Podcasts about Seward

This week on The Running Mullet, we're covering the legendary Laurel Highlands Ultra, a tough East Coast race (of the choose your own adventure variety: 70.5 mile or 50k) that definitely lives up to the hype. This year was the 47th running of the 70.5 and the 21st running of the 50k. The iconic 70.5-mile point-to-point runs from from Ohiopyle to Seward, while the 50k leaves off at the 31 mile point. Both once again delivered epic performances and survival stories. We'll break down an incredible day for Pennsylvania trail running, where we'll hear from Andy Styer, who crushed his 4th running of this epic race, and the remarkable story of Abby becoming the youngest finisher in Laurel Highlands 70 history—proving once again that trail runners keep getting faster, tougher, and apparently younger. Join us for stories, results, trail suffering, and probably a few rabbit trails along the way as we do. Or, catch us after the show wherever you get your podcasts.

Outline 00:00 - Intro 02:10 - London in the 1960s12:40 - From Oxford to Imperial College: David Mayne and the discrete-time Riccati equation 18:05 - The "global tour": Montenegro roads, hitch-hiking to Istanbul, and the San Francisco waterfront 22:30 - Feedback and causality between stochastic processes 31:15 - The system identification years 40:50 - Model complexity, the bias–variance trade-off, and concentration inequalities 52:05 - Adaptive control: living through a golden era 1:00:30 - McGill, George Zames, and CIFAR's "institute without walls," and COCOLOG 1:09:45 - Mean field games: the China connection, the cell-phone problem, and Nash Certainty Equivalence 1:20:15 - The Lasry–Lions simultaneous discovery 1:24:40 - From graphons to graphexons: sparse networks, Laplexions, and geometry 1:31:00 - Linear Stochastic Systems, Popper, and falsifiability 1:35:20 - Advice to young researchers 1:38:00 - OutroLinks Peter Caines' website: https://www.mcgill.ca/cim/caines Linear Stochastic Systems: https://epubs.siam.org/doi/book/10.1137/1.9781611974713  On the discrete-time matrix Riccati equation of optimal control: https://doi.org/10.1080/00207177008931892 Feedback between stationary stochastic processes: https://doi.org/10.1109/TAC.1975.1101008 Prediction-error identification methods for stationary stochastic processes: https://doi.org/10.1109/TAC.1976.1101304 Asymptotic normality of prediction-error estimators for approximate system models: https://doi.org/10.1109/CDC.1978.268066 Discrete-time multivariable adaptive control (Axelby Award): https://doi.org/10.1109/TAC.1980.1102363 Discrete-time stochastic adaptive control: https://doi.org/10.1137/0319052 25 seminal control papers of the 20th century: https://books.google.ca/books/about/Control_Theory.html?id=eVhGAAAAYAAJ COCOLOG: A conditional observer and controller logic for finite machines: https://epubs.siam.org/doi/10.1137/S0363012992226636 Hierarchical hybrid control systems: https://doi.org/10.1109/9.664153 On the hybrid optimal control problem: https://ieeexplore.ieee.org/document/4303244Bode Lecture: https://ieeecss.org/presentation/bode-lecture/mean-field-stochastic-control The cell-phone problem - Large population stochastic wireless power control: https://doi.org/10.1109/CDC.2003.1272542 Large-population stochastic dynamic games - McKean-Vlasov and the Nash Certainty Equivalence principle: https://projecteuclid.org/journals/communications-in-information-and-systems/volume-6/issue-3/Large-population-stochastic-dynamic-games--closed-loop-McKean-Vlasov/cis/1183728987.full Large-population cost-coupled LQG with nonuniform agents and decentralized ε-Nash equilibria: https://doi.org/10.1109/TAC.2007.904450 Social optima in mean field LQG control: https://doi.org/10.1109/TAC.2012.2183439 ε-Nash mean field games with major and minor agents: https://arxiv.org/abs/1209.5684 Graphon mean field games and their equations: https://doi.org/10.1137/20M136373X Mean field games on large sparse network limits - Laplexion dynamics on graphexons: https://www.sciencedirect.com/science/article/pii/S240589632500388X Murray Wonham oral history: https://www.youtube.com/watch?v=8IBZyRo0vDkSupport the showPodcast infoPodcast website: https://www.incontrolpodcast.com/Apple Podcasts: https://tinyurl.com/5n84j85jSpotify: https://tinyurl.com/4rwztj3cRSS: https://tinyurl.com/yc2fcv4yYoutube: https://tinyurl.com/bdbvhsj6Facebook: https://tinyurl.com/3z24yr43Twitter: https://twitter.com/IncontrolPInstagram: https://tinyurl.com/35cu4kr4Acknowledgments and sponsorsThis episode was supported by the National Centre of Competence in Research on «Dependable, ubiquitous automation» and the IFAC Activity fund. The podcast benefits from the help of an incredibly talented and passionate team. Special thanks to L. Seward, E. Cahard, F. Banis, F. Dörfler, J. Lygeros, ETH studio and mirrorlake . Music was composed by A New Element.

Arguably the biggest hindrance to advancing Biblically aligned policy in Alaska has been the relentless willingness of a few Republican State Senators and House members to give power to the Democrats in exchange for leadership positions.Two of those legislators, Senator Gary Stevens and Representative Louise Stutes, both from Kodiak, have been leading that charge for a long time. It's been a tiring mantra. Elect Republican majorities. Democrats are put in authority.We now have a legitimate moment to change this trajectory.Gary Stevens is retiring and Louise Stutes is leaving the House to run for his Senate seat. Because she's been giving power to the Democrats just like he has, Stevens has endorsed her.But Stutes has a challenger. And he is gaining traction.Heath Smith, a former Homer City Council member, life long Alaskan and astute observer of what's wrong with our "bi-partisan" ineffective legislative caucuses, is on the show today. Senate District C includes Seward, Homer, Cordova, Ninilchik, Anchor Point and Kodiak among other communities but the implications of this critical Senate race have long term statewide implications.Hope you can join in on our conversation.Support the show

An Anchorage man facing murder charges was back in court Thursday for day two of his criminal trial. With the Alaska House set to debate a key tax exemption bill Friday, labor unions and the developer behind the proposed Alaska liquefied natural gas pipeline signed a non-binding pledge Thursday to prioritize Alaska workers — a show of momentum that not all lawmakers say changes their concerns about the bill. The U.S. Coast Guard announced it will homeport its first two Arctic Security Cutters in Kodiak, with a third to come in Seward Thursday.

Jennie Nash returns to a #amwriting hot seat with novelist Andrew Perella. Building on prior guidance from ThrillerFest's Samantha Skal, they refine Andrew's thriller outline—especially antagonist Seward's motivation, escalating twists, and clue/red-herring sophistication—while acknowledging outline fatigue and treating it as a living document updated alongside drafted scenes. Andrew adds a new opening murder to raise the early body count without revealing the killer, links the victim to Abby, and explores Seward's conflicted “strategy” to preserve an old-world hierarchy that targets women's and vampires' agency. They also discuss Quince as a privileged, unreliable brother and the need to define Mina's telepathic vampire “magic” so her influence preserves Abby's agency and makes Mina's end offer a harder choice. They plan to review drafted chapters next. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

KPFA Theatre Critic Richard Woinsky reviews “Dracula, A Feminist Revenge Fantasy, Really: by Kate Hamill at San Francisco Playhouse through June 27, 2026.           TEXT OF REVIEW According to Google's unreliable AI, nobody beats Dracula as the single most portrayed literary character in film history, with over two hundred direct adaptations, parodies and crossover appearances. You can add the hundreds of theatrical versions floating around as well. Due to a screw-up in the 19th Century, Dracula has always been in the public domain in the United States. 

There's also the whole vampire thing too, Vlad Tepes, Anne Rice, the Lost Boys. In 2020, following a flurry of Jane Austen adaptations, playwright Kate Hamill chose to take a bite out of Bram Stoker, and thus we have Dracula, A Feminist Revenge Fantasy, Really … yes, that's the title, which now runs at San Francisco Playhouse through June 27th. This Dracula hews to the beats of the Stoker novel, and at the same time turns it upside down. Dracula is not merely a monster, he's the archetype of toxic masculinity, particularly as muscularly and scarily performed by Johnny Moreno. Renfield, or rather Mrs. Renfield, the fly-eating comic lunatic, played here in an indelible performance by Stacy Ross, is the night's most tragic victim, the rejected female child, yearning for daddy to take her back. After a brief prologue the show opens at the doors of Dracula's castle in Transylvania, where estate agent Jonathan Harker, in a physical performance by James Aaron Oh that runs from torment to slapstick, meets up with the titular vampire, and his vampire wives, who are themselves victims of a misogynist society.

Then we move on to the main story involving Jonathan's Wife Mina, an engaging Sharon Shao, and her friend Lucy, a feisty Nemma Adeni, she's a proto-feminist planning to marry for security, certainly not love. And her fiancé, the staid anti-feminist Dr. Seward of the asylum, a deliberately stiff Josh Schell. And then we meet Dr. Van Helsing, in a cowboy hat, played with gusto by Susi Damilano, and all the elements fall in place. It's to director Bill English's credit that Dracula stays most of the time on a tightrope between Victorian melodrama, horror and camp. The laughter is uneasy, the pathos over the top, and the violence pretty graphic. This Dracula doesn't shy away from its bloody roots. While the subject may be fear and the subtext dealing with the evils of traditional masculinity, this is a fearless production with an impeccable cast. If you don't mind the viscera. Dracula, A Feminist Revenge Fantasy Really by Kate Hamill plays at San Francisco Playhouse through June 27th. For more information, you can go to sfplayhouse.org. I'm Richard Wolinsky on Bay Area theatre for KPFA. The post Review: “Dracula, A Feminist Revenge Fantasy, Really” at San Francisco Playhouse appeared first on KPFA.

On this week's episode with host Davis Hovey, details about a delay in construction at the Seward dock rerouting cruise ships to Whittier, summer salmon fishing restrictions in Kodiak Island rivers, a reversal of the Alaska Board of Fisheries rules by the state attorney general, KIBSD is paying for up to 20 of its international teachers to receive their green cards, and a special remembrance of Alaskan veterans ahead of Memorial Day on Monday from the Alaska Desk at Alaska Public Media.

In this episode, I'm joined by Christopher Seward, a documentary filmmaker and editor whose work includes Fahrenheit 9/11, Sicko, Ariel Phenomenon, One Child Nation, and more than 40 documentary films.Christopher's work sits at the intersection of truth, emotion, curiosity, and perspective. As an editor, he has spent much of his career helping shape complex, difficult, and often confronting stories into films that people can actually watch, feel, and understand.This conversation explores the craft of documentary storytelling, but it also goes much deeper than film. We talk about curiosity as a way of moving through the world, the difference between facts and emotional truth, the role of humour in difficult stories, and why being seen may be one of the deepest human needs we all share.Christopher also shares his own life story, from growing up surrounded by art, nature, and service, to serving in the Navy, spending time on the Navajo reservation, studying cinematography at NYU, and building a life rooted in community, gratitude, nature, and creative purpose.In This Episode, You'll DiscoverWhy curiosity can create common ground, even when people disagree.How Christopher thinks about finding the universal human thread inside complex stories.Why facts alone are not always enough in a post-truth world.The role of emotional truth in documentary filmmaking.How humour can help people stay with difficult or painful subjects.Why documentaries need space, rhythm, and moments of relief.How Christopher's time on the Navajo reservation shaped his spirituality and view of nature.What losing his father young taught him about impermanence, process, and savouring life.Why community requires showing up, not just belonging.How nature helps Christopher process the intensity of his work.Why a bountiful life may begin with changing how we define bounty.Timestamps00:00 – Opening reflection on truth, purpose, and being seen01:20 – Introduction to Christopher Seward02:39 – Growing up with art, nature, service, and imagination06:44 – Spirituality, church, curiosity, and questioning09:18 – What it means to live a bountiful life12:30 – Advice to his 25-year-old self14:34 – Self-trust, intuition, and learning to listen to your gut17:00 – Losing his father young and learning impermanence19:30 – Time on the Navajo reservation and indigenous wisdom26:10 – Studying cinematography and finding documentary editing30:13 – How to shape complex stories32:39 – Facts, emotional truth, and storytelling in a post-truth world35:34 – Working on intense documentaries and difficult subjects38:24 – Nature, perspective, and staying well while telling hard stories40:10 – Ariel Phenomenon and the power of first-person storytelling45:08 – Authenticity over spectacle46:02 – What Christopher looks for in a story48:25 – Humour, pain, pacing, and making hard subjects watchable51:04 – Tentpole scenes and the gravity of story55:37 – Nature as our operating system58:36 – Community, homecoming, and building belonging01:04:42 – Quickfire roundGuest BioChristopher Seward is a documentary filmmaker and editor whose work spans more than 40 documentary films. His credits include Fahrenheit 9/11, Sicko, Ariel Phenomenon, One Child Nation, and many other projects exploring politics, human rights, social issues, identity, and the unseen stories that shape our world. His work is grounded in curiosity, emotional truth, and a deep interest in helping people see complex subjects through a more human lens.About the Bountifull PodcastBountifull is a personal growth and wellbeing podcast exploring what it means to live a joyful and meaningful life. Through conversations with interesting people from diverse backgrounds, we explore psychology, science, creativity, resilience, connection, and practical wisdom for living a good life.

