whatever's big right now, it's probably not white lotus anymore. But no one there wouldn't say, Hey, did you, no one says, Hey, if you enjoyed your show, this show, please share it with your friends. There was none of that at the end of HBO's episode of White Lotus. It was, people loved it and they just went to work the next day. You gotta watch this show. Yeah.Phil Hudson:So what, what was that moment for you, for the audience? What is that moment for you when you were watching a show and that's the level you want to be at to be a pro.Michael Jamin:Oh, well, but when you, when you, what, what are you saying? When you get,Phil Hudson:What I'm saying is for the audience member, think about a time when you watched a show and you well felt this is something I need to go tell Joe about or Mike about.Michael Jamin:Yeah.Phil Hudson:That moment, that quality, that's what you're striving for, to work at a professional level at the upper echelons of Hollywood. Yeah. And when someone has that experience with your script, that is what's gonna happen in script format.Michael Jamin:Yeah, exactly. Exactly. They'll, that's, that's when I say give it to, it doesn't matter who you give it to you, if you give it to someone and it's amazing, they will give it to someone else and they're not gonna give it to some idiot on the internet. They don't know they're gonna give it to a friend who can help someone who's further up the ladder. They're just gonna pass it along. You know, they give it to someone who knows someone who knows someone in the industry. And if it's great, it'll find, it'll, it'll, it'll start walking. Cuz little good scripts have legs. Yeah. And if it's not, if it's mediocre, it won't.Phil Hudson:Yeah. I, I put a script online, but it was also very well documented here on this podcast with you giving me notes that I wrote that script. So there is a paper trail of authority and ownership that goes back to me and logged IP addresses when you download it so that if someone stole it, I feel legally protected enough to do that. And it's of service. And I got great notes from a professional writer, Michael. So it was absolutely worth me doing that. I don't think either of us are suggesting you do that.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Phil Hudson:The question you've answered many times before but continually pops up because everyone focuses on this. At first, do you need an agent?Michael Jamin:Well, you do need an agent to get submitted to a TV show, to get the meeting, to get a pitch meeting. You do, you do need an agent, but an agent, an agent is really not gonna get you work. Mostly agent's, field offers agent will do the 5% of the work that you can't do. You still have to do 95% of the work. And so yes, you need an agent, but the agent is not the answer to your problems. And there's a lot you can do without an agent. So. Yep.Phil Hudson:And you've said before, any script you get when you're staffing a show, those people have come from someone with an agent. Yes. And you're still hoping for a good writer out of that batch.Michael Jamin:Yeah. If I get, if I'm staffing a show, and let's say I got three dozen scripts to read, which is not an exaggeration. All of them come from agents, all of them come from managers. You know, you can't submit to me, you can't, I won't touch it. So it all comes through a rep, a rep, and of those 36 scripts, maybe only one or two are any good. SoPhil Hudson:Yeah. Okay. this was a comment specific to the time, but I think it addresses something that happens on your website. Jeff says, so I'd love to take Michael's course, but it's currently closed. Sad face.Michael Jamin:Oh,Phil Hudson:Sad face. So the course is closed now. Yeah. you are now doing an enrollment period on the course. Do you wanna talk about that?Michael Jamin:Yeah. So once a month we open it up and it's brief. It's like three days or something fell, right? It's, it's like three or 40 or something like that. It's not a lot.Phil Hudson:A lot of people join which is great and a lot of people are getting a lot of value out of it, but we close it down so that we can provide a better experience to those people. Because when it's open all the time, it's a little crazy for both of us.Michael Jamin:Yeah. It was cra Yeah, it's, so we got on a row par, we onboard everybody, shut the door, take a breath, do it again nextPhil Hudson:Month, answer questions in the private group, the people in there help you out. All that stuff. So if you're wondering why the course is closed here's a hint. Maybe attend the live webinar.Michael Jamin:Yeah. You'll get a better, actually, if you attend the webinar, we, we give you a better deal. . Yeah. So come the webinar, you got a special deal. If not just get on my email list and you'll know when it's open. And when it's open, get in. And then if you miss it, get in the next time. You know, it's every month.Phil Hudson:Yeah. Got it. PJ works, and we've addressed this as well, but I think he phrases it really interestingly. Just curious, how do we have bad movies and TV shows if you have to be really good to be in the industry?Michael Jamin:That's the thing. Some people think because there's so much bad stuff on the air. Well, I can be bad. I can be just as bad as them. There's so many reasons why a show might be terrible and some not all of them come down to the writing. Sometimes you'll have a star in the star. This is what the, this is what they wanna do. And writing be damn writers be damned. Sometimes it's coming from the network or the studio. This is what they want. And so they're paying for it. Sometimes there's so many chefs in the pot, executive producers giving notes. You don't even know what you're doing anymore. I mean, to me it's almost like it, the business is designed to make mediocre shows. And only occasionally something breaks through. And god bless when that happens. But you know, why, why?Just because that's how it, this is the, the business. This is the, it's a business. So everyone wants through chasing the same thing. I read a book, but I think it was Charlie Hawk, he described it as everyone wants to make a hit show. Everyone's in a, in a life raft. And so you have the director, the actor, the writer, the studio executive, the production company, everyone. And everyone's got an org and they're paddling as fast as they can, but the raft is circular. And so everyone's paddling, but the raft is going around in circles because, you know, that's what the problem is. When you have all these, they all want the same thing though, which is to get to the other side. But they're paddling. And so that's what happens. You start spinning around.Phil Hudson:Yeah. Yeah.Michael Jamin:Unless you have a, you get lucky it's lightning in a bottle or you have a really strong showrunner who has enough f you minor to say no, but, and that's, and by the way, that's not me. So it's some people who have the clout,Phil Hudson:You know, there's a really good book on this called Difficult Men. And it's about the showrunners, A difficult man behind scenes of a Creative Revolution from The Sopranos by Brett Martin. And it talks about this, these showrunners who were those guys and they wrote Mad Men and mm-hmm. , all these shows that you know and love. And it, they just had the chops to do the job and the attitude to say no. But the chops were so good. They HBO and these companies just let them do their job.Michael Jamin:Once you start making a successful show, they usually back off. Once they learn to trust the showrunner, they back, they usually back off. But in the beginning, everyone's scared. And the bigger budget, the budget is every, the more scared everyone is.Phil Hudson:JJ Abrams just had a show canceled on h HBO this year.Michael Jamin:What was it?Phil Hudson:I, I can't remember the name of it, but it was like a massive budget. It was like one of the first things Discovery chopped. Like they just cut theMichael Jamin:Budget. Oh yeah. Well, becausePhil Hudson:They were cutting budgets everywhere. So, yeah. Two questions similar, gonna combine them. So she, Shea Mercedes and Leonte Bennett. How do we learn, or how can I practice screenwriting every day when I don't have an idea for a screenplay? And let me combine it with another, yeah. Bark bark 4 35. How can a beginner start to be a screenwriter? What are the first steps? So what, how do I write if I don't have any ideas? How can I learn to write and, you know, what are my first steps if I want to be a screenwriter? These feel very new to me.Michael Jamin:Well, if you don't have an idea, you're screwed. I mean, you know, but you don't have to have a good idea. You have to have, you don't have to have a great idea to have a good idea. And there's, it's the execution, which is which matters. I talk, one of the modules we have in the chorus and I, and trying to through one of the most popular ones is minding your life for stories. How, how to mine your life. Cuz you all have stories. People wanna, I think new writers think that let's create a world and let's create all the characters in this world. I'm like why bother? Why not just write what you know? And that way you, if you come, you take the story from your life. You don't have to create a story cuz it ha already happened to you. You don't have to create a character.You're the character. All you gotta do is figure out how to unpack the details of the story and that story structure. And that can be learned, that can be taught. That's what we teach. And so that's what I would do. I, you know, that's what I would do. Start writing what, you know, and what, you know, there's a misconception. You know, this guy on Paul Guillo, he, you know, he's a another writer on, on, you know, on the internet, on the social media. And he, you know, he talked about this the other day and I was like, he said it perfectly, which is people say, write what you know, but they don't really understand what that means. They think, well that means if you're a plumber, write about plumbing. Right. About a, your character is a plumbing plumber. No, no, no. Right. What you know means the internal struggles that you face.So if you are insecure about your education, your character write about a character who's insecure about that. If you're insecure with, about your looks or if you were abandoned as a baby, write about that. I mean, so it doesn't have to be the outside, it's the entire, it's the internal struggle. What you feel on the inside. That's what you know. And, you know great the Great Gatsby, you know, a great American novel, F Scott Fitzgerald wrote it. And so that's, that was about a guy who felt poor. He felt poor. And and he wanted the girl. And he, he always felt he would never have any self worth until he was rich. And then he'd be worthy enough to get the girl. As much as he loved the girl, being rich was more important to him cuz he always had the emptiness.And if you know anything about f Scott Fitzgerald's background, that was him. That's how he felt. And even when he had the, even when he earned money as a, as a novelist in the screenwriter, he couldn't keep it in his pocket. He had to spend it because that's how he felt. That was, that's how he felt whole on the, on the, you know, on the inside. And that's why he had a drinking problem. That's why he died at the age of 40 something because of an of alcoholism, because he had that hole. But the character of Great Gatsby's pretty close to him.Phil Hudson:Yeah. Yeah. Episode 39 of this podcast, A great writing exercise. There are some ideas in there and some other things that you can do to learn more about how to practice your skills and, and develop those things. But the other thing we talk about on this podcast often is being okay with yourself and being okay with your emotions and being okay. Being vulnerable. But you also talk about the dichotomy of when's, what's too far, what's oversharing. Yeah. So dive into the podcast a bit more if you're new and there's maybe we'llMichael Jamin:Do, actually that's a good point. Maybe we'll do a whole webinar on oversharing and stuff like that.Phil Hudson:Yeah. All right. So, so again, lots of questions about do I need to live in LA to be a writer? How to make connections with people outside if I'm not there. We've already addressed these LA's where the writing is, but you can make connections in your area and online. Your, your screenwriting course is a great place to do that. Mm-Hmm. , outside of that, there are Facebook groups. Lots of reallyMichael Jamin:Popular. Yeah. We have a private face. We have a private Facebook group just for the students and those guys. I gotta say Phil cuz I don't do this. Those guys are, they're, they're hitting it hard. They are having table reads. Mm-Hmm. , they're having script swaps, pitch sessions, pitch set, and like what? And like, I'm not in charge of that. They are. And it's because they're freaking focused and they just wannaPhil Hudson:Make happen. Like they're beginning guests too. Like one of, one of the writing members, Laurie, her, her husband is a pretty well known writer. Mm-Hmm. . And he came in and did a guest pitch session where people, writers pitched to him and he gave feedback.Michael Jamin:Good for him. Yeah. He,Phil Hudson:He's, he has famously one of the, I think it's the most valued script sold. And he came in and he did it to help you because that's a student. That's not a connection you or I have.Michael Jamin:Nope. Nope. There's a connection with another student. So like, I'm impressed and that's why we, and you know, we keep a close. It's like, you can't join. I get, we get people every day they want to join. Like, no, no, no, no, no. It's only for students because I don't want this turning into a cesspool of of trolls and, and idiots. Yeah. Like every other screenwriting group on, on Facebook where the people are just mean and stupid and and awful to each other. It's not what's going on in there. So Yeah.Phil Hudson:Absolutely. Cool. Gary Hampton, what would you say it's beneficial to volunteer to be a writer's assistant or producer's assistant to gain some practical experience?Michael Jamin:Well, you can't volunteer. I mean, it's a paying position. It's not an internshipPhil Hudson:And you can't intern anymore because some interns sued. And so no one wants to do that anymore.Michael Jamin:Right. So it's a paid position. It's not a, it's not a well paid position, but, you know, so you can't volunteerPhil Hudson:For it. That, that being said, personal experience with this. You, I remember I got a text, I was sitting in my office and you were like, Phil, there's a PA job on Tacoma fd. Do you want it? It pays horrible and the work sucks. And I said, I would do that job for free. And you said right answer and you told me that's exactly what you did. Like you volunteered. Isn't that how you got your job? You or your first one of your first Yeah, myMichael Jamin:First job, this was on a show called Evening Shade. This was a long time ago with Bet Reynolds. And and who else was in it anyway? Mary Henry. But I sent out resumes. I'll do, I'll please, I'll work for free. Finally, some someone said, fine, you wanna work for free, you can start tomorrow. We'll give you $300 a week. And I was like, 300, you know, now $300 a week is nice. Nothing , but I jumped at it. It's better than free. I jumped at it.Phil Hudson:Yeah. butMichael Jamin:It's only because he only offered me the job because I said, I'll work for free.Phil Hudson:You were willing to do it. Yep. So you had the desire follow up question. What's the best way to get into a writer's room? And I know that's a crap shoot.Michael Jamin:Get as a Well, the best way to get in as a writer's assistant, you know, but you, that's hard. You have to get in first. You get start as a pa.Phil Hudson:And the, and the answer to this, having done basically all of this over the last several years is bust your butt. Mm-Hmm. , serve, serve, serve. I remember. And I think I've, I think Seavers aware now. I remember there was one point where Seavert was like, yeah, Philip Burnout. And you were like, no, he won't. Cuz you've known me long enough. ButMichael Jamin:Did he say that? I conversationsPhil Hudson:There's a level, there's the level at which I was like putting out in the writer's room and I, I remember I overheard that conversation. You're like, not fell. I appreciate you having my back. But it gets, it gets exhausting at a certain level and you just have to keep putting up it.Michael Jamin:It gets emotionally exhausting too. That's probably the, that's probably even harder than the physical. It's like, cuz you're so close, you're five inches away from the seat that you want to sit in.Phil Hudson:You're sitting outside the room.Michael Jamin:Yeah.Phil Hudson:Yep. I, I would literally have to remind myself when I would get overwhelmed with like those thoughts. I'd say, this is the job I would've killed for two years ago, isMichael Jamin:The job. That's exactlyPhil Hudson:Right. I killed for three years ago.Michael Jamin:That's exactly right.Phil Hudson:That's how I kept going. It's not fun. And a lot of people are like, oh, isn't that beneath you? Like, nothing is beneath me as long as it helps me progress. Nothing.Michael Jamin:Mm-Hmm. . Yeah. So.Phil Hudson:Alright. How do you so love Leah Ann Clark. How do you stick to your story when people tell you that is not sellable because they have not lived through the events?Michael Jamin:Well if it's not sellable, like, I mean, I don't know who's telling you It's not sellable. No story sellable, just to be clear. You know, even if you pitch a two of i, I pitched stories. That's like, that's, I can't sell that. You know why? It's only the minute it sells, it's sellable. But if you tell a story authentically and truthfully, that's the only thing you can hope for, is to write a great story. That's what I say. I if you're gonna look for the, the market, oh, this is what the market's looking for. What's the market looking for? Forget it. That's a moving target. The minute you fire that hour, the target is gone. It's twoPhil Hudson:Years old too, soMichael Jamin:It's always changing. It's just like, you know, so, but all you get, all you can do as a writer is write a great story. That's the only thing that you have control over and not worry about selling it. Can you write a great story? And if you can, then it becomes a calling card. People will hire you to write something else. Just focus on writing a great story.Phil Hudson:Yeah. Another really good piece of advice in the industry is if there's a story that you feel in your soul you need to tell, don't put that one off. Write that one.Michael Jamin:Yeah. Write that one immediately,Phil Hudson:Right? Yeah. Yep. Jeff Rice Studios ask, could you talk about some of the staff management process of Showrunning or being the quote captain of the ship quote?Michael Jamin:Well, as the showrunner, you know no one becomes a comedy writer or even any kind of writer to even drama writer because they want to be a manager. They don't become, they don't, that's not why we go into it. They, if you did, you go into middle management, you get a job in the corp in a corporation. So you're, we all do it because you want to be creative. Then you rise to the level where you have your own show, or you're running someone's show for them. And and now you have to keep everyone motivated. And so the way you keep motivated, you know, is not by shutting people down. You have to lead, but you also have to make 'em feel like they have a voice. And this is tough. It's like, it doesn't make me comfortable at all. It's not why I went into it anyway, so I was to, was to do this. So, but you have to just be a decent human being and hopefully you know, but, but your job, by the way, is when you're on staff, your job is not to be creative, per se. Your job is to give the showrunner what they want. Mm-Hmm. is to help them make their show.Phil Hudson:Yeah. Awesome. Raven Wisdom when in a groove riding a scene and as happens, life interrupts the flow and you lose the moment. What has helped you to return to that moment or scene and continue that thought?Michael Jamin:You know, I, I, I guess, I dunno how long life is putting you on hold, but you should be, be, hopefully you're making time every day, even if it's only 15 minutes to, I mean, we all have 15 minutes. Right. You know? Yeah. I hopePhil Hudson:Famously, I think it was Hemingway would stop purposefully mid-sentence mm-hmm. so that when he sat down at his computer or his typewriter, he could pick up his thought. Yeah. And so I think that's something you just have to train out. And it's actually a good thing cuz facing a blank page, not knowing where you're gonna go next is far worse than reading the last sentence and then continuing typing.Michael Jamin:Yeah. Yeah. Yeah. Okay.Phil Hudson:All right. We've got a lot of questions here still, Michael. So we're gonna get through a couple of the last ones, and I think couple more. A lot of this is repetitive, so I'm just gonna pick probably four or five more, and then we'll wrap it up. Does that sound good to you? Yeah,Michael Jamin:That sounds good.Phil Hudson:Okay. If you're a writer hoping to staff on a traditional network, procedural style show, do you specifically need a procedure, procedural style sample, or just a great sample that shows your unique quote voice?Michael Jamin:I've never written on a procedural. Don't even don't like 'em. I don't watch 'em. I, I would assume it's probably both. They're gonna want more than one sample. They're gonna want a sample of a procedural, and they're gonna want a sample of something else.Phil Hudson:That's always the case though. It's always two, right? Yeah. You need a, you did it and it's not a fluke. You can do it again. Yeah.Michael Jamin:So I have won Beach. Yeah. Yeah.Phil Hudson:Yeah. Okay. All right. And Kay Films, do you remember shadowing a writer that is currently in the film industry?Michael Jamin:I don't know about shadowing. I've worked for many writers. I never shadowed anyone. I, I i that like, there's no such thing as shadowing a writer. A writer is just in front of a computer, and if you were to shadow them, you'd, you'd be standing over their shoulder watching them type, like, it'd be horribly uncomfortable for everyone. It's not like a, it's not a visual job to How do you open, how do you open final drafts? Like that's what you'd see. Yeah. but I, I, I've worked for our writers and I've talked to him about story. I've had conversations, I've worked for a guy named William Masters Simone, this is when I first breaking in. And he wrote a great movie called The Beast. He wrote called another one called Extremities with, I think it was Farrah Faucet. He was a playwright. He was a playwright out of New Jersey who worked as a grave digger. He was a grave digger, and he write plays, literally. And brilliant writer. That'sPhil Hudson:Fascinating. Like, I want to Yeah, that's a fascinating backstory right there.Michael Jamin:And he was such a sweet guy. So down to earth. And then he got brought on, I was working on a, I was the writer assistant on a movie called What's Love Got Love What's Love got to do with it? The Tina Turner story. And so he would come and he got, he flew in for I think three or four weeks to rewrite the script. Then I don't think he, yeah, I don't think he got any credit for it, but he got a boatload of money, I'm sure. And he came down to LA and he type up the pages on his old typewriter. Then I'd retyped them and put 'em into the computer and format it correctly for for the movie. And such a sweet man. He's like, let me buy you lunch. Here's pizza. What can I do? He was just so nice. I, I really loved his attitude. He was kind very down to earth. That's it. ButPhil Hudson:You've adopted that attitude too. I mean, I've, I've done things to, to help you because I want to help you and you've Yeah. Repaid in kindness beyond what I feel I've done for you. Well, thank you. I've seen you do that for other people as well, so,Michael Jamin:Yeah. You know, because no one, I don't, no one goes into screenwriting cuz they think it's gonna, they're gonna be in charge of the, the world. Yeah. You, you take another profession if you have a giant ego. But yeah, he was, he was a super nice guy.Phil Hudson:On those lines, Aaron ha has asked, what is the best way to approach someone who you want to mentor you or learn from them? Is there any specific things you did in that relationship or others?Michael Jamin:I don't know. I, I would imagine that's a question probably for you. I think what you do is you give first. Yeah. That's what you do.Phil Hudson:Yeah, a hundred percent. And, and that does two things. One, just naturally I feel of, I feel good and feel of value when I serve other people. Yeah. Like there's a, there's a feeling. For me it's very physical. It's like a kinetic, kinesthetic, like tingly feeling of good, right? When I do something for other people, it's a selflessness that I just, I think it comes from being very poor and not having, and knowing how valuable that little bit of help really moves the needle for people.Michael Jamin:And that's, so that's, that's the point then. So it's like when you approach someone as a men, when you want someone to be your mentor, you're basically saying, I, I want you to gimme something. I what you have. I want, can you give me what you, what you have? And so that's not the attitude. The attitude is what can I give you mentor to make your life better. What can I give you?Phil Hudson:I'm in the broken lizard social media right now, helping them with t