On today's Midday Report with host Terry Haines:The Alaska Legislature is headed for a special session focused on tax cuts for the Alaska LNG project immediately after lawmakers adjourn today. Cruise ships planning to stop in Seward are being rerouted to Whittier at least until Saturday because of ongoing construction at the dock. And Anchorage police say officers shot and killed an armed man in East Anchorage early this yesterday morning.Photo: The Crystal Serenity cruise ship in Seward, preparing for a cruise through the Northwest Passage in 2016. Ongoing construction work on a new dock has forced ships to reroute to Whittier this month. (Rachel Waldholz/Alaska Public Media)

Send us Fan MailWilliam H. Seward & the Secession Crisis of 1860-1861 with (C. Evan Stewart)In this episode of the American Civil War & UK History Podcast, host Daz was joined by author C. Evan Stewart to discuss his latest book, William Henry Seward: Quest to Save the Nation – During The Secession Winter (November 1860– April1861)During the secession winter of 1860–1861, William H. Seward worked to prevent the breakup of the Union following the election of Abraham Lincoln. Believing compromise and moderation could calm tensions, Seward pushed for conciliatory measures toward the South while firmly opposing disunion as the nation moved closer to civil war.Support the show link.(https://www.buymeacoffee.com/AcwandukhistoryC. Evan Stewart's Websitewww.cevanstewartauthor.comACW & UK History's Website.https://www.acwandukhistory.com/ACW & UK History's Pages.https://linktr.ee/ACWandUKHISTORYSupport the show

Outline00:00 - Intro 01:30 - Origin story: Naples, electrical engineering, and the fascination with chaos 08:00 - What is chaos?15:00 - DC-DC converters and discontinuity-induced bifurcations 22:00 - Piecewise-smooth dynamical systems26:55 - Complex networks, synchronization, and pinning control 40:30- Synthetic biology: from gene regulatory networks to multicellular control58:00 - COVID-19: a network epidemic model for Italy 1:02:00 - Multiscale control, statistical mechanics, and physics-informed control 1:19:10 - State of the field and the IEEE CSS 1:26:35 - Advice to young researchers 1:29:00 - OutroLinks Mario's website: https://sites.google.com/site/dibernardogroup/home Scuola Superiore Meridionale: https://www.ssm.unina.it/ Chaos by James Gleick: https://en.wikipedia.org/wiki/Chaos:_Making_a_New_Science Control of chaos:https://en.wikipedia.org/wiki/Control_of_chaosErasmus programme: https://en.wikipedia.org/wiki/Erasmus_Programme An Adaptive Approach to the Control and Synchronization of Continuous-time Chaotic Systems: https://doi.org/10.1142/S0218127496000254Piecewise-smooth Dynamical Systems: Theory and Applications: https://doi.org/10.1007/978-1-84628-708-4 Bifurcations in nonsmooth dynamical systems: https://doi.org/10.1137/050625060 Controllability of complex networks via pinning:https://doi.org/10.1103/PhysRevE.75.046103 Criteria for global pinning-controllability of complex networks: https://doi.org/10.1016/j.automatica.2008.07.007Controllability of complex networks: https://doi.org/10.1038/nature10011Controlling complex networks with complex nodes: https://doi.org/10.1038/s42254-023-00566-3Analysis, design and implementation of a novel scheme for in-vivo control of synthetic gene regulatory networks: https://doi.org/10.1016/j.automatica.2011.01.073In-vivo Real-time Control of Protein Expression from Endogenous and Synthetic Gene Networks: https://doi.org/10.1371/journal.pcbi.1003625A network model of Italy shows that intermittent regional strategies can alleviate the COVID-19 epidemic: https://doi.org/10.1038/s41467-020-18827-5A Continuification-Based Control Solution for Large-Scale Shepherding: https://arxiv.org/abs/2411.04791Shepherding control and herdability in complex multiagent systems: https://doi.org/10.1103/PhysRevResearch.6.L032012Nonreciprocal field theory for decision-making in multi-agent control systems: https://doi.org/10.1038/s41467-025-63071-4Support the showPodcast infoPodcast website: https://www.incontrolpodcast.com/Apple Podcasts: https://tinyurl.com/5n84j85jSpotify: https://tinyurl.com/4rwztj3cRSS: https://tinyurl.com/yc2fcv4yYoutube: https://tinyurl.com/bdbvhsj6Facebook: https://tinyurl.com/3z24yr43Twitter: https://twitter.com/IncontrolPInstagram: https://tinyurl.com/35cu4kr4Acknowledgments and sponsorsThis episode was supported by the National Centre of Competence in Research on «Dependable, ubiquitous automation» and the IFAC Activity fund. The podcast benefits from the help of an incredibly talented and passionate team. Special thanks to L. Seward, E. Cahard, F. Banis, F. Dörfler, J. Lygeros, ETH studio and mirrorlake . Music was composed by A New Element.

Amanda shares her story of two deployments as supply specialist. She shares the highs and lows of each deployment. She dives into her injury and how she became an adaptive sports amputee and how those experiances have changed her life. Lastly, she shares her passion for the creative arts. Please enjoy this episode as well as check out her portfolio. https://www.canva.com/design/DAG4ha66sXM/coSG_6QNRkN_hg36Rvp6BQ/view?utm_content=DAG4ha66sXM&utm_campaign=designshare&utm_medium=link2&utm_source=uniquelinks&utlId=hef58d6ca9f

Thomas and Panu had a stimulating and wide ranging conversation with John Fraser who reflected on his career as an architect, zoo and museum designer, pioneer in conservation psychology, and creator of innovative nonprofit knowledge and conservation groups. We focused on practical ways to support wildlife and conservation professionals amidst the emotional toll of their globally important work. John also spoke about how social cohesion and community bonds build resilience in small towns like his home in Seward, Alaska.

Andrew returns with his latest blueprint for a gothic mystery, and the coaching quickly zeroes in on what will make it work: a clear, compelling villain and twists that truly land. With help from thriller coach and Thrillerfest executive director Samantha Skal, the discussion unpacks the hidden layer of the story—what the villain is actually doing—and how that contrasts with the protagonist's assumptions.As they dig in, it becomes clear that strengthening the mystery means making the murders more personal, introducing a convincing false suspect, and mapping both the visible story and the truth underneath it. By the end, Andrew has a sharper path forward: deepen the villain's motive, raise the stakes earlier, and build each twist so it feels both surprising and inevitable.#AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.About Book Coach Sam SkalA fan of the scary, mysterious, and suspenseful, Samantha Skal is the Executive Director of ThrillerFest, the co-founder of Shadows & Secrets writing retreats, and an Author Accelerator-certified book coach who specializes in coaching mystery, thriller, horror, and suspense authors. Sam writes stories that keep her up at night, is a breast cancer survivor, and lives in the beautiful Pacific Northwest. Learn more at www.samanthaskal.com and www.shadowsandsecrets.com. Catch Up on Andrew's Hot Seat Coaching JourneyTranscriptHi, I'm Jennie Nash, and you're listening to the #amwriting podcast, the place where we help writers of all kinds play big in your writing life, love the process, and stick with it long enough to finish what matters most.This is a hot seat coaching episode where we work through a real challenge in real time.And today we're back talking with Andrew Perella, the hashtag am writing podcast producer who has stepped out from behind the mic to work on a novel. And where we left Andrew last time was you'd worked through the whole blueprint and you were tasked with completing. Inside outline. So before we get into our guest and, um, what we're gonna do today, how was that, what was it like for you?Um, I mean, it was, it was, uh, really hard. Uh, but it was, it was, uh, it was really gratifying and it was, it was a lot of fun to do as well. Um. Because I think, um, part of, part of the assignment, you, you, you left for me, [00:01:00] Jenny, was to also beef out certain elements of certain, certain, the presence of certain characters, um, and certain and certain elements of the book.And so I was trying to do that as well as. As, as crafting the outline. Um, and so yeah, it was, it was a long, it was a struggle. It was a struggle, especially to get it to three, to keep it to three, to get it down to three pages. I know, and I'm very strict about that for reasons you are. Um, and. Did you feel a sense of accomplishment when you did it though?Like, oh, this is a book and I'm writing it, or how did that land? Yeah, I mean, like at first I just started writing. I started writing the scene bullets and the, and the points, and just started like, okay, what are all the, what are all the elements that that. I have in my head that I need to get down onto paper and it was like 6, 7, 8 pages.And I was like, okay, now I gotta get this down to three pages. Um, and, and, and I was like, okay, I can combine these two scenes or maybe I don't need this. So I just ended up cutting a lot and cutting a lot [00:02:00] and getting it down. So like, yes, there was a sense of like. Completion. Um, that was certainly gratifying, uh, to get that.And, uh, I had a couple of late nights, um, getting that, getting that squared away, but yeah, it also feels, feels more real now. Um, and it's like, yeah, there's, there's, there's a, there's a there here, which I'm pretty excited about. I'm excited about too, and I'm also excited because we're doing something really cool today.Um, and we have with us Samantha Skull, who I will introduce in a hot second. But hi Samantha. Hi. Thanks so much for having me. I'm so excited to be here. Well, I'm excited too because, um. Sam, as I call her, um, I've known for quite some time. She's one of the OG author, accelerator certified coaches. And Sam, you actually don't know this, but I use you.Probably every day.Oh my God, I'm so flattered as an example of [00:03:00] what a great book coach should do, which is to focus and choose who you're gonna serve and how you're gonna serve them, and to really go deep into what you love and what you wanna do all day. Right? The read books all day and get paid for it thing like do what you love and you.Do that. You've done that just so powerfully and it's so visible on your website, which we'll link to in the show notes so folks can go see, but. Sam loves all the dark and suspenseful and scary mystery, twisty things, which always just cracked me up because I don't, and that's what's so beautiful about book coaching and writing for that matters.Everybody has their own thing and, and that's part of the work of writing Big is. What is your thing? You know? So the reason that I wanted Sam to come is she's built a whole business on this type of work and with, um, another author, [00:04:00] accelerator coach, she runs a really cool, uh, writing retreat that is, um, it's always in Salem.Right. It is in a haunted hotel, which, um, Carrie Savage, who is my co-founder in shadows and secrets, uh, loves being haunted. I do not choose to be haunted, so I choose the non haunted floor. So they have that retreat and they, um, have just started taking it virtual and just all kinds of tools and resources and things for people writing this kind of work.And in addition to that, I. I just am always impressed by your trajectory of having gone from. A volunteer at the Thriller Fest. Well, for a participant at the Thriller Fest conference to being a volunteer, to running the Pitch Fest piece of the thing. And now you're, well then you were co-director, now you're running the whole thing.You're, you're, yes, I am. You're running the entire [00:05:00] Thriller Fest conference, which is how many writers every year. Oh, we have around a thousand and I have a team behind me. Just to be clear. This would not happen without a village, but uh, yes, we have around a thousand thriller authors who come to New York and we, uh, we talk about the dark stuff all week.It's absolutely the, the best time. And it's in two weeks. I can't, I mean, when this comes out, it may have already passed, but yeah, can't wait. No, this is coming out right before, so if anybody wants a quick getaway to New York, they should go. But also just the programming, watch the programming coming out of it and we're so excited.Yeah, it's really good. So, um, I just, I love the career you've built for yourself. It's always just really inspiring to me. And, um, also a recent breast cancer survivor, so we're, uh, always wanna shout out to that. Yes. Get your scans. That's my PSA. Always love it. Same. Love it. Love it. So I wanted Sam to come look at Andrew's inside [00:06:00] outline because I knew that the thing he has to work on is this, what I call in my not totally expertise in this area.I call the twisties of it. That there's a, you know, it's a mystery. It's a murder, it's a gothic, it's horror. It's all the things. And it, those twists have to land. And this is so much Sam's expertise that the whole time I was talking to Andrew about it and guiding him and coaching him, I just kept thinking, we need Sam in here.So, so we got Sam in here. And so, um, Andrew completed his inside outline and Sam very graciously, um, agreed to look through it and to look through his whole blueprint. So before we get into what you saw and what you found, Sam. I just love to hear, I mean, this is so self-serving. I just like nothing more than reading a blueprint.I think it's so fun. Um, just to like, [00:07:00] kind of peel back the, the cover and see what's in there. Did, did you have fun with that? Oh my gosh. So much fun. Andrew. This story is, is so cool. And I love the historical elements and the rethinking of, you know, vampires are running around London and everyone's just like, that's fine.You know, and then how does, how does this all go down? And we have this very agency filled, moxie filled main character who's just a delight and yeah, I loved it. I have, I have so many fun questions to ask you. So Andrew, how does that feel? I mean, it feels great and I, I was reading through, uh, through both of your notes, um, in the, in the, in the outline and like you're asking all of these questions.Um. Some of them that I have not thought of before and like, so I'm, so I'm really excited to kind of dig into these and talk through them. But I'm, I'm, it's really gratifying to hear that this, that this idea is, is, is, is an interesting one. Yeah. I loved it. I a hundred [00:08:00] percent read this book. I'd, I'd see it and be like, yes, I want, I want to be in that world.Cool. Well that's why you're here. Because I would be like, no, too scary. Too scary for me. So, um, I'm gonna let. Sam sort of take it away and, uh, we could talk for days, I'm sure about this, but one of the, the things I love about book coaches who are well trained is they'll hone in on the most important, the most important things.So. What do you think, Sam? What's the most important thing Andrew should be thinking about in his next iteration of this outline? Yeah, so my favorite thing to talk about outta the gate with Mr. Thriller and suspense and gothic horror, depending on how dark you wanna make this, um, is who is the person who's really behind all these murders and why are they committing them?Right? I like to think of MTS mystery full or suspense as the villain's journey as experienced by the [00:09:00] protagonist. Mm-hmm. Right. So we, we must know what's going on beneath the surface in order for those twists to land, because twists are just assumptions about what's going on that the protagonist makes.And when the truth, you know, what's really going on with the villain is revealed, it's twisty because it's unexpected. Mm-hmm. So if we don't, therefore if we don't know who's. Who's behind, who's doing all these villainous things. Um, we struggle to make those twists land and we struggle to get a blueprint that we can actually follow.So tell me your thoughts on who this mastermind murderer is and why they're doing what they're doing. Um, so. So Jack Seward is the, is the, is the Mastermind behind this. And I've been, I've been thinking a lot about it this week since I, since I finished the, since I finished the outline. And a lot of other things have occurred to me about who this gentleman is and how he's doing what he's doing.But I think the why is, um, he is committed to the status quo. He is committed [00:10:00] to, uh, uh, uh, uh, a, you know, uh. He is committed to the manosphere. He is committed to the patriarchy. He has committed to, um, the previous way of doing things. Um. In, in, in society, in politics, in medicine. And so like he's seeing this sea change, um, in all of those areas.Um, with the advent of this, of this, um, medical school for women, uh, with the, with this vote, um, vote, uh, that is happening. Um, and he disapproves and so his goal is to disrupt all of those, um. Disruptions di uh, by pitting them against each other. Got it. So if he can, if he can. Create this illusion that vampires are preying on Suffr jets.They will be too busy fighting each other to try and find any sort of, uh, agency for [00:11:00] themselves. Aha. Very, very well thought out. I love that. As a, as a mastermind villain goal. So here's the other thing, is that mm-hmm. In the genre expectation for any sort of modern mystery, full or suspense, is that we have three twists.We have one at the mid and we can have more. Right. But we have one at the midpoint, which is just the midpoint turn. Like it's, it's a classic story thing, which you already have. You have a great midpoint currently. Mm-hmm. Um, and the climactic twist is the reveal of, uh, as, as Carrie, my co-founder and shadows and secrets likes to say, um, the climactic.Confrontation answers the story question, which is presented in the inciting incident and typically in mysteries, the inciting incident is who's doing the killing? Right? Like, who's behind this dead body that we have early on? And we'll talk about that in just a second. Um, so the climactic answers that question, and then we have a final twist, which is typically the reveal of this gentleman who wants to keep things as is.And he [00:12:00] meanwhile. During the course of the story is going to be taking action to stop, uh, our plucky protagonist from stopping him, right? Mm-hmm. So he's a full antagonist to our protagonist. And in that way we need a fake villain, right? We need someone that he can have set up so that she thinks this is the person behind everything in the climactic scene.And then she gets to the end and is like, oh my gosh, I've. You know, I've conquered, I've brought chaos to order, I've solved this thing, and now, oh my God, now there's somebody else who's actually behind everything. And actually we're still in grave danger and we didn't even know to be worried about this.And that's how you get that like, you know, 85 to 98% just ripping through the pages readers, you know, being so hooked to figure out what happened. Right. Um, so. Tell me a little bit more about who Seward could have set up or manipulated or something [00:13:00] else to commit these murders so that he gets done what he wants to get done, but he also protects himself.And if you don't know the answer, that's okay. We can brainstorm. But if you do, then that's great. So this is, this is kind of part of the, the, the thought, the idea that I've had since I, since I finished the, the, the, uh, the outline is. Because the, the syringe idea mm-hmm. The double-headed syringe idea always felt a little tenuous.Uh, like I, I wasn't quite sure that that was gonna hold, but, so my new thought about this is, is. Because he is, uh, he is the, uh, director of a mental institution. Um, and so, and so, like, that's a whole other politic where he has people who are, uh, who are in his thra essentially. And so is there a way that he can coerce, um, a vampire who needs him to commit these murders on his behalf, thereby kind of insulating himself from the actions.Perfect. And [00:14:00] so I think that could, so the climactic twist would then be. It's a vampire I disco discovering that the, the, this is the vampires committing the murders. But then the, the, the final twist is, oh s**t, he's been doing this at the behest of, of Seward, who's her, you know, kind of Yes, yes. As it were in quotation.Okay. Yes. That sounds amazing. And it also, you know, when we step into this story, um, in your initial scene, we have. Vampires feeding on people and Abby's just like, uh, okay, that's, that's normal. Right? And so is that, did I read that right? Is that the world that we're in? Is that We have vampires existing and Van Helsing, you know, was the one who kept them in check.And we have all that like lore that we're dealing with that the reader brings in. So tell me more about the world I'm walking into here. So, yeah, I think I'm still developing this world. So we're 20 years. Around 20 years after the events of Dracula. Okay. The, the, the novel. And so, and I think, I think people are now aware that [00:15:00] vampires exist.And I think, you know, at this, at the same time, they're being used as like this bogey man or, or, or straw man of like, everything that is wrong with, with British society. Um, but they're also. Not the monsters, right? They're, they're just another, another, um, community that is trying to, uh, eke out, eke out some sort of existence.Um, I love that so much. It's just such a fun, sort of new twist on. Know a story that's so well known and has been in our collective conscience for a hundred years. You know, I don't know when, when Dracula came out. Correct me if I'm wrong, but a long time, right? A little over a hundred years. Yeah. It's been a minute.It's been a minute. Um, and so I, so it's still very much a period of transition as, as you know, London and the world are still trying to figure out what that means, that these things actually exist and live among us. Um, and, uh, and so. There were [00:16:00] some things that didn't make it into the outline like I had.There was this one scene where they're walking down the street and there's someone on the soapbox at speaker's Corner at Hyde Park who's railing against, who's railing against, uh, um, vampires as like a sturge on society and things of that nature. And, and there'll be things in the newspaper. I think that kind of addressed this new, this new politic, um, that, that the characters interact with.And so I'm still feeling out what exactly it means. That vampires exist and are part of the public consciousness. Yeah. So one sort of logical question that comes up for me there is, you know, if we're in society and there's just like monsters living among us who occasionally pick people off on the street, that would create a level of, um, extreme tension.Okay. Right. One might say, right, like, yeah, if I'm wandering down the street and I see a vampire eating somebody that's not just like a, you know, we would be taking steps to protect ourselves because humans are always going to protect themselves, and so yes. You [00:17:00] know what, if you change it where the vampires are only allowed to feed on like livestock or something.Mm-hmm. Mm-hmm. You know, something that's like the, nobody's happy, right? Yeah. Like, like most, uh, um, situations where we, we agree on something and we're, we're all giving something up. Yeah. But that allows them to exist in society and live among us. Right? Like the, the veil has been lifted. Vampires are here.But they've agreed to only eat livestock, and then the fact that they're murdering people by eating them then becomes. A huge deal. Right? Because this Deante that we've had with them is now broken. Mm-hmm. Um, something like that, because I think if we, if we have it just being casual that they're, they're eating people in alleys or whatever, it reduces, I mean, that's a fun story, don't get me wrong.Yeah, yeah. But that reduces the impact of the murders that we are seeking to solve with this and Right. You know, you said this was, this was a mystery. And so currently [00:18:00] we don't have a ton of mystery on the page like we have. The midpoint is where, um, she discovers that things might not be what they seem, which I love.But in order for that to have impact, we need something earlier. And that could be, you know, these murders have been happening for a few days. That could be the last year. It could be she sees the first murder. Um. Something along those lines, but we need something early. So we, we understand the tension and we understand the mystery story question because you have a ton of other story questions in here, but if this is mystery first, the mystery story question needs to be who committed, who is committing these murders and why?Yep. Yeah. Does that kind of, that makes sense? Land? Yes. No, absolutely. Absolutely. Okay. Now as a, as as I was, I was rereading the outline, the other, the other, the, the other night. And I was like, I feel, I feel like there needs to be another murder scene. Yeah. Earlier we gotta up the body count in the, the book.Yeah. You know, it's a, it's a, it's a conversation I have every day. [00:19:00] Yeah. Not, not enough dead bodies. Not enough dead. Not enough dead bodies. Yeah. So, you know, and so if she is, if she's really worried about, you know, that's their question is why, why is she so involved in solving these murders? How do we make it personal to her?Mm-hmm. And so could this be a friend? Could this be. You know, um, a sister, could this be an aunt, like some something that's related to her so that this person is taken out. And then that becomes Seward has targeted her because she's the, she's, you know, van sing's niece, right? Yep. Yeah. So she's a public figure that if he takes out by having a vampire.Quote, you know, kill her. Then he will have achieved his goal of disrupting this whole thing and be like, look how dangerous it's for women to be out in the world and you know. Mm-hmm. We should put a stop to this. Like that achieves his goal, but she won't know. Right. Obviously that [00:20:00] that's his goal. Right.But he also needs to create the unrest, so it's not just, you know, she's the one who's murdered. That's going to be the climactic plan and he will have killed other people in the meantime. Right. Okay. Something like that. Like we need to make, yeah. Whatever it is that needs to be personal to her. And if she paint, if she paints a target on her back later on by being a ksky, amateur sleuth, which is classic.Um. That works well as well. But I like, you know, one of the questions I love to ask is, what was your villain doing on the day that their prote, the pro protagonist, decided to ruin their life by deciding to go after and stop them from villain. And so maybe she had nothing to do with any of this and she's researching and becomes a problem.That's the other way you could play it. Mm-hmm. Um. But, you know, if he has this grand plan and he's like, Ooh, Abby would make a great sort of like, figurehead to the end of all these murders, and that's the one that I'm gonna point at it and be like, [00:21:00] look, we can't, you know, I, we can't have these women out here.Right? Something like that could work well. Um, what do you think? What, what's, what's your brain do when I say all those things? Um, it's interesting. I hadn't considered, I hadn't considered that her uncle would be targeting her. One of the things I've been grappling with was like. One of the reasons he targets people around her is to scare her away from med school to scare her away from the cause, okay.Um, and kind of pin her in further to the existing, to the existing, um, um, status quo. Um, and so I hadn't considered him using her. Sacrificing her for his, uh, for his ultimate goals. Yeah. Um, and that's an in, that's an interesting idea. And, and if she were to discover that would certainly up to stakes, um, that would certainly up to stakes for her.It would. And so if you want him to be a little more [00:22:00] empathetic Right. We don't need to go like full dark if you don't want to. Right. Um, he could be trying to protect her. By killing other people, which is misguided. Yeah. But, uh, fun. Right? And then that would make sense. So when she figures out it's actually him, he could be like, I was doing all of this to protect you because I love you.You're in my family. Right? Yeah. That also works. But we need to have whatever his, his plan is for causing, you know, using these murders to achieve his goal. If she's, she needs to be the target of it so that it's very personal to her as she moves through this story. Um, and upping the stakes is always great.It amps the tension, right? Yeah. And again, she's not gonna know any of this until she gets to that final twist. And so one of like the most fine chilling, you know, tingly things that you can do with mysteries is that reveal at the very end. We as through the protagonist, understand how much danger we were in [00:23:00] this entire story, and we had no idea.Right? And that moment is the one that we're seeking with readers and for ourselves, right? It's like, how do we have that moment that reveal have the biggest impact possible? Yeah, yeah, yeah, yeah. Something like that. Yeah. I, I see Andrew just grinning, like, what are you, whatcha feeling? He's just like, got his giant grin on his face.I mean, like, and like I said, I've been trying to figure out how, because it, because as I was reading, as I was reading through the outline, it did feel like, like abriana was just kind of like adjacent to mm-hmm. All of the murders. Um, and, and Jenny, you and I had talked about whether there was an active investigation and, and, and Sam, I think you kind of alluded to that in, in the notes, is there, is there an active investigation and like, is she, is, is Abriana being.Is, uh, uh, coroner does a suspect by the, by the investigators. Um, is that, why, is that why she is doing her own investigation? Um, [00:24:00] which is