Welcome to NerdFT Radio, the podcast exploring the latest news and trends in NFTs, gaming, and Web3. This episode covers several exciting developments in these rapidly evolving fields. First, we discuss the appointment of Mike Seavers as the new CTO at Yuga Labs, the team behind the popular Bored Ape Yacht Club NFT project. We examine the background and experience of Seavers and consider the potential impact of this leadership change on the future direction of Yuga Labs and its NFT projects. Next, we turn to the recent NFT token gated merch drop by Adidas, one of the world's leading sports apparel brands. We examine this innovative merch drop's design and mechanics, allowing customers to purchase exclusive Adidas merchandise by owning certain NFTs. Lastly, we highlight the launch of Doodles 2 Stoodio. We examine the new features and improvements of Doodles 2 Studio and discuss the potential for this project to continue the success of the original Doodles. Tune in to NerdFT Radio to stay updated with the latest news and insights in the world of NFTs, gaming, and Web3 and to join the conversation on the future of these exciting new frontiers. Let us know what you think. Questions? Comments? https://twitter.com/NerdFTRadio Follow us on Twitter! https://twitter.com/Crypto_Crier https://twitter.com/RedsoxguyEth Follow us on Instagram @NerdFT_Radio! DISCLAIMER: All of the information discussed in our podcast is for entertainment purposes only. As with any financial endeavor, do your own research. --- Send in a voice message: https://podcasters.spotify.com/pod/show/nerdftradio/message Support this podcast: https://podcasters.spotify.com/pod/show/nerdftradio/support