another, which is another way to to, to up the stakes. Mm-hmm. Also, um, I, yeah, I'm, I'm, that's an interest, that's an interesting way though to, that's an interesting take on Seward, who's, um, an avuncular figure.He's not, like, he's not a blood relation. To Abriana, but like he is, he is determined in his goal and like, you know, he would, he probably would stop at nothing to get that done, even if it meant, even if it meant, uh, the daughter of a friend of his got killed. Yeah, I mean, just thinking through, and this is your homework, really, is to think through how dark do you want to make him, right?Because you can have a villain who starts off with. A, uh, a goal and decides to achieve it through very ill-advised means, but still wants to protect the people around them, right? Like they can be both. We don't have to have it be a hundred percent. [00:25:00] This person is so evil and willing to burn it all down, right?And so, but that can also be a series of bad decisions. It's like bad decision one leads to, oh my God, like people are finding out that these aren't really vampires. Now I have to really like double down to make it really seem like vampires, so I don't get caught. Because guess what, if I get caught, my life is ruined.Right? And you know, as Abby gets closer, he realizes. I have to kill her. Right? Yeah. She's, she's gonna ruin everything. Yeah. And that sort of angst and that, you know, that would be very painful for him. That could be the thing that when she confronts him at the end, and there will be a de Ma, right? We're gonna have something where he's like, I did all these things for this reason.And it doesn't have to be Yeah. Pages, but we do have a, that's a classic mystery thing. Mm-hmm. She'll understand if you like this, that you know, he was trying to protect her and then. He'll be like, you did this to yourself. You know, like, right. Yeah. You're the one who got in the way. Um, something like [00:26:00] that.And he's like, mm-hmm. My only choice now is to kill you. And then of course she will not allow that because she's our lucky protagonist and will survive because chaos will be brought to order. That's the other big thing is we wanna wrap this up unless you're going who, in which case. It gets worse at the very end.Um, is, is that, is that, is that allowed? Yeah, we, yeah. Well, to keep chaos on the chaos, absolutely. We just need it genre bending is. So hot right now, right? Um, and it's really fun, right? So you can have both, you can have the main mystery wrapped up, like she can, Abby can figure out, okay, this wasn't actually vampires and someone is posing as a vampire.And so that actually changes your midpoint, by the way. We'll talk about that in a second. But if that's the arc, right? She thinks it's vampires. She is, when she does the climactic confrontation, she's like, it's vampires like someone, you know, what are they doing? Why are they doing this? And then realizes [00:27:00] in that, that it wasn't vampires and it's actually someone else.Um, the chaos will be brought to order in that way, right? Like we have, we have a right, we have figured out that someone was posing as a vampire. But what if you have a final, final twist where you know, there actually are vampires. Killing people as well. Like seaward only admits to three of these murders and then there's someone else doing, you know, and it's just like we end it with like, oh no.You know? Right. Yeah. Or by, maybe there's something mystical with like by imitating a vampire or that, you know, the vampires have been gathering their energy for the last 20 years by feeding on goats and you know, they're ready to, we need a new van Helsing to, to keep them under control or something. And Abby takes up that mantle and, you know.You can, you can totally play it where there's an unanswered. Okay. Oh no, it's worse at the end, but we do need some sort of wrap up of the story. Gotcha. But there does seem to be some cover resolution. Yeah, yeah, yeah. Okay. I see what you're saying. That makes sense. Yeah, that makes sense. So it strikes [00:28:00] me, I'm not sure that you picked this up, Sam, and you might not have, but that there's a.Uh, um, Mina the Vampire. Mina, yeah, yeah, yeah. Is is her mother. Right. I did pick up on that, and that's a question I have. Okay. Yeah. Great. Because it seems like what you're all talking about that could play a really important role in any of these twists and arcs. Right. I. Yes. Yes. Plus one. Yeah. Everything you just said.Um, yeah. So Mina being her mother, fantastic. One of your final twists, right? And particularly if you have Seward being like the final confrontation, final twist person, and then, you know, you have this lovely final scene where she's like, oh my God, it's my mother. Um, yeah. But the logical question there is why would Mina Hyde, what's she after?Why would she not have tried to help Abby? Right? Because you're dealing with reader expectations that mothers will do anything to protect their children. Right? And so you can, we can twist that. Maybe she is trying to protect her from what's coming, right? [00:29:00] Like what's actually going on. Maybe she's the one who's been protecting her the whole time by warding off the vampires that have been attacking her, her friends at medical school.Um. And that's why there's so many mistaken identity things, right? Because you have two where, where Abby's like, whoops. I think that was supposed to be for me. Yeah. Um, and so the reader's gonna wonder why are they so bad at killing her, right? Like, if these were assassin attempts, like why wouldn't what, what's going on?And so that answers that question. If it's Mina stepping in, but you know, we need to understand what Mina's really after and why she didn't step forward sooner. That's a huge question that, you know, yeah. Everyone will have. Yeah, it is a huge question. Like, like where has she been for the last 18 years?Mm-hmm. Why has Aubrianna not seen her since, since, since her birth? Um, and I haven't quite nailed that down yet. Like, is there some sort of like vampire code? I don't like, I don't know. Is it, is it that she's, is that she, that Mina. Knows [00:30:00] Jonathan, her husband too well, and knows that, that he would not allow a vampire, uh, to interact with his children.Like. And so I think there, I think there are a couple of answers to that, but I haven't like, landed on one yet. Um, but I, like, I, I like the idea of Mina working kind of behind the scenes to protect, to actively protect, um. Abriana, which is what that, that opening that, that, that scene in the alley earlier on is about, is like she comes to her aid at that point.Um, and, uh, and, and and physically puts herself between, between Abri and Abriana and the violence, which Abriana misunderstands, uh, and runs away terrified. But I think, I, I think there are ways to incorporate that, as you say. Elsewhere in the, elsewhere in the story. Yeah. Well, I mean she, to make to a fantastic twist would be, she assumes Mina is the one after her, right?Right. Yeah. Like she recalls in this opening scene that Mina was coming at her and is like, Ooh, that's the vampire that wants to kill me. Yeah, yeah. And [00:31:00] you know, sees her around. And so that's her assumption. And this is how you create twists, right? Her assumption is that Nina is the person behind all of this, and why, but.You run the risk of when she starts investigating Mina and figuring out who she is? It would be, we'd figure out we need some very good reason that she couldn't figure out that was that Mina was her mother, right? Yeah. Yes. So in that case, I would suggest having some other vampire be the one that she thinks is behind everything.Um, which leads me to the midpoint. So currently this is where she discovers that these bite marks are not bite marks at all. They are. Other Marks syringes. Right, right. Like the, yeah. Yeah. Um, so if that's the midpoint, which I like, again, that means that she's going to assume that there is a human or a vampire who's lost her teeth.I don't know, um, behind all of this. And the climactic confrontation will be with that, [00:32:00] with that knowledge that this is not a vampire doing these villainous things. Um. So how does that feel? Like do if, do we, is there someone in the cast that we can sort of have her assume is that person that's not Seward.Not, not someone that I've identified yet. Um, okay. But I, I, I, I agree with you. We need, we need someone that she, that she's pursuing and, uh, in, at, in, in that sense. Um, and, and she believed, I, I, I see, I see. Now I see what you're saying. That the, the importance of her making that, that, that incorrect assumption that this is the person who's, who's doing, who's doing the, the killings.And I don't know who that is yet. I don't know if there's someone actively in the, in the cha in the cast that we have, or if I need, if I need a new character. Okay. I mean, you can also play with, you know, so this is the thing about mysteries, it gets very quickly complicated, is on the surface we have all the assumptions which are incorrect.[00:33:00] Right? Right. And so we have to build up that, those plots and make it plausible. Yeah. Because we need, you know, the example I like to give is like, let's say you, you come home and you're expecting that no one else is there and there's an open window and there is a earring back on the counter and a bloody footprint on your.You know, nice white carpet and you know, um, a knocked over plant and then you recall, oh yes, you know the nab I've been babysitting the neighbor's cat, they knocked over the plant. So that's solved. But this bloody footprint is really freaking me out because clearly somebody came in here and made a bloody footprint and that's terrifying.You're focusing on the bloody footprint because that's the most obvious thing, but the earring back is the thing that is the villain clue. Right, and that, that's the person that came in and misled you by putting the bloody footprint on the carpet for reasons, capital R, whatever it is in this story, right?But we have clocked on screen, on the page what the clue is and ignored it. And so yeah, [00:34:00] this is how you can go back in on a revision and you know, you maybe we don't know who this other person is that's actually doing this, but they will have a vested interest in not being caught. Right? Mm-hmm. And so these little clues that we put on the page later are ignored, and then we're following the story that we've already created.Mm-hmm. Um, but keeping track of all these layers feels complicated, which is why Jenny's outline with three pages is so, so useful. Um, right. Because what the, what's on the page is the, is the story that you already, that we're focusing on, right? Mm-hmm. And then what really happened? Mm-hmm. Is the thing beneath the surface that we don't learn until the truth is revealed in one of these twists.Does that make sense? Yeah, yeah. No, that absolutely makes sense. That Absolutely. That also feels like a lot to think about. It is. Yeah. Yeah. Yeah. And I don't have, I don't have enough red earrings. I don't have enough mis, I don't have enough misdirecting. Misdirecting clues, as it were. Right. Well, those are fun to brainstorm, right?Because we start thinking [00:35:00] about who really, it comes back to Seward. Like what would he be doing to misdirect Abby away from this? Right. To keep her safe, if you like that as a goal. Yeah. And also to make the, make society freak out about how vampires are killing again. Mm-hmm. Um, what would he plant, who would he manipulate?Who would he pay off? You know? Mm-hmm. Maybe there's a vampire who knows about all of this, and. Is trying to kill the person that Seward is hired to do the syringes because Seward's not going around and doing this. Abby would've seen him or you know mm-hmm. Recognized him or something. So he will have paid someone to, or it has someone in his organization who also believes in the cause.Yeah. And is doing this, and maybe that person's a vampire. I don't know. I do love the double syringe. I mean, I hope that stays. Yeah. Yeah. It's good. It's good. Is it? Yeah. I heard you say, I heard you kind of dismiss it, Andrew, but it, to me, that would be a perfect misdirection if [00:36:00] somebody finds that and now there's this whole thread of assumptions about what that means and Yeah, but that it's not really what it is or it's not being used the way we think, or so.Oh, okay. Yeah. Okay. Sam, you mentioned something because I was, I was getting close to like throwing that overboard. No, it's good. No. Okay. Okay. I think it is good. So, so, so, so, but that could still be, that could still be used as a, that could still, I could still use it as a red herring potentially, uh, because it could still be a vampire at Seward's behest committing the murders.But maybe they're doing it with the syringe or maybe they're, and or maybe they're doing it a little bit with their own or Right. Or not. Yeah. Yeah. I mean, to Jenny's point, this could be a total, maybe. Maybe it's not used for what we think. Maybe the double syringe is something completely unrelated and it's like the best way to draw out the.I don't know. I mean, depending on, maybe he is drugging the people in the [00:37:00] asylum, like giving them more drugs than they're supposed to have. Right, right. And, and he devised, I mean, you know, devised a double syringe to deliver it and doesn't want anybody to know that that's what he is doing, you know? Yeah, yeah.Okay. Yeah, yeah. But if you wanna play with the idea that there's also a vampire involved who believes in Seward's? Cause then that, you know. That's very interesting because it's like, well, why? What do they want? You know? Yeah, yeah. Or even just someone who is, is being coerced by him, who does, doesn't necessarily Yes.Believe in the cause, but is perhaps is, has perhaps been assigned to his asylum. Mm-hmm. And he's taking advantage of, I love. Which I think, I think really makes sewer to a, a pretty despicable individual on a number of levels, which I, which I can like, well, I mean, he's already killing people, so, right. You know, slippery slope.But that's what, you know, it's, that's the, [00:38:00] that's the thing is that his, his goals. We need to make logical sense when we get to the end and Right. You know, Abby figures out what's going on, but he, he can also be empathetic. Right? Yeah. Like, why is he so scared of women? Yeah. Being in society, what is, what is that deep fear about?And that's definitely something to explore as well. Yeah. Yeah. Absolutely. Yeah, so we could, like I said, talk for days, for days about these things, but, um, it feels like this is a good place to leave Andrew with a whole bunch of work to do. And I'm just laughing because, um, this is such a perfect example of.Why we do a blueprint, right? There's so much to work out. There's so much to think about. There's so many layers and levels to every story. And, uh, you know, we, we heard you today, Andrew, sort of going, well, I don't know. I haven't thought about it. I don't know. I, I'll have to see, you know, that's, that's the work and being in that.[00:39:00] Discomfort and that not knowing mm-hmm. And the, all the possibilities and making your choices. That's, that's a work, right Sam? Like that's, it is, it's so fun. But yeah, it's mysteries are puzzles, right? Yeah. And we wanna guide the reader through the puzzle in a way that gives them maximum impact and maximum joy.For every reveal that we decide to put out there, right? We, we, we don't want to casually have a reveal. Everything is on purpose. Um, and so I was gonna say on, on the inside outline that you have, um, a parallel one, or, you know, if you make it even tighter just to flow the flow of events, you can have a, what really happened?Um, line which tracks what the villain is actually doing. And I do find that that can be really helpful because it does get overwhelming with figuring out, okay, we have assumptions. Yeah. And those assumptions are, you know, lead to action and this is how we get a repulsive plot. But those assumptions are.Not going to be the [00:40:00] actual thing that is the truth. And so we need to track what the truth is and what our villain is doing to stop our protagonist from stopping them because Yeah, forces of opposition, you know, so just for our listeners to clarify that makes sense. What Sam's talking about is a parallel inside outline is, is to literally do.An a three page outline for the, the villain? Yes, yes. Or to put a bullet point or a, a subpoint on the protagonists inside. Outline that. Tracks that, um, sometimes people color code that. Mm-hmm. Yeah. You know, but the, that's why we keep this so tight because if you start making it nine pages or 15 pages and then you layer these things, all of a sudden you have a 30 page outline, and now you've just got one of those giant story grid things that I find to be impossible to, to manipulate.Like we still want this to be manipulatable, right. So that you [00:41:00] can. Hold it in your hands and see it and, and then get to a place where you say, I can write that story. I love this story. I can write this story. That's, so that's what we're going for. So, yeah. Um, Sam, could you maybe just summarize, um, Andrew will take some time to work on this next iteration to show me.Can you give him direction on key thing to think about and me direction on the key thing to look for? Yeah, of course. So the biggest thing is figure out what Seward's really, why he's really doing what he's doing and how it relates directly to Abby. Right. What is, what action can he take that is about her, and that's either protecting her or, you know.Um, killing someone close to her to scare her away, but then why, right? Mm-hmm. So figure out the, figure out what he's really doing, and then look and see what actions, what other actions would he take about who this other person [00:42:00] is that he's framing or manipulating, or blackmailing or whatever. And if that's a vampire, then.You know, why does that work when we, when it's revealed? Like, what else could be going on? That makes sense. Perhaps the vampires don't want women and suffragettes to have this power because it threatens the power that they have in society currently, or something like that, or mm-hmm. Whatever it is. But figure out what, what's really going on.That's your homework, that's your big homework. Mm-hmm. And then, you know, for the next iteration. More murder on the page, right? We need the attention to rise and we need to understand why Abby, as she takes her steps based on assumptions, what are those assumptions? Why is she so personally invested in this?Why doesn't she just give up, right? Because that's the big logical question that I always ask is for both the antagonist and your protagonist, why don't they just walk away? Why do they keep doing this when it gets hard, right? Because when someone's actively trying to [00:43:00] stop you as the protagonist is. For the antagonist, why would the antagonist not just be like, okay, this is too tough, right?Like, I'm, I'm out, uh, this is, my goal isn't going to be achieved. So why do they both keep going? And the answer is usually we're in too deep, right? We can't, the only way out is through, um, which is what the midpoint establishes. Usually. It's like, well, shoot, you know, I can't leave this story. I have to keep going.Right? So the three twists, right? We want the assumptions to be present on the inside outline. So we have a midpoint twist. We have an inciting incident that presents the mystery story question, murder usually. Mm-hmm. And then climactic twist, who is this fake villain? And then final villain, Seward. And then final, final twist.Mina is actually involved, right? And has been protecting her the whole time or whatever, right? Yeah. Okay. So on the page, assumptions is second part of that homework, but you have to figure out what really happened in order to have the assumptions, which are Yeah, not [00:44:00] right. Yeah. So drawing, drawing out those two timelines of the, what, what actually happened, timeline, and then the assumptions, timeline and how they, well, the assumptions are gonna be on the page, right?Those will be on your protagonist inside outline, right? Because it, it informs her actions. And so everything you have about her fighting to go to med school and like all these things, all that works. All we're doing is just tweaking it a little bit so that the mystery is more. Front and center, and she's taking action based on, okay, I have this clue, what do I do?Now I have this clue. What do I do now? What stands in the way of each time I do this? Oops, I'm wrong about that. So what now? You know? Okay. And in the meantime it's clear that her personal stakes are rising and she is becoming a target. There's more attempts on her life and, and you know, then what? Right.Once you have a target on your back, you can't run. Yeah. Yeah. So. Yeah. Make it scarier. That's your homework. Yeah, I do. I do. I have to put her in [00:45:00] peril. I have to put her in peril. Right? You do. Yeah. Yeah. And the final thing I'll mention about this is when you actually get to writing the way that you, even if it's, even if the actions are a little less intense, right?We don't actually have an assassin coming at her every page because we'd get bored with that. So through interiority, through inner thought, she's going to think about what she's scared of throughout the entire book. Mm-hmm. It's not just gonna be, oh, I assume this thing. It's like I assume this thing. And also I'm terrified because you know what, if this is about that, and that's how you create those red herrings too, is because she's going to make assumptions about what's happening, and those assumptions will be based in fear.Right. Love it. Right. That makes sense. Love it. That makes sense. Thank you. My God. You're so welcome. Love this story. Can't wait to read it. Are you still with us, Andrew? You're not. You're not walking away. Right. You're not like, I'm in too deep now. No. Yeah. Okay. Okay. Just past the midpoint. Yeah, I was gonna say good.Good. No, that's why, that's why I'm, that's why I'm grinning so [00:46:00] much. It's like, it's like, ‘cause we're talking about this as if it's an actual, real thing. It's not just, it's not just an idea that I've, I've, I've had and been, I've been telling my wife about this is an actual, this is an actual thing I'm talking with people about.Um, and so this is, this is real. This is. It is real. It's exciting. Um, we will, uh, see how this unfolds for Andrew and Sam, I just wanna thank you so much for joining us and talking about all this. Um, and I'm gonna tell our listeners that if you want this kind of twisty help, um, that's Samantha's website, which is samantha skull.com and that's SKAL.She has a really cool, um, very inexpensive twist. Course, which you can, um, take. It's just awesome. And it's, um, she got some blueprint stuff on there, all kinds of things. And you can learn also about the retreat that she runs with carrieSavage@shadowsandsecrets.com. And you can go to Thriller [00:47:00] Fest and see all of the big work she's doing for this community of writers out in the world.So Sam, thank you for coming on. Oh, thank you so much for having me. And I just wanna say, Jenny, the reason that I focused, I mean, yes, I love this stuff and I have, I've loved it my whole life, but I listened to you. This was your. To focus in on what I love and I did. And it's just the best I get to wake up every day and talk about murder, which sounds like a terrible hobby, but I love it.So here we are. I know. That's why I talk about you all the time. Maybe that's it. ‘cause you listen toI, I, uh, I push people a lot harder now, let's put it that way. Um. Amazing. That's, that is my craft. But thank you Andrew, again, for being so willing to be doing this in public. It's not easy for those listening just to be on the hot seat like this for so long, so often really hard. So, um, you, [00:48:00] huge, huge shout out to Andrew and shout.Um, just for our listeners, thanks for tuning in and let's get back to work. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

Chris and Vail take us into the second half by having a conversation with Kip Jones, a disc golf representative of Plum Creek Disc Golf Course. Plum Creek is located in Seward, NE. They chat with Kip and talk about his disc golf story and how Plum Creek is making a revival due to a group of hardworking volunteers. Check out the episode for a coupe of upcoming events, including a pop up event in Seward at a new proposed beginners course.

Alaska can make you feel small in the best possible way and not because it's scary, but because the scale rewires your sense of distance, weather, and “normal.” We sit down with the longtime travel blogger behind Otts World, who's spent 20 years turning real-world travel stories into practical guidance and small-group adventures. Along the way, we even detour into kitten fostering as the perfect “pet life” for someone who's constantly on the move.Then we get into the Alaska travel questions everyone actually has: Where should you base yourself? When is the best time to go to Alaska for fewer crowds? Why do some towns feel like islands even when they're not? We talk Anchorage as a gateway, Seward as a water-and-wildlife jumping-off point, and why the Alaska Railroad deserves at least a full day on your itinerary.If you're dreaming of winter Alaska, Fairbanks takes center stage for aurora borealis viewing, with better odds thanks to landlocked skies and its position under the Aurora oval. We also explore trips across the Arctic Circle, the Dalton Highway experience, Coldfoot, and the engineering story of the Trans-Alaska Pipeline. And because you can't talk about Alaska without ice, we break down unforgettable glacier options like Spencer Glacier and Matanuska Glacier, including guided hiking, kayaking, and winter conditions that can open up ice tunnels, plus what's changing as glaciers recede.Subscribe for more destination deep dives, share this with your favorite travel planner, and leave us a rating and review so more people can find Where Next.You can find Sherry here:OttsWorld Travel BlogInstagramSherry's ToursSherry's Consulting PageHere are some of the things we spoke about regarding Alaska and Antarctica:24 Things to Do in Anchorage in Winter or Summer29 Things to Do in Fairbanks Alaska Summer and WinterAntarctica Cruise Motion Sickness: Remedies to Help Survive the Drake PassageHow to Travel to Antarctica: The Ultimate GuideNew Zealand Subantarctic Islands: How to Visit the Snares, Auckland, Campbell and MacquarieTravels with my FatherMap of AlaskaSupport the showPlease download, like, subscribe, share a review, and follow us on your favorite podcasts app and connect with us on Instagram: https://www.instagram.com/wherenextpodcast/View all listening options: https://wherenextpodcast.buzzsprout.com/HostsCarol Springer: https://www.instagram.com/carol.work.lifeKristen: https://www.instagram.com/team_wake/ If you can, please support the show or you can buy us a coffee. 

The hosts discuss feedback from a four-day elk-hunting class with 44 attendees and their podcast, which listeners said is as much about being a man as hunting. They reflect on teaching children work ethic, contrasting physically demanding jobs with current work, and emphasize not "ruining" work ethic by excluding kids from helping; a friend's advice is to let a child assist with projects even if it's inefficient. They talk about giving kids autonomy without overprotection, Wyatt leaving for a demanding summer deckhand job on an Alaska sport-fishing boat out of Seward, and the father's hope he's prepared him. The conversation covers treating kids' ideas with increasing respect, learning alongside them, maintaining love through conflict, and grounding parenting in biblical themes of love and measured, purposeful anger.  

Outline00:00 - Intro01:15 - Origin story: early path and the road to science 04:20 - On graphical visualization and aphantasia 08:08 - The interest in fluid dynamics 12:00 - Caltech, Jerry Marsden, and the move to the Pacific time zone 19:43 - Dynamic Mode Decomposition (DMD) and the Koopman operator 27:15 - On teaching and the Eigensteve channel 39:22 - SINDy: Sparse Identification of Nonlinear Dynamics 45:45 - Automatic knowledge creation and Explainable AI 54:31 - HydroGym: RL benchmarks for fluid flow control 1:01:37 - Optimization boot camp 1:05:31 - Collimator 1:13:18 - OutroLinksSteve's website: https://www.eigensteve.com/ Eigensteve channel: https://www.youtube.com/c/eigensteve Jerrold E. Marsden: https://en.wikipedia.org/wiki/Jerrold_E._Marsden Aphantasia: https://en.wikipedia.org/wiki/Aphantasia J. Nathan Kutz: https://amath.washington.edu/people/j-nathan-kutz Clarence W. Rowley: https://cwrowley.princeton.edu/DMD: https://en.wikipedia.org/wiki/Dynamic_mode_decomposition Koopman operator: https://en.wikipedia.org/wiki/Koopman_operator Dynamic Mode Decomposition book: https://epubs.siam.org/doi/book/10.1137/1.9781611974508 On Dynamic Mode Decomposition paper: https://doi.org/10.3934/jcd.2014.1.391 DMD with control: https://arxiv.org/abs/1409.6358 Compressed sensing and DMD: https://doi.org/10.3934/jcd.2015002 Modern Koopman Theory for Dynamical Systems: https://arxiv.org/abs/2102.12086 Deep learning for universal linear embeddings of nonlinear dynamics: https://doi.org/10.1038/s41467-018-07210-0 Data-driven discovery of Koopman eigenfunctions for control: https://doi.org/10.1088/2632-2153/abf0f5 PyDMD: https://github.com/PyDMDDiscovering governing equations from data by sparse identification of nonlinear dynamical systems: https://doi.org/10.1073/pnas.1517384113 Data-driven discovery of partial differential equations:https://doi.org/10.1126/sciadv.1602614 SINDy for model predictive control in the low-data limit:https://doi.org/10.1098/rspa.2018.0335PySINDy: https://github.com/dynamicslab/pysindy SINDy with control: https://arxiv.org/abs/2108.13404 SINDy review: https://doi.org/10.1146/annurev-control-030123-015238Data-Driven Science and Engineering: Machine Learning, Dynamical Systems, and Control: http://www.databookuw.comExplainable AI: Learning from the Learners: https://arxiv.org/abs/2601.05525HydroGym: https://github.com/dynamicslab/hydrogymSupport the showPodcast infoPodcast website: https://www.incontrolpodcast.com/Apple Podcasts: https://tinyurl.com/5n84j85jSpotify: https://tinyurl.com/4rwztj3cRSS: https://tinyurl.com/yc2fcv4yYoutube: https://tinyurl.com/bdbvhsj6Facebook: https://tinyurl.com/3z24yr43Twitter: https://twitter.com/IncontrolPInstagram: https://tinyurl.com/35cu4kr4Acknowledgments and sponsorsThis episode was supported by the National Centre of Competence in Research on «Dependable, ubiquitous automation» and the IFAC Activity fund. The podcast benefits from the help of an incredibly talented and passionate team. Special thanks to L. Seward, E. Cahard, F. Banis, F. Dörfler, J. Lygeros, ETH studio and mirrorlake . Music was composed by A New Element.

Photo: A cross and mural honor slain teen Emily Pike along U.S. 70 Route near Peridot on the San Carlos Apache Reservation. (Gabriel Pietrorazio) The FBI announced earlier this month that it is, once again, putting extra agents in the field to address a backlog of cold cases on tribal lands. As KJZZ's Gabriel Pietrorazio reports, this effort is part of a years-long joint initiative with the Bureau of Indian Affairs (BIA). Under Operation Not Forgotten, more law enforcement personnel will be filtering through nearly a dozen FBI field offices with close ties to Indian Country. Agents are being sent to cities like Phoenix, Ariz., Billings, Mont., Albuquerque, N.M., and Denver, Colo. Kevin Smith is with the FBI Phoenix Field Office. “A lot of our state is tribal territory. Right now, we're set for 14 agents.” The FBI is handling 4,100 active Indigenous criminal cases nationwide. Smith says Arizona's share is in the hundreds – including two high-profile ones for San Carlos Apache teen Emily Pike and 8-year-old Navajo Maleeka “Mollie” Boone. “Every case is unique, and every case takes the time that it takes.” The Alaska Supreme Court heard arguments last month on whether prisoners can be forcibly medicated with psychiatric drugs — without a court hearing and the right to a lawyer. In the state corrections system, Alaska Native people are incarcerated at about twice the rate of white Alaskans. Alaska Public Media's Rachel Cassandra has more. Prisoner Mark Andrews is housed at Spring Creek Correctional Center in Seward, Alaska. (Photo: Anne Hillman / Alaska Public Media) The Alaska Supreme Court heard arguments this month on whether prisoners can be forcibly medicated with psychiatric drugs — without a court hearing and the right to a lawyer. In the state corrections system, Alaska Native people are incarcerated at about twice the rate of white Alaskans. Alaska Public Media's Rachel Cassandra has more. The American Civil Liberties Union (ACLU) brought the case against the Department of Corrections (DOC) on behalf of a prisoner, Mark Andrews. He says he has been unjustly drugged with powerful psychotropic medication for most of the last seven years, without due process or access to legal counsel. The Department policy currently allows prisoners to be drugged against their will if they are gravely disabled or are in imminent risk for harming themselves or others. Doron Levine is a lawyer for the ACLU. He argued at the hearing that the policy infringes on rights protected by the state constitution. “Few things are more personal than someone’s body, and arguably, nothing is more personal than a person’s mind. It’s the locus of a person’s identity, and it’s a last refuge of freedom for people who are incarcerated.” Under department policy, prisoners have the right to hearings every six months with department staff. And they have the right to appeal the decision to a department committee. The ACLU argues that Andrews did not have sufficient access to hearings or an appeal. Justice Jennifer Henderson questioned Kimber Rogers, the attorney representing DOC. Justice Henderson says the facts seem to suggest that the prisoner was denied the rights promised in the department's policy. Justice Henderson: “How do you respond to that?” Kimber Rogers: “Your Honor, I agree that there were definitely some problems, and Mr. Andrews’ hearings, but I don’t think that that’s important.” Henderson: “There were more than some problems. There were long periods of time where there were no hearings, for example.” Rogers: “Well, Your Honor, I would dispute that actually.” The ACLU lawyer argued that there should be a hearing in a courtroom because DOC staff may be biased to protect the institution over the person, but Rogers says a hearing inside prison is the best approach. When the Supreme Court issues a ruling, the decision could apply to the approximately 22 Alaska prisoners who are being forcibly drugged. Get National Native News delivered to your inbox daily. Sign up for our daily newsletter today. Download our NV1 Android or iOs App for breaking news alerts. Check out today’s Native America Calling episode Thursday, April 9, 2026 — Roller derby skaters don't let anyone push them around

A Republican Senator from New York and the presumptive favorite for the 1860 Republican nomination for president. Get all the news you need by listening to WBZ - Boston's News Radio! We're here for you, 24/7. See omnystudio.com/listener for privacy information.

Text us your questions to answer on a future episode (if you want me to contact you, please include your email)Jennie shares the details for her new on demand workshop - Alaska 10 Days 2 Ways - that gives you an itinerary for famous places like Denali and Seward, along with her favorite itinerary off the beaten track.Get Jennie's Alaska 10 Days 2 Ways Workshop here ($12 until Friday night, April 3rd ($17 starting April 4th)Save 10% in my shop anytime with the code: podcastSupport the show

Seward high school students have until April 15th to apply for this year's student exchange program with Obihiro, Japan; developers of the Alaska LNG project are pressing lawmakers to pass a tax bill proposed by Gov. Mike Dunleavy earlier this month; and a highly unusual — and four-legged — suspect was apprehended last week in Juneau.

Who played Secretary of State William Seward in the 2012 motion picture Lincoln?Play. Share. Listen with film critic, Neil Rosen. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Seward high school students have until April 15th to apply for this year's student exchange program with Obihiro, Japan; Palma shares her own experiences and some of the benefits of summer training; and Homer's annual Yogicstatica event returns to Bunnell Street Arts Gallery on Sunday.