This summer, a combination of extreme heat and soaring natural gas prices hit electricity customers hard along the gulf coast. And Tara Seavers had a front row seat.Tara oversees the customer experience at Entergy. And this was one of the highest-stakes customer problems imaginable. Record numbers of people were calling the utility with a dire choice: do they buy groceries or pay their utility bills?Tara and the Entergy executive team jumped into action, creating a “bold and aggressive” plan to relieve the financial burden on customers. It's one example of the connection that Tara's team is forging between the utility and the people it serves. “I'm not in the business of just getting a piece of paper or an email to a customer. I want folks to feel confident [in the utility]. That's important to me, and I think it's important to customers,” explains Tara.This week: the shifting utility-customer experience. Inflation, extreme weather, digitization, distributed energy are all changing expectations around how power companies interact with and serve their customers.Brad talks with Entergy's Tara Seavers about how this is playing out in the American south.This podcast is produced by GridX. GridX is the Enterprise Rate Platform that modern utilities rely on to usher in our clean energy future.

Welcome to the Defining Moments of Leadership podcast, hosted by Marsha Acker! On today's episode, Marsha interviews Mike Seavers, the VP of Development at Epic Games. Mike has been a leader in tech and business for over 20 years, and has spent the last 10 years in the gaming industry. Prior to his shift into gaming, Mike worked in consulting, project and portfolio management, and leading software teams. Through all of his various roles over the years, Mike has dedicated his career to helping leaders, teams, and organizations with solving problems (both technical problems and people problems!) in order to unlock their full potential. He joins Marsha today to share about what leadership means to him and what it takes, what it looks like to persevere, and how persistence in leadership has served Mike in his own career.

The Drummonds, the Seavers, the Keatons, the Huxtables ... if you could choose one 1980s TV sitcom family to grow up with, which one would it be? Hear Dr. Amy's surprise answer to that burning question — and take a drink every time Aaron mentions Punky Brewster getting stuck inside a refrigerator — all on this week's episode of The Latchkey Kids.

In this episode of The Working Artist Project, Darrian Douglas and Gregory Agid talk to Asia Seavers, owner a& operator of Mixology-Cle. When it comes to the experience, we got you covered! At Mixology- Cle, we offer a variety of in-person & virtual experiences sure to fit any need. We are a women-owned business based in New York City with roots in Cleveland, Ohio. We host corporate events, team builds, paint and sips, virtual game nights, holiday parties & children's parties. We design custom beverage experiences for weddings, birthdays parties, home bars, and much more. At the core of everything we do we aim to educate, create and inspire. Welcome to the party!

For the first time ever, Chris and Reggie's three-part Marvelman/Miracleman Weird Comics History deep-dive (originally featured in episodes 27-29 of that series), compiled in one over-stuffed episode!   Part One: You ever have a Dream of Flying?  Join Chris and Reggie as they dive deep into the world of Marvelman.  From his humble beginnings as a British replacement for a certain Big Red Cheese, to the stories people actually care about (ie. those written by Alan Moore, err... we mean "The Original Writer". We will be sharing this crazy story over the next three installments.  This time around you will be introduced to the reasons behind Marvelman's creation, we'll introduce you to his creator Mick Anglo... and discuss the move from Silver Age silliness to cynical 80's grittiness (including a purposely brief synopsis of the WARRIOR Magazine run... because we really don't want to "spoil" that for our dear listeners). It's a fun-filled hour of chatter... and we don't even get to the lawsuit yet!  The... other lawsuit... the other, other lawsuit.   Part Two: There comes a time when everybody has to leave home... and that's no different for our new friend Marvelman, who, during this episode makes the trek across the Atlantic, and starts getting published stateside by Eclipse Comics.  Not before a little tweak in his title though. For their middle installment of Exploring the Mysteries of MarveREDACTED... let's try that again.  Exploring the Mysteries of MarREDACTED.  Hmm... okay, we'll do it their way... For this installment of Exploring the Mysteries of Miracleman, Chris and Reggie discuss more growing pains than a house full of Seavers when they continue their long-form look at our Kimota-shouting hero.  This week they will set the stage for the domestic (if you live in the United States) arrival (and sorta-kinda revival) of Miracleman... and briefly discuss the remaining Alan Moore run as well as the still unfinished Neil Gaiman run. Then... they start getting into the nitty-gritty, and really the "meat and potatoes" of any real Miracleman discussion... the rights!  Welcome to the story, Mr. McFarlane... hope you survive the experience! Part Three: Order in the court!  (Ham and Cheese)   For the final installment of "Exploring the Mysteries of Miracleman", your favorite legal eagles Chris and Reggie don their long robes and powdered wigs and do their darnedest to figure out just who owns Marvelman!   They will discuss the wheelings and dealings of one Spawny fellow... and spend far too much time discussing the characters of Angela, Cogliostro, and Medieval Spawn... but they promise it all (mostly) fits the story.   Overall, it's an hour and change of audio likely to make you even more curious and confused about Marvelman, and just how his story finally "shook out". -- https://www.patreon.com/xlapsed X-Lapsed Voicemail: 623-396-5375 (or, 623-396-JERK) Twitter: @acecomics / Instagram: @90sxmen weirdcomicshistory@gmail.com chrisandreggie.podbean.com The All-New, All-Different chrisisoninfiniteearths.com facebook.com/groups/90sxmen

Show Me That Smile Again!!!! Back before Kirk Cameron was…well the man he is today, he was a teen heartthrob, not unlike myself – and in this episode of Growing Pains his brother Ben brings home a homeless kid for Christmas. Ah the Seavers…. Show Title: Growing Pains Episode Title: “The Kid“ Year: 1986 Season: 2 Episode: 9

There is an old saying in the black community: "If you want to hide something from a negro, put it in a book." If that is the case, there is no hiding anything from Corbin Seavers who is the host of the Book Talk With Corbin podcast. He is also the founder of the Kentucky Chess Ambassadors where he teaches chess to racial minority, low income and socially disadvantaged youth throughout Kentucky. Corbin discusses his upbringing, his love for books, chess, his passion to change the lives of young people and how he became a black conservative. If you want to help Corbin with his mission of changing the lives of at risk youth through chess visit kychessambassaadors.com You can also listen to the Book Talk With Corbin podcast at booktalkwithcorbin.com  

Remember, Leo DiCaprio was in it? Don't worry if not, we are discussing football!

Before the Seavers leave for a family vacation to San Francisco, they drop off their pets -- Chance (Dean Thomas), an adventurous American bulldog; Shadow (Jack Charles), a wise golden retriever; and Sassy (Ash Gardner), a cautious cat -- at a friend's ranch. But when the animals start to worry that they've been left for good, the three embark together on a treacherous and thrilling journey to find their way back home through the California wilderness. A Nova Podcast Podcast Produced & Edited By Andy Zito Executive Producer: Jack Charles Producers: Victoria Wall & Brodie Pummeroy Additional Audio Production: Tim Mountford See omnystudio.com/listener for privacy information.

Recovery, racing, winning, and laughs is what this show was all about! Thanks to @seaversracing , @treavispoynter, @energycoilracing, @therealrowdyrob, @tylertizzlewians for such great convo and knowledge!Follow us on Socialhttps://www.instagram.com/thedirtlifeshowhttps://www.instagram.com/georgehammelOfficial Website and Merch:  http://www.thedirtlifeshow.comMusic license - RedBull Sound Supply - RBLB-B2LGGKAMEFDRVI1O-RBLESupport the show (http://www.thedirtlifeshow.com)

Support the show Held:innen, wohin das Auge blickt. He-Man und Teela kämpfen auf Netflix gegen Skeletors Schergen, James Bond zieht bei Jeff Bezos ein, "Ein Colt für alle Fälle" kämpft mit dem “Sechs-Millionen-Dollar-Mann” und Aschenbrödel ist tot. Das Happy End: zum Greifen nah. Eine Podcast-Folge so gefährlich wie die Reise zum Schicksalsberg. Kontakt: Podcast@Elane-Music.com >> Die Playlist zum Podcast

Diese Folge ist lang geworden. Es fängt ruhig an und dann zum Ende hin nehmen wir immer mehr an Fahrt auf. Die Wirkung des doppelten Espresso aus der La Marzocco kam verzögert aber dann richtig.

If you've been following this show for a while you know that 1970's and 80's TV cars (and trucks) have had a huge influence on the cars we all love today. From the General Lee, to KITT, to the A-Team, all of those shows featured a hero vehicle that was just as much a character as any one of the individual actors. Today's episode is a full take on yet another beloved classic...and features a full rundown of everything you'll need to know to build your very own "Fall Guy" Square-Body GMC truck! Even better, our guest Nathan Warren has more passion for this topic than anyone I know. Buckle up for takeoff! ****** Presented with Good Guys! Upcoming events include: Goodguys 6th Griot’s Garage North Carolina Nationals Presented by Griot's Garage April 23-25, 2021 **Use Our Custom Link for Signup Discount!** www.eventbrite.com/e/138860897683/?discount=GGMUSCLE Goodguys 2nd RaceDeck Salt Lake Nationals May 21 - 23, 2021 Utah State Fairpark **Use Our Custom Link for Signup Discount!** www.eventbrite.com/e/138872376015/?discount=GGMUSCLE The post TMCP #464: Warren Customs – The Full Build Recipe to Create an Accurate Replica of Colt Seavers “The Fall Guy” Truck! first appeared on The Muscle Car Place.

I talked to Luke Seavers on how brand identity and getting the right messaging across can help brands grow their business online. Guest: Luke Seavers has a background in Branding and Web Design. He helps business owners to develop a strong Brand Identity (logo design, colors, etc.) to appeal to your target customer and create recognition of their brand. Luke believes that there is more to building a brand than just aesthetics. That's why he likes to take a more holistic approach to branding, beginning the entire process with Brand Strategy – this process assists him in defining your brand, from your Culture to your Tone of Voice, and more. It is from this initial strategy that he is am able to design effective brand aesthetics for companies, and craft clear Brand Messaging to help you speak to your customers in a way that resonates with them. Connect with Luke on LinkedIn: https://www.linkedin.com/in/lukeseavers/ Host: Bob Low is a digital marketing consultant that has worked on digital marketing projects with brands such as Marvel Studios, KFC, Unilever, Samsung Mobile, and many more. Bob is also one of the most influential profiles on LinkedIn. He has trained consultants, digital marketers, recruiters and business owners in his LinkedIn masterclass. Contact Bob for LinkedIn and marketing consulting: bob@bobthinkz.com Follow Bob on LinkedIn: https://www.linkedin.com/in/bobthinks/

Hey Seaver Fans, Angela Bowen here, the host of Show Me That Smile Again: A Growing Pains Podcast. Today in honor of Jeremy Miller's (Ben Seaver) Birthday (that was in October) I decided to cover S2E4: Call Me, which aired on November 11, 1986. In this episode Maggie and Jason recall how Ben got himself into hot water by calling a pornographic hotline and then lying by putting the blame on a neighborhood kid for giving out the number. I liked this episode because it dealt with a subject that sitcoms in the 80's rarely talked about on TV, sex. I really think that it had a good lesson in parenting at the end with Jason telling Ben that calling that sex hotline was not the way to learn about sex and that if he has any questions he should come to his parents. He also told Ben that sex is a beautiful and private thing that is shared between to people that love each other. I think this was a great message. Join me next month when I call Growing Pains S5E24: Weekend At Mike's, which aired on April 4, 1990. In this episode the Seavers discover they have termites and they move in temporary with Mike. I wanted to close out 2020 with a fun whole family episode. Have a great weekend everyone!

As we jump in to the BTSC Delorean for a trip to a happy yesteryear in Steeler Nation, I set the time circuits for Halloween of 2004. We head back to a time when America was still reeling from the brief resurrection of the Seaver Family to network television in a Growing Pains movie, “The Return of the Seavers”, radio listeners were honoring trick or treat by requesting “Goodies” by Ciara, The Grudge was number one at the box office, the Boston Red Sox finally broke their epic championship drought a few days earlier and President George W. Bush was days away from defending his presidency successfully against Democrat John Kerry. Meanwhile, the Pittsburgh Steelers were riding a hot rookie quarterback to a 5-1 record and exciting Steeler Nation into thinking about their team hoisting the Lombardi for the first time in 25 years. But the defending champions from New England were standing in the way and on their way to the Steel City. Welcome to October 31, 2004. Join Tony Defeo and Bryan Anthony Davis as they relive a game that was crucial to Ben Roethlisberger’s growth as an NFL signal caller and the Steelers return to the top of the conference. Learn more about your ad choices. Visit megaphone.fm/adchoices

September 24. Kirk Cameron. Cameron started acting as a child and is well-remembered for his role Mike Seavers in TV's Growing Pains. Later, he starred in the Left Behind series, Monumental, and Fireproof, which became the number-one-grossing inspirational film of the year.  Cameron partners with Ray Comfort in an evangelical ministry, The Way of the Master, and speaks at thirty churches a year as part of the “Love Worth Fighting For” marriage conference. On this date in […] The post Kirk Cameron, US, Actor first appeared on 365 Christian Men.

Like many kids growing up on Long Island Boomer Esiason idolized Tom Seaver, with the news of Seavers passing Boomer gave the show a call to pay tribute to his childhood hero. See omnystudio.com/policies/listener for privacy information.

Wir bekommen nicht genug davon Euch mit Poesie aus der Hausapotheke zu beglücken. Daher gibt es auch diesmal wieder schöne Gedichte und Reime für Euch von uns. Dazu freestyled Nikas auch noch für Euch, während Jens für die Frau des Hauses den Fernsehton anschaltet. Daneben berichten wir ganz groß von unseren Erfahrungen mit Autos, und der aktuellen Werkstatt Geschichte unseres neuen Pickups, den seinerzeit schon Colt Seavers über Rampen und Autos springen ließ. Viel Freude bei dieser etwas schwerfälligen Episode, die nach hinten raus aber richtig fahrt ausnimmt. Wir haben wieder mal alle Rülpser rausgeschnitten (3 an der Zahl).

Hey Seaver Fans, Angela Bowen here, the host of Show Me that Smile Again: A Growing Pains Podcast. Summertime is here, and boy oh boy, do I have a way to celebrate. Let's go to Maui with the Seavers. Today, I covered Growing Pains S3E1 and S3E2: Aloha Parts 1 and 2, which originally aired on September 18, 1987. In PART 1: Jason faces a near mutiny situation by his unhappy family when the vacationing Seavers are stranded on a rented boat miles from the shores of Maui. In PART 2: Romance and relationships are highlighted as the Seaver family continues their vacation in the tropical paradise of Maui. I had a fun time with this episode. I loved Ben documenting the Seaver adventures with his 30 lb camera practically glued his shoulder 98% of the time. Jason got on my nerves quite a bit this episode, I get it, it's a vacation and you want to do things together as a family, but other than the boat on the water that we see when the episode begins and the luau at the end of Part 2, everyone is pretty much doing their own thing. Mike's chasing after Melia, a girl he met when he arrives at the hotel, Carol's either waiting by the phone for Bobby's call or hanging out with the bellhop Hadley(while he rubs suntan lotion on her and they talk about the fall of the Roman Empire by the pool. If I could insert a snooze Emoji here, I would. Maggie has to go back to work halfway through the trip and Jason makes her feel guilty for that. Ben even asks his Dad to go horsebacking riding with him and Jason turns him down. WTF Jason!! Apparently he would rather pout in the hotel room after Maggie heads back to New York to her job to finish up a series on Toxic Waste Dumps. I hope you enjoy the episode. I asked, and you answered, on social media for what CAROL SEAVER Episode I should do for the month of July because, I haven't done one of her in a while, so I'll be covering Growing Pains S3E15: The Marrying Kind, which aired on January 5, 1988. In this episode Jason and Maggie are shocked when Carol announces her engagement to Bobby. Have a great week everyone!

Artist and musician Jace Seavers tell his epic story of living nearly a decade in the Jesus People USA commune in Chicago. Consisting of good memories and nightmares both, the experience would affect his thinking and art for the rest of his life. Includes stories of Steve Scott, Daniel Amos, Cause and Effect, Crashdog, The Crossing and Rez Band. To hear on Stitcher, click here! To hear on iTunes, click here! To hear on Spotify, click here! (Jace with one of Rez Band's original bass guitars)  

Hey Seaver Fans, Angela Bowen here, the host of Show Me That Smile Again: A Growing Pains Podcast. Today, in honor of the 2020 Graduates, I decided to cover Growing Pains S3E26: Graduation Day, which aired on May 4, 1988. In this episode Mike's graduation stirs memories from his proud parents, who recall his birth and first day of school. Carol loses her long-standing bet that her brother will never graduate. We get flashbacks of Jason and Maggie as new parents to baby Mikey, we see Mike's first steps and his first day of school. We even see a four year old Carol being played by Judith Barsi who provided the voices of "Ducky" from The Land Before Time and "Anne Marie" from All Dogs Go To Heaven, which was her last film role before her tragic murder by her father. We even get to see how Mike and Boner first met and how Boner got his nickname. Honestly, I think it's better than the alternative "Dickie" cause his name is Richard Stabone. It seems like in almost every flashback we get, Maggie is pregnant, with Carol when Mike takes his first steps and then she's pregnant with Ben when 5 year old Mike is trying to avoid questions about his time at school. Join me in June when I cover just in time for Summer 2020, Growing Pains S3E1 and S3E2 Aloha Parts 1 and 2, which aired on September 18, 1987. In PART 1: Jason faces a near mutiny situation by his unhappy family when the vacationing Seavers are stranded on a rented boat miles from the shores of Maui. (Part 1 of 2) In PART 2: Romance and relationships are highlighted as the Seaver family continues their vacation in the tropical paradise of Maui. (Part 2 of 2) Have a great holiday weekend and as always: Stay Safe, Stay Healthy, Stay Positive! We WILL Get Through This!