Producer Andrew Parrella Claims His Own Gothic WorldIn this follow-up session, Jennie Nash checks in with producer-turned-novelist Andrew Parrella, who returns to the “hot seat” with a major breakthrough. After a week of “staring at the screen and walking the dog,” Andrew realizes he has been “writing small” to keep the project manageable. By leaning too heavily on the existing framework of Bram Stoker's Dracula, he was inadvertently stifling his own creativity. He decides to “embrace the big,” shifting the story from a cautious tribute into a standalone Historical Gothic Mystery. This evolution includes a high-stakes world-building choice: making vampires a known, though unaccepted, part of the public consciousness in 1920s London, adding a layer of modern resonance and social tension to the atmosphere of dread.The duo also digs into the “glaring holes” that surface when a writer decides to expand their narrative scope. Andrew identifies a need for deeper research into the Suffragette movement to ensure his protagonist's familial history feels integrated rather than “tacked on.” By connecting the mystery of the protagonist's mother to historical activism, Andrew finds a way to ground the supernatural elements in a more 3D reality. As they grapple with the structural puzzle of Point of View—weighing the benefits of including voices from the past versus staying close to the present—Jennie challenges Andrew to choose the perspective that best amplifies the protagonist's transformation and the secrets hidden within a mysterious Gladstone bag.Visit Andrew on the web: https://www.andrewparrella.comListen to the first session with Andrew:#AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.TranscriptJennie: [00:00:00] Hi, I'm Jennie Nash and you're listening to the hashtag am Writing podcast, the place where we help writers of all kinds play big in your writing life, love the process, and stick with it long enough to finish what matters most. This is a hot seat coaching episode where we work through a real writing challenge in real time.Today I'm talking again with Andrew Perella, the hashtag am writing podcast producer who stepped out from behind the mic to work on his novel. He completed our winter blueprint challenge and is now working on blueprint revisions, which is such an important stage in the writing process, digging into what you really want the book to be, what you really wanna say.And Andrew's told me he just had a revelation, which I'm dying to hear about. But um, before we get to that. Um, when we're talking here today, the first episode where we did hot seat coaching launched out into the world, and I wanted to ask how [00:01:00] you're feeling about that.Andrew: Um, it feels a little weird. Um, you know, I'm used to being behind the mic.I'm used to, um, helping obviously produce a lot of audio over the years and, and, and helped get a lot of podcast episodes out into the world. It's strange to. Kind of be featured in a podcast episode. Um, that is a new experience for me. Um, uh, you know, when we recorded it, it was just you and I talking, but now it's like out in the world and, uh, and, and people can listen, um, and, uh, and, and, and judge, um, which of course they're welcome to do.Uh, but uh, but yeah, so it's a little, it's a little weird, but it's fun. It's fun.Jennie: Yeah, that's, that's you, you hit the nail on the head, the, the judge part. As soon as you put anything into the world, you put yourself up for judgment. And what we're doing here in these sessions is, is really, in some ways so intimate because we're getting to watch [00:02:00] somebody's thinking as it's unfolding, as it's progressing before they know what they want it to be.And we're watching someone hopefully, um. You know, hone in on their, their voice, their story, their point, their whole thing. And it's, um, it's really special to get to see it unfold, I think. Um, so thank you for. Putting yourself out there.Andrew: I'm, I'm happy to do it. This is, this has been a really value, this is a really valuable exercise for me personally.So, uh, happy to, happy to share that with folks.Jennie: So what happened last time was you left with some, uh, homework, which you did. Mm-hmm. And what was interesting from my point of view was when I. Looked at what you did. My first thought was, well, he didn't do very much. And I, I sort of thought, uh, okay, that's funny.Andrew: I kind of felt the same way.Jennie: Oh, that's really funny. But then when I read it, it was like, oh no, you worked out a [00:03:00] lot of things that we had been circling around. And primarily the, um, I would say the. Personal familial history of abriana and her connection to this famous vampire hunter. So that all got really sorted.Um, but the, the one that really made me chuckle was you have this beautiful description of your ideal reader in the blueprint, and it, it's probably. I don't know, it might be 500 words. It's, it's like, you know, this ideal reader really well, and I can tell that you actually really love this ideal reader and want to I do, I do.Yeah. It's really sort of beautiful, um, the specificity of, of who she is, but you added like three lines to the end of that. That was part of what you, what you did. And, um, [00:04:00] one of those lines was. In response to something we talked about, which was, does your ideal reader, are they familiar with Dracula? And you said, now, no.So that was really interesting to me. Do you wanna talk a little bit how you landed on that? Because I, I do think it might impact the genre.Andrew: Uh, yeah, I agree. And I, I saw your note about the genre too, which, which, um, I'm, I'd be eager to talk more about, but yeah, I mean, as, as I was thinking about this, I say I feel like I didn't do much.I spend a lot of time staring at the screen, uh, over the last couple of weeks and like. Walking my dog and thinking about these questions that you were posing. I feel like I spent hours doing it and like it, like, and, and like the words on the page since we last spoke, don't, I don't know, have reflect like the number of, the number of new words on the page.Don't reflect that. But I spent, I spent a lot of time thinking about, about that question and [00:05:00] some of the other questions that, that you posed. And I think for a long time I wanted to presume a familiarity with Stoker's Dracula, um, because it made my job easier. And, and so I think I, I kind of had to come to terms with the fact that though it is a popular book, not everybody has read it.And while many people, because it's a popular book, many people have some. Passing knowledge about the structure, about the plot, about some of the characters maybe, but they won't know. They won't know the level of detail that I do having read it many times. And so I need to create, I need to expand the world.I need to create my own world. I can't just live in Stoker's world. I need to create my own world. These characters, while they have the same names as the characters in in Stoker's novel. They are, they become different characters in my world, the [00:06:00] world I'm creating. And so I need to, I need to kind of accept that.And so it doesn't matter if you've read Dracula before you pick up this book, and these, these characters have a rich backstory that I will allude to. And if you've read Dracula, you might pick up on some extra, some extra bits, but this is still going to be a cohesive, discreet novel that you'll be able to enjoy.Regardless of, uh, whether you've read the, the, the original or not.Jennie: Okay. That's huge. Is that the revelation or is there something else?Andrew: No, that is notJennie: theAndrew: revelation.Jennie: Okay. So we'll get, wow, okay. We'll get to that in a minute. But that, the reason I said it impacts the genre is that you said your ideal right reader wouldn't describe herself as a horror fan and that her.Most, she's, she loves this, um, period of time. She loves London. Um, you know, there's a lot of things that [00:07:00] connect her to this story, but not horror. And so my thought was, should, should it still be classified as horror? Uh, there are lots of other ways to classify it, you know, historic, um, a historic thriller, a historic mystery.You know, gothic could be in there, but what, what are your thoughts at this point about that?Andrew: Yeah, and I, I, I think we've, we've, we've used the term horror when we talk about it, but when I, when I, when I did the blueprint challenge, I think I did kind of identify more like historical gothic as the genre.And, and, and as, as you say in one of your notes, this is feeling more like a mystery, a murder mystery than it is horror. Like, I feel like the horror genre leans into the gore, and I don't know that that's where. My book lives, I think, I think the gothic kind of sense of imminent doom, pervading, you know, every page is definitely something I wanna lead into.So, so I think gothic is, is [00:08:00] relevant, historic, gothic, and ultimately it is a murder mystery. And so who, and so, and so solving that mystery is the protagonist's kind of ultimate mission.Jennie: Right. So the, the sort of moodiness of the world and, and something, yeah. The dread, uh, that's out there. Right. Um, which fits really nicely, uh, with what you're doing.Okay. So what's the revelation?Andrew: So it came from the question that you asked me last or two weeks ago now. Um, and one that I've been asking myself, which is. Are vampires part of the public consciousness in this world that I'm building. And for a long time I've been saying, no, no, no, no. They're not part, they're still, they're still a secret society.They're still a secret community. They're still a secret species. They're, they're, and nobody knows about them. And, and anyone who talks about vampires is seen as being a [00:09:00] lunatic. Um. And I was realizing, and, and as you probably saw in the, in, in the, in the document, I was, I, I was trying to explore both, both possibilities.There's a possibility where, where the public understands vampire exists and then there's a, a, a possibility where that it doesn't, where they don't understand they exist. And I've been leaning towards maintaining the secrecy of vampires among the public. And I think the reason I've been doing that, it ties back, ties into what we were just talking about in that I was, I saw that creating like a whole vampire society that, uh, that human, that human society has been interacting with for a number of years, it felt like a distraction from the primary.From the primary plot, but I've been struggling because it does offer some really nice motivation for my murderer.Jennie: Yeah. [00:10:00]Andrew: SoJennie: you've been flip flopping back and forth in your mind.Andrew: I've been flip flopping back and forth in my mind until last night. And I was, I was reading, I was reading some of your comments, uh, on my document and I was like, why am I stuck on this?Why am I hung up on this? Why can't I make a decision about this? Um, and it's because. I was writing small, I was trying to keep it, you know, this is something I could manage. Like I was trying to keep it, I was trying to keep it like manageable. I was trying to keep it, I, I don't know. I was trying to give my, I was trying to like pen myself in, I guess, and lean.More heavily on the work of Stoker. And it's like he's already done his work. He's already So the, so the, the, the, the revelation I said he's already done his work. He's already created his book. Mine is a different book. Mine is, is, uh, a different [00:11:00] world and like. As we have been saying, I need to write big, so I need to embrace the big.And so that gonna, that's gonna mean creating more characters. That's going to mean creating, uh, more exposition. That's going to mean creating, um, more interactions between these communities. Creating a lot more than I had initially been thinking about. I feel like my original idea was a nice idea. You know, I'm, and I'm using air quotes with a nice idea, but like, I feel like this is now.Becoming a novel by, by choosing to, by choosing to go big here.Jennie: Well, you're, you make me like actually wanna cry because of happiness, because you've obviously been listening to the right. Big episodes and Yes. That whole um, thing and winter blueprint, um, listening to me hammer away at. Uh, [00:12:00] that this is all we have.This is all a writer has, is what is in their heart and mind mm-hmm. And comes from their experiences and interests. And it is so crazy how we shy away from that. We tamp it down, we hide from it, all the things because it's, it's terrifying in many ways. And for you to just get that and in both. The conversations we've had this morning already, like, like the, um, you were afraid.Yeah. Afraid of your own creation, which is actually very sort of, I guess that's more, um, well, more Frankenstein, more Frankenstein than Dracula, but, but you know, it is like the monster of our own creation. Mm-hmm. You know, like, oh, I wanna write this book. There's a kind of dread in just even saying that.Yeah. And then, oh, I [00:13:00] wanna write this book andRight.Jennie: And that question of am I up to it? Am I capable of, it lies at the heart of. So many problems that we make for ourselves because, you know, we tell ourselves, no, I couldn't do that or that Yeah, that's too, I just, I, you know, that's for somebody else, or I, I'll keep it small, I'll keep it mm-hmm.Attached to this other, I'll keep it easy. That was what mm-hmm. You know, and, and what you're saying is, okay, now I'm gonna. I'm gonna write the book I wanna write.Andrew: Yeah.Jennie: Oh man, that's so big. So that,Andrew: yeah, that was my, that was my big revelation last night as I was, ‘cause I still didn't have an answer for you on that question as late as last night.And I was like, I don't know what to say. And then I was like, why is this heart so hard for me? And so that was, that was, that was really nice to kind of make that, find that understanding and that gave me peace and like. I started, I started just throwing words on the page [00:14:00] last night about what that meant.Um, what that will mean for the story, what that will mean for the, for the characters. So,Jennie: well, I'm gonna write down this question ‘cause I wanna, I wanna explore that more. Why is this so hard for me? That's such a good question because what I was doing last night after I wrote that note to you was I did a whole pro con thing.You know, pro, um, the vampires are here and present and known, or, you know, be, they're not like, you know? Mm-hmm. Or even c nobody knows if they're real or, you know, like I was trying to parse out what do I have to do to guide Andrew toward. A decision. So I was thinking more what's gonna prompt your brain to decide, and your question, why is this so hard for [00:15:00] me is really what the right question is instead of the pro con list.So that is brilliant. Um, I'm, I'm writing down so good. Um.Andrew: Well, thank you for pushing me.Jennie: Oh, well that's my job. So, um, it's fun. I mean, it's fun. And what's interesting, particularly with this project is as we know, I don't know Dracula, I don't read a lot of horror. And so I'm, I am, I am reacting to you more than this story, you know?So that was, that was why, how am I gonna get Andrew to. Figure this out. I have absolutely no, you know, opinion or, or you know, um, any reason why we choose one or the other. Uh, sure. You know, it's really what you want. So once you decide that, then does that help with. Other open questions? [00:16:00] Does it sort of have a domino effect in your mind on some of the other things?Andrew: I think it, yeah, it, yeah, I think it's gonna affect, I mean, it's gonna affect, so it's gonna affect the whole tenor of the book. Um, I think it, it's, it's going to change the motivations of so many other characters. It's going to change. The relationship between, um, uh, between all of the characters. Um, it's going to change the politics of the moment inside this world.Um, and it's going to kind of raise the stakes, uh, a little bit more. And I think in, in, in another way, it's going to make it resonate more with a modern audience. Um,Jennie: Ooh. Say more. Why do you think that?Andrew: Well, I think, uh, I think. Just because the vampires are no longer a secret, uh, society, just because they are, um, part of the public zeitgeist, that doesn't mean they are accepted by the public.Um, and so there's going to be [00:17:00] misunderstanding and fear, um, and uh, and violence all around this, uh, group of individuals, which I think. Again, as I, as I said, resonates with, with, with modern, with a modern audience.Jennie: Wow. That's, that's awesome. Um, so I'm also curious, one of the questions I had, you did some work around a Brianna's mother whomm-hmm.Jennie: Died in childbirth, giving birth to her. Mm-hmm. And, um. She was involved in this whole previous generation's relationship to the vampire hunting andmm-hmm.Jennie: Um, all of that. And it, it's been a little vague. Um, we've talked about it a little, but it sounds like that is becoming more of a connection for, for two things, both for a [00:18:00] Adrianna's motivation, um.To, to solve these murders, but also her connection to the suffragette movement, which prior to this draft, I kept feeling a little bit like it was shoehorned in there, likemm-hmm.Jennie: Oh, there's this vampire story and it's London and it's at this time, and there's this young woman in suffragette. You know, and, and now that small change really locks the, the suffragette movement into Aub Brianna's world and life.Um, so what do you now know about the mother that feels new or, um, that you've pinned down more because of these thoughts?Andrew: I'm still fleshing that out. But let me, let me say, one of the reasons I think that the suffragette movement element of the book feels a little tacked on is I have not [00:19:00] yet done my research there.And so it's like, that's a really, that's a, that's a glaring, that's a glaring hole right now that I need to fill with more research. I've been doing a lot of vampire research now. Um, and, but I need to switch. I need to switch tax and start and start doing more, uh, suffrage, uh, research. Um, but that said, yeah, I think.A Brianna's mother, Mina, um, was involved briefly in the suffrage movement because she dies or does she? And um, and, and I think she continues, she continues to play a role in the suffrage suffrage movement. What. What I've been grappling with now is how much of that does abriana know how much of that has her father told her?And I could see that being another point of contention