According to Micah Seavers, owner and operator of Southern Reds BBQ in Water Valley, Ky., the secret ingredient to a great successful restaurant business is family. At 12 years old, Micah started working in his family-run restaurant and hasn’t looked back in over 20 years. In this episode, you will learn that when it comes to BBQ, simple is better, and giving back to the supportive community is something Seavers holds close to his heart. He also discusses how he turned his hobby of wildlife management into Seavers Beavers, a company that helps businesses and individuals safely deal with unwanted creatures.

Dorothy and Jace Seavers are just about the coolest 58 year olds out there. Their blend of funky jazz music and lyrics that sometimes feel like a vaudeville throwback demands nothing less than one hell of a show to back it up.Don’t believe me? After you’re done listening to this episode, go check out one of their music videos. I’ll even serve up the link for you in the show notes. :PThis is the kind of music that shines brightest on a stage, or at the very least, in a creative music video like the ones you’ll enjoy with Meet the Seavers.Their music is enjoyable off stage too. It might be a little avant garde, but the music, and the melodies… they sound good. Watch the music video for On Your Way to ConsequenceVisit their website http://www.meettheseavers.com/Listen on SpotifyListen on Apple MusicResources Jace mentioned:MusicSupervisor.com (for getting your songs synced)Undiscovered Music (venue and house concert database)

I was thinking about Growing Pains on this walk--the old TV show. I was thinking about how the dad, Jason Seaver (Alan Thicke), worked at home; he was a psychologist with a private practice in an office right off the family living room. (Horrendous home-office placement, particularly in a family with three loud, wise-cracking kids, but I digress.) I'd never before seen a dad who worked at home. None of the actual dads I knew, in real life, worked at home. They all drove away in the mornings to be middle-men, or lawyers or "sell components"  I can't claim that sifting through these memories of Jason Seaver as I walked through the woods birthed any great epiphanies or insights. It's just, some thirty-five years later, I'm a dad who works at home myself. And on days like this--a snow day, when my daughters are off from school, rambunctiously skipping back and forth from the neighbors, making snow angels and sledding, and I'm up in my office over the garage, yapping on the phone with book publicity people and typing (always typing)--I feel grateful to be a dad who works at home: grateful to be here, looking down on them from my peculiar perch, and taking a break to share hot cocoa, share the burden, share in the laughter and love. Rain or shine. All the time.  This week's walk is sponsored by Sean Sullivan, who thinks you'll like The Monolith, a short documentary by Rosie Walunas. You can see it here.

The Rangers are back just in time for Frightober and what a spooktacular episode it is. This time the Rangers cover a episode from season 6 of Growing Pains called Happy Halloween. When a terrible storm hits Long Island the Seavers are forced to spend Halloween indoors and they share some ghost stories to pass the time. Join the tricks and treats as the Rangers talk Links Awakening, a Gamestop debacle, and a mini Summer Of Smut segment. Happy Halloween from The Video Rangers Podcast.

In this episode, mortician Eric Seavers drops by to discuss embalming, cremation, and funeral rites. Also we talk about the mysteries of death and the art of reconstruction.

Dean Seavers has long appreciated vintage cars. He's owned several, a passion that continues a family heritage. Seavers' now-deceased father worked for General Motors in Fremont, California, and his son learned about mechanics and vehicle history at a young age. Seavers is also a renaissance man. He likes old stuff in his East Sacramento home. He appreciates craftsmanship from yesterday. Seavers' interests are represented ideally by his current favorite automobile — a 1961 Studebaker Lark VIII station wagon. He's owned the car for about three years and seemingly knows every inch of it. Dean Seavers of Sacramento owns a 1961 Studebaker Lark VIII. Image Courtesy of Dean Seavers. Seavers is our guest on Episode #102 of The Weekly Driver Podcast. Co-hosts Bruce Aldrich and James Raia talk with Seavers at a coffee shop near his downtown Sacramento workplace. Seavers, a procurement officer for the State of California, sometimes drives his Studebaker to work. But mostly it's a weekend car and he enjoys working participating in Studebaker clubs of like-minded folks. The Studebaker company, which celebrated its 100th anniversary in 1952, ceased automobile production in 1966. The Lark was made from 1959 to 1966. Studebaker and Packard were once aligned. Both companies independently and together made heavy vehicles with lots of chrome. The vehicles were simultaneously innovative and problematic. Studebaker owners are passionate about their cars as any vintage car enthusiasts. Seavers is no exception. Please join us in this episode, a lively discussion with Seavers. He talks about acquiring parts, working on his vehicle and his appreciation for Studebaker. It's a manufacturer he believes is largely under-appreciated. The Weekly Driver Podcast encourages and appreciates feedback from our listeners. Please forward episode links to family, friends and colleagues. And you are welcome to repost links from the podcast to your social media accounts. Support our podcast by shopping on Amazon.com. Please send comments and suggestions for new episodes to James Raia via email: james@jamesraia.com. All podcast episodes are archived on www.theweeklydriver.com/podcast Every episode is also available on your preferred podcast platform: Google Play iTunes Spotify Stitcher iheartradio

LIVE from the APTA NEXT Conference in Chicago, I welcome Duane Scotti on the show to discuss gymnastics medicine.  Dr. Duane Scotti is a physical therapist, educator, researcher and founder of Spark Physical Therapy. He is considered a leader in the fields of rehab, sports medicine, performing arts medicine, and human performance optimization. With years of experience as a physical therapist, runner, and dance instructor in combination with his strength and conditioning background, Duane has been working with many patients to improve all aspects of human performance. In this episode, we discuss: -The most common injuries in the youth gymnastic population -Differential diagnosis for low back pain -Key features of a rehabilitation program following an ankle sprain -How to enhance communication between athlete, coach and clinician -And so much more!   Resources: Duane Scotti Twitter Duane Scotti Instagram Spark Physical Therapy Facebook Spark Physical Therapy Website    For more information on Duane: Dr. Duane Scotti is a physical therapist, educator, researcher and founder of Spark Physical Therapy. He is considered a leader in the fields of rehab, sports medicine, performing arts medicine, and human performance optimization. With years of experience as a physical therapist, runner, and dance instructor in combination with his strength and conditioning background, Duane has been working with many patients to improve all aspects of human performance. Duane is currently the founder of Spark Physical Therapy, providing prehab, rehab, and performance optimization services either onsite or in the comfort of your home within the Cheshire/Wallingford CT region. He also is a clinical assistant professor in the Department of Physical Therapy at Quinnipiac University responsible for coordinating and teaching musculoskeletal examination, intervention, and advanced manual therapy within the orthopedic curriculum. Duane received his Bachelor of Health Science degree and Master of Physical Therapy degree from Quinnipiac University in 2001 and 2003. He then went on to receive a clinical Doctor of Physical Therapy and a Ph.D. in Physical Therapy from Nova Southeastern University in 2017. Duane is a board-certified Orthopaedic Clinical Specialist, Certified Mulligan Practitioner, certified in dry needling and has advanced training in spinal manipulation, dance medicine, gymnastics medicine, and rehabilitation for runners. Duane has been in clinical practice working with orthopedic, sports, and performing arts populations since 2003. He has strong clinical and research agendas in screening, injury prevention, and rehabilitation for runners, dancers, and gymnasts. Duane uses an integrative model of manual therapy including manipulation, mobilization, and soft tissue treatment including dry needling and the Graston technique for the management of musculoskeletal dysfunction. Duane is a physical therapy advocate and is actively engaged with the American Physical Therapy Association and serves as Vice President of the Connecticut Physical Therapy Association.   Read the full transcript below: Karen Litzy:                   00:00                Hey everybody. Welcome back to the podcast. I'm coming to you live from Chicago, Illinois at the APTA Next conference. And I have the great pleasure to welcome back to the podcast. Dr. Duane Scotti physical therapists. And today we're going to be talking about gymnastics medicine. So Duane, welcome back. Duane Scotti:                00:19                Thanks for having me Karen. It's good to be back Karen Litzy:                   00:21                And I have to tell you, gymnastics is something near and dear to my heart. I was a gymnast for many, many years as a child. And luckily I didn't have any major injuries, but what we're going to be talking about today are kind of the most common injuries you might see in a gymnast. And this is something that Duane is so passionate about. These are the people he sees. So if you're a physical therapist out there, and maybe you have the off chance that you might see one of these young athletes, I think this'll be really helpful for you to give us your insight. So Duane, tell us what are the three most common injuries one might see in a gymnast? Duane Scotti:                01:02                Well, I think first off is I definitely do have a passion for this area. Like you state because I have a daughter who's a gymnast. So that is one of the things that I kind of in my career from a clinical standpoint, kind of focused a little bit more in this area is spinning off of like dance medicine and got into the realm of helping gymnasts out because I did see there was a need in the local club in our region. So in terms of the most common injuries I would say, you know, definitely low back pain, in gymnasts and specifically extension based low back pain. So because of all of the kind of back bends you think about, they do like bridges, back walkovers, back handsprings all of those, especially in the young developing gymnast. So usually the smaller ones like the level fours and fives, they're doing a lot of those skills. A lot of times you'll tend to see that occur as well as a lot of the compressive loads that happen especially during your floor passes in gymnastics, there's a lot of compressive loads as well as shear loads that get transmitted to the spine. Karen Litzy:                   02:11                And can you kind of briefly tell us what exactly you mean by when you say a compressive load and can you give an example of when a compressive load might happen and a shear load? Same thing. Duane Scotti:                02:23                So it's really the compressive load is if you think of landing, right, so you're landing, your body weight is coming down. So we know that actually landing, you know, there are some studies that look at between 12 to 17% of your body weight is actually, or times your body weight is actually being loaded through the spine. So that's that compressive load as opposed to like a shear load, which would be something like if you think of doing that back bend or that bridge where you're getting one bone kind of shearing on the other. And in the young developing gymnast who is still growing, that can be problematic. And then that's where we start see things such as stress fractures. So that's kind of really the most you know, important thing. And the thing that I tried to intervene and educate because a lot of times most gymnasts have the perception that maybe back pain is normal with gymnastics due to the training and it's going to happen. But being a young gymnast with their bones developing, if they develop that stress fracture that could be detrimental to their long-term health if it goes undiagnosed. Karen Litzy:                   03:28                Oh that was my next question. So let's talk about differential diagnosis of that stress fracture. Cause I think that's really important to think about. And I would imagine that a lot of therapists aren't thinking stress fracture when they're thinking of a young girl or a young boy. Most of the time we think stress fractures in our older adults with osteoporosis, osteopenia. So how do you differentially diagnosed that stress fracture from other causes of back pain? Duane Scotti:                03:59                Yeah, so the stress fractures are, they call spondylolysis and it is really diagnosed based upon the history. So kind of taking a report, is that something that typically it can occur acutely from like a specific landing where they felt an acute kind of sudden onset of back pain, but usually it is something that's developing over time and it's not getting better with rest and it continues to get worse over time. And then there are some things on the physical exam that we can evaluate whether they have pain usually commonly with extension. So they're, you know, doing a standing extension test or a stork test standing on one leg, bending back. You can look at the irritability based upon if they have pain with that or if they don't have pain with like a press up on their stomach, then I feel pretty confident that this person doesn't have a stress fracture, that it is more muscular. Duane Scotti:                04:50                But you always have to kind of make sure and rule that out and then looking at confirming that. So you, you know, you send them to a specialist, a spine specialist. It's not going to show up on x-ray unless it's chronic by that point that they'll see the callus formation on x-ray. But it's really an MRI or a bone scan. And a lot of times, you know, if it is kind of consistent with the history, then even the specialist may not even recommend an MRI just because it's sometimes not necessary. So sometimes it just requires that kind of protection phase and avoiding the extension based activities. And then that allows that to heal. Karen Litzy:                   05:26                And how long is that protection phase? Duane Scotti:                05:29                So it's around, you know, everyone's different but around six weeks. So that's the most common timeframe you'll see. And there are some that recommend bracing. So they call that like the, the Boston braces, the Bob braces where they will brace them. So that athlete is actually preventing any back bending at all. So they're not going into any extension and forces them. So it's a hard kind of turtle shell brace. And they'll wear that for six weeks to really make sure that it heals up. Cause some of these young kids don't even realize and they don't understand the severity of it. I actually just had a girl recently who, you know, tried not bracing at first and then wasn't getting better and now she's braced and it will allow things to heal. Karen Litzy:                   06:10                Mm, Nice. And my next question was actually going to be how do you communicate this to a young boy, a young girl, young gymnast, that it is of utmost importance to not move into these motions. And then I'm sure you're reinforcing that with parents, guardians, coaches, etc. So talk to us a little bit about the communication that needs to happen around this. A child with a stress fracture. Duane Scotti:                06:38                So I'm lucky in the fact that I'm on site, so I have these relationships with the coaches already. So I'm seeing a lot of the gymnast actually within the gym and I have those relationships with the coaches as well as with the patients. I see the parents are always there during the evaluation. After every visit, I'm always communicating, you know, even if they're not there for the visit, we do the visits in the gym and then I communicate all my findings on each day with them. That being said, it gets challenging, especially during competition season. So this is where the difficulty comes in. And I think it is a very important role we play as healthcare providers where sometimes we have to be the bad guys because we're looking out for their health. So I had a girl this year before regionals, it was, you know, big competition for her and we have to make that decision and there are tough decisions and if things are sounding and going down that route that you think stress fracture, then it's like you have to take care of your long-term health. Duane Scotti:                07:36                And it's, you know, one of the hardest conversations, honestly, I've had, I go, you know, home at night thinking about these decisions. I have these long conversations with their parents and, but in the, you know, in the long run, when I reflect back, I'm like, okay, this was the right decision because you know, I don't want this, you know, female to have persistent low back pain for the rest of her life and she wants to have kids one day and grandkids and be able to move later in life. So you know, you want to make sure that you're thinking for their long term health. Karen Litzy:                   08:04                Yeah, I think that's very well said. And you know, I used to work at the lion king in New York and I remember it was like their last performance at the new Amsterdam theater before they moved to the Minskoff. And one of the young simbas was limping around, limping around. So they brought him in and he was not fit to dance that day. And so I had to make the professional decision to call in stage management, call parents, call tutors, call everyone around this huge production of he can't go out and dance because I'm looking out for the longterm house. So it is a lot of tears, which I'm sure you can attest to, but you're right, it's being a good health care professional. It's not about just that moment. It's looking out for these young kids. Duane Scotti:                08:53                And you know, I definitely pride myself on, you know, getting the recovery for injuries as quick as possible so they can get back out there doing what they love, being able to compete. So when something like that happens, you know, you almost feel like, oh, was I a failure or in, you know, but you have to think about the bigger picture and their long-term health versus that short term gain. Karen Litzy:                   09:14                Yeah. That's when you take yourself out of it, right. As the therapist, as we should all be doing, we check our ego at the door. It is not us. Sometimes things happen. Timing sometimes sucks and we have to make decisions based on what's in front of us. And I think if you're making what you feel is the best decision at the time for the health of that patient, then it's the right decision. And all right, so outside of stress fractures in the low back, what are there other common types of low back pain? Is it muscular and mechanical, low back pain. And what do you then do for those gymnasts? Duane Scotti:                09:54                So very good. Mainly there's not a huge amount of mechanical low back pain that I tend to see when we think of disk related low back pain, sometimes some facet joint. But these kids are a lot younger so it is usually muscular in nature. I kind of see that common pattern, but it is usually due to an underlying instability in the lumbar spine. But honestly more importantly that I'm seeing is the contributing factors. So specifically looking at hip flexibility, so limited hip flexibility specifically the hip flexors, is going to cause more lumbar extension as well as kind of a weakness or inactivation of the glutes. So these girls are doing these leaps and they're doing these movements where they are extending their hip but they're really not turning on their glutes and their using, you know, if they do have flexibility issues. So I found, you know, addressing those issues. Number one from a treatment standpoint is going to be helpful in the long run, but also for Prehab standpoint. So in prevention. And that's what I kind of do in the gym with all these girls is take them through a full screening help to identify those risk factors and then get them on plans to address the soft tissue care because they are doing a lot of strength and conditioning their front of their hips get really tight and that causes that excessive shearing in the lumbar spine. Karen Litzy:                   11:13                Great. So I think for me a big take home here is when you're looking at these young kids, you're not, they're not just tiny adults and so we're not necessarily looking for disc issues, but rather we really need to look above and below to kind of see, well is the back pain, this muscular back pain a result of compensation from other parts? Right? Duane Scotti:                11:36                Absolutely. Yes, definitely. And then even the core stability aspects of most of these gymnasts, like super strong, but sometimes there's still these little muscle imbalances that you can find with like a good examination that they're not using the muscles you think they're utilizing. And a lot of, you know, even physicians and you know, these athletes will go to a, you know, a pediatrician or primary care provider or an Ortho and then you're like, oh well there look at them. They're Jacked, you know, like you've seen gymnasts there, Jacked, like really, really good conditions. Yeah. So they, they're like, oh, there's no way they could be weak. But no, like when you actually watch them move and you watch their movement patterns, then you pick up on some of these weaknesses and then you know, having them get into, when they're doing their extra, it's like, okay, well where are you feeling this and this. I go, if they're not feeling they're glutes at all. They're like all of their feelings and their hamstrings. So I find a lot of that they're kind of using your hamstrings to extend their hip joint and not using their glute. So you kind of work on correcting some of those kinds of muscle imbalances. Karen Litzy:                   12:34                Perfect. All right, so let's move off of low back pain. What's another common injury that you see in your gymnasts? Duane Scotti:                12:44                So definitely you know, the most in terms of the research is ankle and foot are kind of the most common region or you know, area to be injured. And most of that is due to traumatic ankle sprains. So they get their classic inversion ankle sprain while they're beam landing from a pass on the floor, dismount off bars, everything vault like you name it, you know, an ankle sprain can happen. And it usually happens in practice. Not so much in competition. We know that the majority of gymnastics related injuries happen during practice. So I do see a lot of ankle sprains. I do a lot of triaging, especially because I'm onsite. So I need to make that clinical decision on, you know, do we send them out for a radiograph? So utilize the Ottawa ankle rules, and seeing, you know, if they can't put weight on it, then they're definitely getting a radiograph. If they're having pain and they have that bony tenderness, then sending them out for a radiograph. And again, this is where I see us as physical therapists being able to make an impact in our communities in being that point person and make that decision so the athlete goes to the proper place versus just putting ice on it and then going home. And then, you know, so I've been able to kind of streamline that process for a lot of the athletes that I see. Karen Litzy:                   13:56                Fabulous. And I don't think we need to go into the ins and outs of ankle sprain rehab. But have you found amongst this population, what is one thing you can tell another therapist if you do nothing else to rehab these gymnasts after ankle sprain, you must, must, must include this in your program. Duane Scotti:                14:20                Can I say two things? So first is one thing that I see overlooked a lot is mobility issues. So a lot of people have the assumption that you sprained your ankle, you have a loose ankle and we need just stabilization, stabilization. And that is important. Don't get me wrong. And kind of proper stabilization going from your balance activities proprioception to plyometrics. Definitely necessary need to do the plyometric training with your gymnast before you release them to do gymnastics training. But also checking for mobility issues, specifically lack of Dorsiflexion during like a weight bearing dorsiflexion test. And I've seen that where there's, you know, asymmetries on both sides and that's going to be important because when these gymnast land from their floor passes a lot of them, sometimes land short and if they land short, that requires more Dorsi flexion motion. So that can in turn cause you know more limitations of Dorsiflexion, anterior ankle pain. So you really want to make sure you normalize the joint mechanics and the talocrural joint and do your manipulation mobilization techniques to kind of restore that. So that's one thing. And then, especially if someone's been immobilized. So if there are mobilized in the walking boot or in an air cast, a lot of times you'll find stiffness in those joints as well as the distal tibiofibular joint. Karen Litzy:                   15:35                Perfect. Thank you. That is great. I would have thought your firsthand, so we would have been propioception exercises, which are important, but I'm glad that you brought up the mobility stuff. Great. All right, let's talk about one more common injury that you see in this population. Duane Scotti:                15:51                So this is more your kind of growth plate injuries. So the kind of growing gymnast as they're growing, they go through that growth spurt. So commonly in the younger gymnasts, so like the nine 10 year olds, you're going to see like the Seavers, so they're going to have heel pain. The calcaneal apophysis and then as they get a little older, usually around 12 ish, you're going to start to see knee pain. So whether or not it's Sinding-Larsen-Johansson Syndrome, which is the inferior pole of the Patella or the more common one that everyone knows about osgood schlatters which is at the tibial tubercle. So you will tend to see these kind of growing pains if you will. The big thing is to educate the parents, the gymnast, and there are things that they could be doing at this time. Duane Scotti:                16:38                They don't just need to train through pain and usually it relates to soft tissue flexibility. So for Seavers, it's really the calf, the Achilles, make sure they're on a good mobility flexibility program for those structures. And then for the knee, a lot of rectus tightness I tend to see, so working on some of the flexibility mobility during this time period and watching load management, so maybe not doing their rigorous training and if they're going through that kind of gross spurt and they have some pain and now let's say like summer conditioning starting, then they might need, be able to kind of do a modified practice, especially when it comes to the jumping and the plyometric training. So they're not doing because we know that's what really caused it. And that's why the incidence is so high in gymnast is because they're going through this rapid growing and they do a lot of jumping, a lot of contraction of the Achilles and contraction of the quads. So that's why you tend to see pains in both the ankle and the knee area. Karen Litzy:                   17:35                Perfect. Yeah, I had a patient a couple of months ago Seavers disease, she was nine and she was a gymnast. And what was really interesting is I would have her, because I needed to see how she jumped and how she landed. And I don't know if this contributed to it or not. In my line of thinking, I felt like maybe it did, but when she landed she tended to land in a very valgus position of her knees. And I don't know, can that, so looking at the biomechanics of the landing, can that help in the treatment of Seavers disease? Cause then we kind of worked on that so that she wasn't landing in quite such a valgus position. So that in my line of thinking was that if we can help to normalize her landing a little bit more, that she’d be able to more effectively use her calf muscle in order to land instead of being at this very sort of sharp valgus angle. Duane Scotti:                18:33                Yes. I think that's definitely important. And then even I guess going one step further than that is looking sagittal plane and with ankle Dorsi flexion. So if they're limited there because their Achilles is tight and their gastric is tight, I see that even more so. But maybe like you said, if even if they're weak hip muscles, so your abductors external rotators are weak and they're going into that dynamic Valgus, you know, could that be a contributing factor to different mechanics going down at the ankle? Possibly. Karen Litzy:                                           Interesting. Yeah. There's so much to think about with these gymnast's that you would not think about in your ordinary population. Duane Scotti:                                        Right, right. No, absolutely. And it is as you said that they have such high levels of training, you know, the girls I see, you know, once they get up to level six and above, they're in the gym for 24, you know, 25 hours a week. Duane Scotti:                19:21                So it's a lot of training. The only get like two weeks off a year. So it's like at the end of the season befor summer starts and then before a fall starts. So it's a lot of training, a lot of wear and tear on their bodies. And that's why it's so important to be able to pick up on, you know, contributing factors. Cause every gymnast is different too. So someone's going to have maybe a tightness in the front of their hips. Someone's gonna have some tight calves, so I'm just going to have maybe week shoulder muscles and they're starting to get shoulder pain with bars or tight lats. So that's a common thing where they're limited with overhead mobility with reaching. So you kind of need to identify what each one does. And that's what I like to do is to get them on like a customized kind of program and it's like, okay, here are your like top five exercises you should be doing before practice every single day. Duane Scotti:                20:03                So as opposed to just like chatting with your friends, like, let's prime the body, let's get, you know, warmed up. If it's rolling the front of your hips, doing some glute activation exercises, make sure they're turned on before practice starts. That's what they need to be doing. Karen Litzy:                                           And you know, I was just going to ask you, what advice would you give to, let's say, any physical therapists out there listening to healthcare practitioner who maybe doesn't have the amount of experience you have with the gymnastic population, but like I said, maybe they've got a gymnast coming in and I feel like you just kinda answered that. Do you want to add anything to it? What advice you would give to that PT? Duane Scotti:                20:48                Don't be afraid to reach out and talk with the coaches. I think a lot of the gymnastics world and culture, I tend to see a little bit of kind of medical professionals on one side, coaches on the other. The coaches think that the medical professionals don't understand their sport and vice versa. The medical professionals think that the sport is just bad for them and they shouldn't be doing it almost that it's too much and it's not good for their bodies. So I think we need to kind of meet in the middle and actually communicate and have these conversations and you know, try to meet in the middle. And that's what I tend to do with the coaches and cause they, I could see where their mindset is. And I, you know, with my years of experience coming from the kind of clinical mindset and injury side, and I've shifted a little bit in some of my thought processes as well. Being able to actually be on site and see some of the training that they do and to see some of the practices. Duane Scotti:                21:32                So just don't be afraid to communicate and I guess reach across the aisle and be able to say, okay, this is what I'm finding, and even just letting them know that, hey, this is pretty irritable right now, but it's a minor problem, but if she can do a modified practice today and tomorrow and then she has off on Sunday, that will give her three days of this kind of protected rest phase and the next week she'll be able to do full practices to have you kind of frame it like that. Then the coaches are like, okay, I could, I could deal with that. Versus the coaches being like, no, they can't modify practice right now. We have a competition in two weeks. But if you've kind of framed it that way and say like, Hey, if we just allow these couple of days and then next week they're going to be able to have full practice without limiting themselves at all, then they're more likely to kind of go with your recommendations versus, you know, everyone being on kind of different sides. Karen Litzy:                   22:20                Perfect. I think that's great advice. Communication is vital and everything we do with our patients from all the different stakeholders that are involved to the patient themselves, to parents and caregivers and to each other. So I think that's great advice. Thank you so much. And I have one last question for you and it's the one that I ask everyone and that's knowing where you are now in your life and in your practice. What advice would you give to yourself as a new Grad right out of physical therapy school? Duane Scotti:                22:51                So this is a tough question because I hear this all the time because I listened to all your podcasts and you would think I would have the answer right off the top of my head. But I would probably say, there's a couple things is one, just not be afraid to fail. Failure is good because we learn from that and then don't abandon certain techniques or philosophies early on if you're not getting it right. Continue to learn and grow, evolve. And that's how we all get better in what we do. Karen Litzy:                   23:22                I think that's wonderful advice. That's perfect. Resonates with me. Very much so. Thank you, Duane, for coming back on the podcast again and educating us all around gymnastics medicine, so thank you. Duane Scotti:                23:32                Awesome. Thank you for having me. This has been great. Karen Litzy:                   23:35                My pleasure. And everyone out there listening. Thanks so much. Have a great couple of days and stay healthy, wealthy, and smart.   Thanks for listening and subscribing to the podcast! Make sure to connect with me on twitter, instagram  and facebook to stay updated on all of the latest!  Show your support for the show by leaving a rating and review on iTunes!  