between the two of them. If she discovers later that this was [00:20:00] another, another piece of information that was, that was hidden from her. And so,Jennie: Ooh, that's so good. It's so good. This, this young, yeah, this young woman. All these things stacked up against her that she, yeah.Sort of knows about or maybe suspects. Um, right. So you're right. The work is, there's always in any story who, the question of who knows what, when. Mm-hmm. I mean, particularly in a mystery or thriller, obviously.Andrew: Right.Jennie: Yeah. But who knows what, when, you know, can. Change who you choose to be your narrator. Who, who has right point of view, um, who gets point of view in the story.Uh, you know, do we go to a chapter in somebody's point of view? You know, all of those, all of those questions hang on. This idea of who knows what went. So, you as the author, are the first person that has to know. Everything. Right. And [00:21:00] then choose to, you know, how like, like putting little breadcrumbs or, you know, planting little seeds, ummm-hmm.Jennie: That you have to manage that material. Um, so that's a big question. And here's a question. Do you think you need those answers before you can pin the whole story down, or do you feel like. You can pin the plot down and that that is, gives more texture, more, more to a Adriana's motivation. Maybe it'll move certain scenes about her discovery of certain things, but do you, what do you feel about that research?Andrew: About the suffrage research they needJennie: to do? Yeah, yeah,Andrew: yeah. I think it's going to get, I think it's gonna open avenues for me. To identify what Mina's role was, what her mother, what, what breanna's mother's role was in the suffrage suffragette movement. [00:22:00] Who some of the players were, who some of the, some of the larger names, the, some of the larger, um, protesters and advocates for it were.Because the, you know, being a historical novel, I do want to incorporate some historical figures, which I, I think, um, is always a kind of a fun element of, of, of a novel. And so being able to incorporate some of that, I think will lay out a lot of avenues for a Brianna's story arc.Jennie: So I just wanna point out for our listeners that what is happening here, um, is that every question we ask or we pose.Is work, right? So some of it is, you know, work of walking the dog and thinking and saying, well, I don't know. Or Why don't I now? Or why is this hard for me? Or, uh, or, you know, all of that. And then now we're talking about. This question is work, um, figuring out research and, you know, at every turn it's, [00:23:00] when you do the thing that you wanna do, when you really lean into that, it, it gets harder.I mean, you're making it harder for yourself. So,yeah,Jennie: I just wanna point that out. ‘cause it, it's so interesting here as this is unfolding, um, that, that, that is just a, a truth. And the other thing I wanna point out is. Where this story started is where every story starts, which is you have this idea, it's a really cool idea.You have this sense of a plot. And, and in some ways, that very central idea of the plot is never gonna change. No matter what you do to this book, it's, it's a, mm-hmm. It's a murder, you know, there's murders and this young woman's gonna solve it, so. Mm-hmm. Like, that plot's not changing, but the, where it started was.These kind of card work cutout characters, kind of placeholder characters. And if you leave it at that, you can see where that would go, you know? Mm-hmm. It's like, [00:24:00] oh, mother died in childbirth. Of course child's motivated to, you know, something. Um, or Oh, distant and emotional dad, you know, you sort of start, start there.But now by understanding. The whole life that her mother lived and the whole role that she played, and is she even dead or not? You know, like huge, huge questions. Yeah. Make the mother a fully fleshed out 3D character. You know, that's where you're gonna go. And then you can see how that will make a Brianna.A more fully fleshed out 3D character. So instead of, instead of the tropes or the expected things, there's gonna be these nuances to it andmm-hmm.Jennie: Um, specific things. And then your question of what, how much does she know and, and what does she find out? [00:25:00] Um, there's gonna be plot points that come from that.Right. You know? Uh, do you have a sense. At this point, are there letters, are there diaries? Is there a friend who hasn't spoken? Like is there some source of information in your mind that Abriana might encounter?Andrew: Yes. And I think, and, and I think there are a couple of different sources. I think, I think her mother Mina will have had diaries, um, and potentially letters.I think also Van Helsing will also certainly have papers. Um. And letters. Um, and, uh, there's a, there's a, there's a prop. He, when he dies, he bequeaths to abriana his Gladstone bag. Um, and I think there's going to be some sort of revelatory piece of information in the Gladstone bag, and I haven't figured [00:26:00] out what that piece of information is.So,Jennie: is that black bag that doctors hadAndrew: that doctors carry around? Yeah. That the old time, that old, that old timey doctors carry?Jennie: Yeah. Why was it ca called that?Andrew: You know, that's a good, that's a good question. I don't know where, uh, what the etymology for, for, for the Gladstone bag is. I don't know why that is.Jennie: Interesting. So that's like a toolbox basically. Yeah. It's filled, filled with things and,Outro: yeah. Yeah.Jennie: Uh, that's cool. That's cool. Um, that, I love that. So this is a silly thing. I was so confused. And I know you told me this, um, but that there's a character, John Seward, who's a character from Dracula. Mm-hmm.And Abriana refers to him as her uncle, but he's not her uncle. Correct. But the reason I continue to be confused is that her dad's name is also JohnAndrew: Jonathan. Yeah.Jennie: Jonathan.Andrew: Yeah.Jennie: Does it have to [00:27:00] be or is that just like, oh, Jennie, come on. Surely the reader can handle a John and a Jonathan.Andrew: Well, I mean, no, that's a legitimate question because, um, can they, um, especially if we've got two characters named Abraham and Abriana, right?And so like, and so now I, I, I've been struggling with that too. I think I've been, I've been trying to carry forward some of, some of the characters from Dracula. I think I like the character of Seward because he is a protege of Van Helsing, but perhaps the protege bit is important and not the actual name of the person.So maybe it's another character that I've, that I'm introducing here who was a protege of Van Helsing.Jennie: Oh. But see, I think that's where you get into. So your ideal reader you've established may not know Dracula right. Inside and out. Right. But you will have a lot [00:28:00] of readers who do.Yes.Jennie: And there is a world of people who really love this stuff and who really.Right. You know, and if you were to change an actual charactermm-hmm.Jennie: And give it, give him a different name or a different whatever, people will come after you.Yeah. People will be obsessed.Jennie: And that's fine. Right. Butyeah.Jennie: Is, is that one of the things that could be in the book that those readers. That would delight those readers.Andrew: Right. I like, I feel like there are a lot of ways I can leave Easter eggs for Dracula fans.Jennie: Yeah.Andrew: Um, that aren't, that aren't germane to understanding the plot of the motivations of the characters, but that, like a Dracula fan will appreciate, oh, I see what you did there. That was a nice touch. Um,Jennie: and soAndrew: I,Jennie: oh, I think they, they're gonna love that andAndrew: Yeah.Yeah.Jennie: You know, there's also then. This is just where my brain goes in terms of marketing. There's also then a whole [00:29:00] thing of, you know, a connection to a literary, uh, to literature readers, which could potentially be students and scholars and, you know, that sort of thing. Yeah.Andrew: Yeah.Jennie: So I don't, I don't think you should so quickly dismiss.John Stewart, but it's a Adrianna's father being named Jonathan, I was wondering about.Andrew: Mm-hmm. Okay.Jennie: And, and you do not have to care that Jennie can't keep him straight. Uh, I'm, I'm 62. My brain doesn't work the same way it used to, but I can't tell you the number of times. I'm like, wait. Was that like I wasAndrew: right.Jennie: Really snagging on that. So, um, just a point of information.Andrew: Gotcha, gotcha. No, it's worth thinking about though. It's worth thinking about. But I, I had a, I had a question for you.Jennie: Yeah.Andrew: If now is an appropriate time to ask it.Jennie: Ask it. [00:30:00] Yeah.Andrew: I've been, I've been spending a lot of brain power on the question of POV.Jennie: Yeah,Andrew: and I've been go like, and going back and forth about whether this is going to be a single POV, uh, and Abriana is, Abriana is our narrator, or if it's more third person omniscient, or maybe this is a dual POV. And I think most recently I've been thinking this is a dual POV between Abriana and her namesake Van Helsing, and like.Which is also create some time traveling, uh, mechanisms because we'll be, we'll be talk, he'll be talking about his experiences, uh, before Abriana was born and as she, as she's a child, and she'll be talking about her experiences as a young woman. And so, but now as we're talking about a Adrianna's mother, I'm more, I'm wondering like, do I want the dual POV to between, between Abriana and her mother?Um. What question should I [00:31:00] be considering to help me make that decision?Jennie: Uh, well this is a huge question, Andrew. Um, there, I feel like you just named so many excellent structural ways forward, right? And the question of what do you ask yourself? You're asking such good questions, like what do you ask yourself to make that decision?And. I'm gonna, my answer's gonna be something really unsatisfying in many ways because it's, you gotta go back to your why, why are you writing the story? Mm-hmm. Okay. Why does it matter to you? Mm-hmm. What is your point? Who do you, who do you want to speak to? Uh, those fundamental questions are going to inform the POV because if you, well, I know you originally had an idea about the brother.Um, her brother being a narrator, and you didn't mention him this time, you mentioned No, [00:32:00] the mom. So a story in which the mom and daughter are narrating and the mom and they're never going to meet.Mm-hmm.Jennie: Those two people in, I don't think, well, no, that's not true. Uh, uh, an unden person could meet a, a human walking the earth, um, right.Andrew: And that may be, that may be part of the climax.Jennie: Yeah. SoAndrew: of the novel. ButJennie: that, um, that a mother daughter who, who don't think that they can, maybe the daughter doesn't think that they will ever meet, you know, that's a real particular. Kind of a story. Mm-hmm. So I do think, going back to your why, why do I care about this?Why, you know, I, I asked you in our, our initial conversation, you know, you're, you're a man. You're writing about [00:33:00] suffragettes, you're writing about a woman protagonist, a young woman, protagonist, and you talked a lot about your sister.Mm-hmm.Jennie: Understanding those motivations and interests and passions because that mother-daughter story will carry a certain kind of weight.The, if we think of the, the Van Haling being a narrator, that taps into what we were talking about before. How connected is your story to that lineage ofright,Jennie: of that one. ‘cause now you're. Not only having Bram Stoker's character, you're giving that character a POV voice. Mm-hmm. Which is another level of connection to that mm-hmm.Literary lineage. Mm-hmm. Um, so that would take it in a different, you can see how that would take it in a really different direction. So POV is, [00:34:00] you know, in some stories it's quite. Instant. Um, you just sort of know, um, in other stories it's not, and this one, it, it is not. Um mm-hmm. I think it's, it's clear Abriana is your protagonist.It's her our core following. Mm-hmm. It's her. Transformation. We're interested in her, uh, solving the murder, her understanding her legacy, her coming into her own power. Those are the things we want to see resolved. Um, so whether or not she is a POV though, because there's a, then there's, there's third person.Mm-hmm. I mean, third person has different, you know, there's different permutations of it. There's third person close mm-hmm. Which is sort of functions in some ways, like first person, because in third person close, you don't go into anybody else's head. Mm-hmm. Um, I, I sometimes don't understand why, [00:35:00] why that is even a choice.Then I read books that do it, that work beautifully, and it's like, oh, okay. You know? So, uh, you know, everything can be a choice, but, um, you know, so we know that she's at the center. So then the question I'm circling around to answering your question, how do you help yourself solve this? What other voices would amplify?Mm-hmm.Jennie: Her transformation, that's really what it is, is it's her story. You know, the, the mother, POV would take it in one direction. Van Helsing would take it in a different mm-hmm. Uh, third person where we're,I don't know, a third person narrator that goes back in time feels odd to me.Andrew: Okay.Jennie: I think if it's, and I'm just talking out loud here. I think if it's third person, it, it, we could go into all the heads of everybody. Walking the earth [00:36:00] right now. But I feel like if you go into someone you can see I'm betraying my not understanding Vampire vampires very well.They never die, right?Andrew: Yes. They're undead.Jennie: They never die. So. Okay, so I think, ignore what I just said, A third person, omniscient narrator, could go into their heads as well. Um, right. And go back in time as well. But your time travel, like, like actually having that, that's a really different story, so.Mm-hmm.Jennie: Um, how you're going to answer is you're gonna sit with that question of what is gonna make a adrianna's story resonate the most at that end, right? What, mm-hmm. What knowing is going to, to amplify that the most. And then the second thing to ask yourself, and you might need to do a little more work, uh, in order to answer [00:37:00] this once you get the inside outline done.Looking at the key scenes. Yeah, you may just see, oh, there is no way that this is gonna work in a certain POV, or I have to have this other POVI can't convey. I can't go to that scene. I have to go to that scene. Or alternatively a scene that you can't go to. Then you think, alright, how will I get this?Into How do I convey this? I'm thinking of that. Um. You know, there's so many, uh, there's so many, uh, what's the word I'm looking for? I'm thinking of JK Rowling and Harry Potter and all the things that she did, you know, the mirror Yeah. That shows Harry or his parents and the pen sea that, you know, gets the memories outta somebody's head.Like all these, um mm-hmm. Mechanical ways Yeah. Of show, showing us what happened.Yeah. [00:38:00]Jennie: Back, back in the day. You know, that's a particularly kind of story with particularly kind of magic. But there, there, you don't know. You might have this, they're devices.Yeah,Jennie: that's the word I was looking for. Devices, yes.That you might have one or two scenes, it's like, do I need a whole POV just to convey these scenes or is there another way I could get this information in? So it's two parts, it's both. Um, I would say heart a heart. A heart-centered thing. What, what do I want? What will amplify my why and my point the most?What, what I think would be interesting and fun to write the question of, um, then Helsing, do I want to embrace that? Mm-hmm. For some reason I'm thinking of that, um, novel, um, the Hillary Clinton alternative history novel. Um. Called Rodham, uh oh, by, [00:39:00] is it Curtis Sittenfeld, I think. Um, Rodham, but so courageous and daring.She, yeah, she imagines, um, what would have happened had, had Hillary not married Bill, and it follows the, their lives and their meeting and their love story and all this whole thing, which he just chooses not to marry him. And, you know, like. That's a certain kind of bravery as an author to, to take that sort of a character.And you'd be, you'd be doing that. So do you, do I wanna do that? So it's all those hard questions and then there's plot questions, so Right. I'm gonna say that for the next, your next bit of homework. Mm-hmm. Um. Is to, I would go to the inside outline and start trying to pin this plot down and noodling around with it.And we know that it's going to change based on your research. Mm-hmm. Based on the fact that it always changes. [00:40:00] Um, but just noodle around with it and try it from different POVs. See, see what happens. You know? Take, take the, um, this is the reason, by the way, listeners, why I insist that the insight outline at the beginning is only three pages because Andrew can do one that is a Briana's, POV only.What does that look like? Uh, AA and her mom, what does that look like? Abriana and um. Van health sink, what does that look like? Uh, third person, what does that look like? You could do four, three page outlines and it's not gonna kill you. Right. Right. You could just to sort of get a feel for it, and I promise you mm-hmm.That what's gonna happen is one of ‘em is gonna feel more alive.Andrew: Right.Jennie: So that's the sortAndrew: of, okay,Jennie: unsatisfying [00:41:00] answer is one of them is gonna feel more alive. So you're gonna start with your why. Start with your point. Try to sit with that, then try those things on. One of them's gonna feel more alive.Okay.Andrew: So you're not just gonna tell me which POVs to use then?Jennie: No, it'sAndrew: not. That's not how thisJennie: works. I know, it's such a bummer. Um. I mean, it's such a, such an important question and people often skim past it, butAndrew: mm-hmm.Jennie: You know, take, I think it's the time, like dig, dig into the outline with the intention mm-hmm.Of landing on POV. How about, how about that for your homework?Andrew: Okay. That sounds good. That sounds good. I can do that.Jennie: Okay. Well, I can't wait to hear how it goes. And for our listeners. Until next time, stop playing small and write like it matters.Outro: The hashtag am [00:42:00] Writing podcast is produced by Andrew Perilla. Our intro music aptly titled Unemployed Monday was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output because everyone deserves to be paid for their work. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