In this episode of God’s Promises, we speak with Rylee Seavers about Godly Accountability. Join us in what it looks like to walk boldly for Christ in this promise! --- Support this podcast: https://anchor.fm/bornquirky/support

Happy Spooktober Everyone, Angela Bowen here, the host of Show Me That Smile Again: A Growing Pains Podcast. I thought because it's October I'd review S6E7: Happy Halloween Part 1 which aired as an hour long episode on October 31, 1990. In this episode The Seavers spend Halloween at home, sharing scary stories. The stories we hear are: Jason's Story - Alien Invasion similar to Invasion of the Body Snatchers except in this story the aliens give people yellow eyes and make them pour coffee down their pants. Maggie's Story - Chrissy dressed up like a bunny knocks on the house of a witch who's played by Jason who gives Chrissy an apple bomb. Join me next week for S6E8: Happy Halloween Part 2, which aired on October 31, 1990. In this episode The Seavers' Halloween story marathon continues with Mike's all-too-close encounter with the beautiful teen-aged girl who came with his new car. At the end of the next episode I will rate the stories from best to worst. Check out Part 2 on October 31. Have a great Wednesday!

Happy Halloween Month, Angela Bowen here, the host of Show Me That Smile Again: A Growing Pains Podcast. For the month of October I thought I would review a couple Halloween themed Growing Pains Episodes. Here is S4E1: Fool For Love, which aired on October 19, 1988. In this episode Ben works up the courage to ask a girl to a Halloween party. Also Jason and Maggie attend lamaze class resulting in Jason getting a black eye and Carol scares trick or treaters by telling them to be wary of people who will put poison in their halloween candy. Yikes Carol! Stay tuned later this month for S6E7:Happy Halloween Part 1 The Seavers spend Halloween at home, sharing scary stories. and S6E8: Happy Halloween Part 2. Have a great weekend.

There comes a time when everybody has to leave home... and that's no different for our new friend Marvelman, who, during this episode makes the trek across the Atlantic, and starts getting published stateside by Eclipse Comics.  Not before a little tweak in his title though. For their middle installment of Exploring the Mysteries of MarveREDACTED... let's try that again.  Exploring the Mysteries of MarREDACTED.  Hmm... okay, we'll do it their way... For this installment of Exploring the Mysteries of Miracleman, Chris (@acecomics) and Reggie (@reggiereggie) discuss more growing pains than a house full of Seavers when they continue their long-form look at our Kimota-shouting hero.  This week they will set the stage for the domestic (if you live in the United States) arrival (and sorta-kinda revival) of Miracleman... and briefly discuss the remaining Alan Moore run as well as the still unfinished Neil Gaiman run. Then... they start getting into the nitty-gritty, and really the "meat and potatoes" of any real Miracleman discussion... the rights!  Welcome to the story, Mr. McFarlane... hope you survive the experience! Next week we will do our best to "tie a bow" on Miracleman, his story, and the creative forces all vying for ownership! -- You can get a hold of us at weirdcomicshistory@gmail.com -- For our weekly writings check out www.weirdsciencedccomics.com For Chris' daily writings check out www.chrisisoninfiniteearths.com -- Check out www.weirdcomicshistory.blogspot.com for show notes! -- Visit us on Facebook at: www.facebook.com/CosmicTMillHistory and on Twitter @CosmicTMill -- We're also now on YouTube... just search "weirdcomicshistory" (all one word) and you ought to be able to find us! -- Subscribe to the show on iTunes, Spotify, Stitcher, Google Play, iHeartRadio... wherever's most convenient! New episodes of Chris and Reggie's Cosmic Treadmill drop every Sunday morning. Weird Comics History releases sporadically on Tuesdays. -- TAGS: Alan Moore, Alan Davis, Rick Veitch, John Totleben, Chuck Beckum, Chuck Austen, Neil Gaiman, Mark Buckingham, Eclipse Comics, Cat Yronwood, Todd McFarlane, Beau Smith, Spawn, Hellspawn, Brian Michael Bendis

Deciphering ratings can be hard to do and still leaves you with so many options! Co-Founder and CEO, Andy Seavers joins me in Charleston, South Carolina at The Harbor Entrepreneur Center to share how their app, TASTE, curates a list of unbiased, local favorites. Restaurant reviews, social media and AI all come into play for this tech startup of The South!

Listen as Brad reveals what its like to be living a life of fear at the age of 3 and beyond.  Fear for his life from those that should have been loving on him.  By age 16 he was involved in drugs and alcohol and his life was already on a downward spiral.  See how this hero for kids now turns his attention towards himself to heal, and then others.     www.seaversracing.com  

Former Associate Vice Pres at Broward College Norman was the first African American Man to qualify for the

Dean Caulfield came in with a shovel Guitar and set Rika and Myself on fire, his Guitar and my carpet too. Check out his Imdb page and his incredible THE COLT SEAVERS BAND currently touring […] The post Colt Seavers Band – Dean Caulfield – Stuntman – Bull Rider – Country Rockabilly – #181 appeared first on Gold Coast vs Drew Kruck.

Professional race care driver Bread Seavers is Living the Dream. Brad explains his journey and how after all these years he remains clean and loving life! From The Inspire Malibu Blog: The Gabapentin High – Misuse and Abuse of Neurontin Painkiller on the Rise

100% commercial production with Sara Hashem, Rick Loynes, Dan Seavers and Clare Bowen of Radiocentre. Conditions apply.

If you've ever awoken to find yourself a rich television star, you too know the risks of this week's fourth wall breaking episode on Growing Pains' show within a show: Meet the Seavers. Join your hosts @mauraeand @lafergs along with returning guest @ohseafarer of @britchespodcast to discuss Alan Thicke's consummate professionalism and how great at playing a normal version of himself Kirk Cameron used to be! AS REFERENCED IN THE EPISODE: BIZARRE OPENING CREDITS: youtu.be/gJdg6LKIzJ8 LEO DICAPRIO IN THE NORMAL CREDITS: youtu.be/EtZN52pqtOA HYDROPHOBIC CHEMICALS: youtu.be/i4J6uC22Hwo BUB, SUPERFAN: youtu.be/QgmFlB9Isx4 BUB IN STARFLEET UNIFORM: bit.ly/1jCwM7Z BUB IN HOME ALONE: bit.ly/1RryV46 SIMPSONS DID IT BETTER: bit.ly/1Qjg8qL Rate, Review, & Subscribe on iTunes! bit.ly/TTV-iTunes Did you start your holiday shopping yet? Shop through us and support the show: amzn.to/1uEVTFg

L'épisode 29 de ce mois-ci est dispo: Salut à tous nous revoilà pour une 4éme saison! Un moment historique puisque c’est le premier début de saison que l’on fait a plus de 2 c’est a dire 3 quoi, un de plus mais pas n’importe lequel puisque Fransaoûl été avec nous! d'ailleurs pour une rentrée les participant étaient particulièrement dissipés mais bon en 3H d'émission vous allez bien vous en rendre compte! Pour ce qui est du contenu pas de changement depuis la saison 3, quelques news trier sur le volet. Ensuite des coup de coeur coup de gueule de chacun, et en guise de "Dossier" pour ce premier numero vous aurez le droit a un DDE qui aurait du ouvrir la saison 3. On a tenté de vraiment parler des séries des années 80 et bon on a fait quelques écart. Et en final comme d'habitude vous aurez le droit aux Tweets & Trash que Fabinou vous à trié a son retour de vacances. Et à la fin de l'épisode retrouvez le tirage au sort des gagnants du concours PARQKS VS FMICast. Sinon dans ce 29eme numéro: les news: on revient vite fait sur la keynote Apple le changement de police de Google le blocage de T411 Xena la guerrière Zorro le reboot Clara...La rubrique Win&Faill Un dossier/DDE sur les série de notre enfance (toutes mes excuses pour le son des génériques...) Et pour finir les Tweets&Trash sans Tweets mes avec des Trash et pas Exprefion ce mois-ci Tous les liens: Le Tuto Show! By Kikrine et Phil le Soundcloud de Quenton Le MP3 de "Podcast Killed The Radio Stars"Comme d'habitude vous nous trouverez: - Par abonnement sur Itunes - En téléchargement direct et complètement légal en MP3 -Retrouvez FMICast sur podCloud Pour nous aider et nous soutenir: - notre Boutique Spreadshirt - - ou laisser nous un commentaire juste dessous et sur Itunes ça fait toujours plaisir!

Jace Seavers, Dorothy Gilmore and Duane Spencer from Meet The Seavers join Chas E and Mike Mitchell for rounds of music, talk, and craft beer. Check out Meet The Seavers jazzy, soulful sounds on four original songs including "Give Me Flame" and "Strange Menageries," and enjoy some rounds of beer tasting including Caldera's Ginger Beer, French Broad's IPA and Starr Hill's Little Red RooStarr Coffee Cream Stout.

Imagine a rain-soaked Beckett knocks on your door with a new manuscript. What was it like to collaborate with, publish, and know the genius? Seaver (who with her husband discovered and published Beckett’s early work) and Mandell (an actor directed by the playwright himself) team up to read both Beckett’s work and the Seavers’ memoir about the golden age of publishing—and to discuss how the unconventional writer came to be revered by audiences everywhere. *Click here to see photos from the program!

1. Boney M - Jingle Bells (Greysound remix 2011)3. Positive DJ's - Jingle Bell Rock 20115. Klubbheads - Hiphopping (Fast Foot remix) 1. Boney M - Jingle Bells (Greysound remix 2011) 2. Leroy Daniels - Last Christmas (DJ's From Mars club remix) 3. Positive DJ's - Jingle Bell Rock 2011 4. Groove Coverage - Poison 2010 (Stay & Play Mix) 5. Klubbheads - Hiphopping (Fast Foot remix) 6. Acid luke & Tony Tweaker - So Feel (Test mix) 7. House Rockerz - Herzrasen (Florian Arndt remix) 8. Bryce ft. Gerald G and J-Malik - Dance (Gordon & Doyle remix) 9. Chrizz Luvly - You For Ear 10. Samuraj - Pump Up The Volume (Sledge & Seavers remix) 11. Klaas & Bodybangers - Freak (Bodybangers mix) 12. Tom Piper and Tommy Trash ft. Mr Wilson - All My Friends 13. Perpetual & Sandra Passero - End Of Time (Audien remix) 14. Nexboy & Cover - Love is True (The Rivers remix)

1. Boney M - Jingle Bells (Greysound remix 2011)3. Positive DJ's - Jingle Bell Rock 20115. Klubbheads - Hiphopping (Fast Foot remix) 1. Boney M - Jingle Bells (Greysound remix 2011) 2. Leroy Daniels - Last Christmas (DJ's From Mars club remix) 3. Positive DJ's - Jingle Bell Rock 2011 4. Groove Coverage - Poison 2010 (Stay & Play Mix) 5. Klubbheads - Hiphopping (Fast Foot remix) 6. Acid luke & Tony Tweaker - So Feel (Test mix) 7. House Rockerz - Herzrasen (Florian Arndt remix) 8. Bryce ft. Gerald G and J-Malik - Dance (Gordon & Doyle remix) 9. Chrizz Luvly - You For Ear 10. Samuraj - Pump Up The Volume (Sledge & Seavers remix) 11. Klaas & Bodybangers - Freak (Bodybangers mix) 12. Tom Piper and Tommy Trash ft. Mr Wilson - All My Friends 13. Perpetual & Sandra Passero - End Of Time (Audien remix) 14. Nexboy & Cover - Love is True (The Rivers remix)

Tracklist available at Darkfloor.

Tracklist available at Darkfloor.

Full tracklist available at Darkfloor

Full tracklist available at Darkfloor

Full tracklist available at Darkfloor

Full tracklist available at Darkfloor