In the winter of 1860-61, one man, William Henry Seward, Republican Senator from New York (the presumptive favorite for the 1860 Republican nomination for president; defeated by Lincoln on the third ballot), labored mightily to effectuate his plan to save the Union. Because of history's (and historians') heavy bias to portray Lincoln as almost a saint (see, for example, Jon Meacham's “And There Was Light: Abraham Lincoln and the American Struggle” (Random House 2022)), Seward's prodigious efforts have either been ignored, given short shrift, or looked upon as something less than honorable. This short book – based upon original archival research and a comprehensive review of secondary sources – tells the story of Seward's efforts. Counter-factual history is always an iffy business. But Seward's “plan” did help to keep the Upper South States in the Union during the months before the president-elect became the president. And had his counsel been followed after March 4th, perhaps the course of American History would have played out very differently.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Alaskans have until Tuesday to file for the 2026 Permanent Fund Dividend; Homer City offices will close Monday for Seward's Day; and three proposals related to fish hatcheries failed last week at the Alaska Board of Fisheries' statewide meeting.

Alaskans have until Tuesday to file for the 2026 Permanent Fund Dividend; Homer City offices will close Monday for Seward's Day; and three proposals related to fish hatcheries failed last week at the Alaska Board of Fisheries' statewide meeting.

The Alaska Legislature is on the verge of passing a major election reform bill. The House approved Senate Bill 64 on Monday in a 23-16 vote, after the state Senate gave it the greenlight last year. Alaska's annual Tsunami Bowl brings high school teams from around the state to meet in Seward for an academic competition related to fisheries and ocean sciences. Five kelp farmers from around Kodiak Island have started the Kodiak Ocean Growers Co-op.

The Alaska Legislature is on the verge of passing a major election reform bill. The House approved Senate Bill 64 on Monday in a 23-16 vote, after the state Senate gave it the greenlight last year. Alaska's annual Tsunami Bowl brings high school teams from around the state to meet in Seward for an academic competition related to fisheries and ocean sciences. Five kelp farmers from around Kodiak Island have started the Kodiak Ocean Growers Co-op.

Designing Disruption: Electric Motor Bikes for Your Lifestyle w/ Tim Seward of Onyx Motors - AZ TRT S07 EP05 (287) 3-15-2026       Things We Learned This Week Friction Creates Opportunity - Tim's parking problem in San Francisco sparked the entire company. Build the Prototype First - Instead of over-pitching, he built it, rode it, and let the market validate it. Disruption Requires Bold Engineering - If you want to be different, you must push boundaries — not make marginal upgrades. DIY Communities Are Innovation Labs - Study enthusiasts for insight — but build for the everyday consumer. Lifestyle Brands Sell Identity, Not Function - You don't market the commute. You market the freedom.       Timothy Seward https://timothykevinseward.com/   Tim Seward is dynamic design visionary. A lifelong tinkerer and moped enthusiast, he began experimenting with electric conversions in 2012, transforming gas mopeds into sleek, powerful prototypes. With a background in industrial design, his portfolio includes work for mobility innovators Bird, Scoot, UBCO and FREEBORD and consumer lifestyle brands with Sonos, Google, Nike, Samsung, LG, HP and Intel viewable at timothykevinseward.com and his current roles as the founder and chief design officer of ONYX Motors.   In 2017, Tim launched ONYX through a breakout Indiegogo campaign, introducing the RCR—bike that redefined the category with their raw performance and timeless design. He's redefining what electric mobility feels like through design, nostalgia, and emotion. Today, he leads the design of every ONYX bike, blending cyberpunk grit with California swagger. His vision is clear: create machines that are not just modes of transport, but vehicles of self-expression and rebellion. Under his guidance, ONYX continues to push the boundaries of electric two-wheeled design, giving riders around the world the freedom to unleash their restless alter ego. He is a frequent speaker and podcast guest on design and transformation.      

In today's episode, we go through some acquisitions taking place in the servicing space. Plus, Robbie sits down with Ocrolus' Rebecca Seward for a discussion on analyzing borrower documents and loan data to automatically generate, justify, and track underwriting conditions, while keeping human underwriters in control as the final decision-makers. And we close by looking ahead to the potential outcomes of the Federal Reserve's March meeting.Thank you to Ocrolus. Ocrolus is transforming the mortgage industry with AI-powered data and analytics, featuring cutting-edge tools for automated indexing, income analysis, and now automated conditioning. Ocrolus is empowering lenders to make timely, confident lending decisions. Whether you need to verify income across complex pay scenarios or review borrower documents with confidence, Ocrolus helps mortgage teams move at the speed of automation with the precision of human oversight. Learn more at ocrolus.com/mortgage.The Chrisman Commentary is your go-to daily mortgage news podcast, where industry insights meet expert analysis. Hosted by Robbie Chrisman, this podcast delivers the latest updates on mortgage rates, capital markets, and the forces shaping the housing finance landscape. Whether you're a seasoned professional or just looking to stay informed, you'll get clear, concise breakdowns of market trends and economic shifts that impact the mortgage world.

Outline00:00 – Intro04:43 – Life and background08:45 – Bell Labs13:42 – Inventing the negative feedback amplifier18:15 – Nyquist's landmark contributions20:43 – Regeneration theory27:10 – Frequency response32:03 – Cauchy's argument principle36:05 – The Nyquist criterion41:37 – Why is it so hard?45:27 – Robustness, margins, and practical aspects56:41 – Beyond the Nyquist criterion1:04:25 – Pitfalls and common misunderstandings1:07:00 – OutroLinksBrian Douglas's video: http://y2u.be/sof3meN96MAThe Idea Factory: https://en.wikipedia.org/wiki/The_Idea_FactoryInventing the Negative Feedback Amplifier: https://doi.org/10.1109/MSPEC.1977.6501721Johnson–Nyquist noise:  https://doi.org/10.1103/PhysRev.32.110Nyquist sampling theorem: https://en.wikipedia.org/wiki/Nyquist%E2%80%93Shannon_sampling_theoremRegeneration theory: https://doi.org/10.1002/j.1538-7305.1932.tb02344.xGain and phase margins: https://en.wikipedia.org/wiki/Bode_plot#Gain_margin_and_phase_marginRouth–Hurwitz criterion: https://en.wikipedia.org/wiki/Routh%E2%80%93Hurwitz_stability_criterionÅström's lecture: https://archive.control.lth.se/media/Staff/KarlJohanAstrom/Lectures/ASMENyquistLecture2005.pdfScale-Relative Graphs: https://doi.org/10.1109/TAC.2023.3234016Support the showPodcast infoPodcast website: https://www.incontrolpodcast.com/Apple Podcasts: https://tinyurl.com/5n84j85jSpotify: https://tinyurl.com/4rwztj3cRSS: https://tinyurl.com/yc2fcv4yYoutube: https://tinyurl.com/bdbvhsj6Facebook: https://tinyurl.com/3z24yr43Twitter: https://twitter.com/IncontrolPInstagram: https://tinyurl.com/35cu4kr4Acknowledgments and sponsorsThis episode was supported by the National Centre of Competence in Research on «Dependable, ubiquitous automation» and the IFAC Activity fund. The podcast benefits from the help of an incredibly talented and passionate team. Special thanks to L. Seward, E. Cahard, F. Banis, F. Dörfler, J. Lygeros, ETH studio and mirrorlake . Music was composed by A New Element.

https://www.cevanstewartauthor.com/ C. Evan Stewart recently retired as a senior partner in an international law firm headquartered in New York City. Mr. Stewart is a visiting professor at Cornell University and an adjunct professor at Fordham Law School. In addition, he is a contributing columnist for the New York Law Journal, New York Business Law Journal, and the Federal Bar Council Quarterly; he has published approximately 300 articles on a variety of legal subjects, and is frequently featured in the national media and regularly speaks across the country on securities, professional responsibility, and complex litigation issues. In 2016, he received the Sanford D. Levy Award from the New York State Bar Association for his contributions to the field of legal ethics. Mr. Stewart is a member of the Council on Foreign Relations and the Economic Club of New York. He is also a Director and Treasurer of Humanities New York. Mr. Stewart has served as a Trustee of Cornell University, Westminster School, the American University of Bulgaria, the American Historical Association, the Young Women's Christian Association of the USA, YMCA Camping Services, and the Federal Bar Council. Mr. Stewart has been recognized by The Legal 500 since 2015, Super Lawyers since 2009, and has also been hailed as a Local Litigation Star by Benchmark Litigation. He is also recognized by The Best Lawyers in America in its securities litigation category. In 2016, Mr. Stewart received the Sanford D. Levy Award from the New York State Bar Association's Ethics Committee for his significant contributions to the field of professional responsibility. In 2008, he received the Modaq Content Award for writing the most popular article in the United States. Since 1980, Mr. Stewart has been AV(R) Peer Review Rated by Martindale-Hubbell. William Henry Seward and the Secession Winter (November 1860 – April 1861) The lively tale of a politically fraught era 165 years in the past and yet highly relevant today. In the winter of 1860-61, one man, William Henry Seward, Republican Senator from New York (the presumptive favorite for the 1860 Republican nomination for president; defeated by Lincoln on the third ballot), labored mightily to effectuate his plan to save the Union. Because of history's (and historians') heavy bias to portray Lincoln as almost a saint (see, for example, Jon Meacham's “And There Was Light: Abraham Lincoln and the American Struggle” (Random House 2022)), Seward's prodigious efforts have either been ignored, given short shrift, or looked upon as something less than honorable. This short book – based upon original archival research and a comprehensive review of secondary sources – tells the story of Seward's efforts. Counter-factual history is always an iffy business. But Seward's “plan” did help to keep the Upper South States in the Union during the months before the president-elect became the president. And had his counsel been followed after March 4th, perhaps the course of American History would have played out very differently.

Photo: A scenic overview of the Colorado River from the Navajo Bridge near Jacob Lake. (Gabriel Pietrorazio / KJZZ) The Senate Committee on Indian Affairs has invited tribal leaders to testify on Capitol Hill today. As KJZZ’s Gabriel Pietrorazio reports, the Northeast Arizona Indian Water Rights Settlement Act is the hearing's subject. This $5 billion deal would resolve claims for three parties, including the Navajo Nation and Hopi Tribe. For San Juan Southern Paiute President Carlene Yellowhair, this proposal is not just about securing precious water in the Southwest. If passed, it would also set aside 5,400 acres for a new reservation in Arizona. “We want to settle, because we want our land, our home, a place to build. We lost all of our elders. They started it and we just want to finish it.” The tribe has more than 300 members, including Vice President Johnny Lehi Jr. “You know, the land and the water, that's what we needed to become more sovereign.” Prisoner Mark Andrews is housed at Spring Creek Correctional Center in Seward, Alaska. (Photo: Anne Hillman / Alaska Public Media) The Alaska Supreme Court heard arguments this month on whether prisoners can be forcibly medicated with psychiatric drugs — without a court hearing and the right to a lawyer. In the state corrections system, Alaska Native people are incarcerated at about twice the rate of white Alaskans. Alaska Public Media's Rachel Cassandra has more. The American Civil Liberties Union (ACLU) brought the case against the Department of Corrections (DOC) on behalf of a prisoner, Mark Andrews. He says he has been unjustly drugged with powerful psychotropic medication for most of the last seven years, without due process or access to legal counsel. The Department policy currently allows prisoners to be drugged against their will if they are gravely disabled or are in imminent risk for harming themselves or others. Doron Levine is a lawyer for the ACLU. He argued at the hearing that the policy infringes on rights protected by the state constitution. “Few things are more personal than someone’s body, and arguably, nothing is more personal than a person’s mind. It’s the locus of a person’s identity, and it’s a last refuge of freedom for people who are incarcerated.” Under department policy, prisoners have the right to hearings every six months with department staff. And they have the right to appeal the decision to a department committee. The ACLU argues that Andrews did not have sufficient access to hearings or an appeal. Justice Jennifer Henderson questioned Kimber Rogers, the attorney representing DOC. Justice Henderson says the facts seem to suggest that the prisoner was denied the rights promised in the department's policy. Justice Henderson: How do you respond to that? Kimber Rogers: Your Honor, I agree that there were definitely some problems, and Mr. Andrews’ hearings, but I don’t think that that’s important. JH: There were more than some problems. There were long periods of time where there were no hearings, for example. KR: Well, Your Honor, I would dispute that actually. The ACLU lawyer argued that there should be a hearing in a courtroom because DOC staff may be biased to protect the institution over the person, but Rogers says a hearing inside prison is the best approach. When the Supreme Court issues a ruling, the decision could apply to the approximately 22 Alaska prisoners who are being forcibly drugged. U.S. Rep. Dusty Johnson (R-SD) The National American Indian Housing Council (NAIHC) is applauding the House passage of the Tribal Trust Land Homeownership Act. The bill to improve access to homeownership for Native families on tribal trust land is led by U.S. Rep. Dusty Johnson (R-SD) and passed last week. NAIHC executive director Rudy Soto says the bill improves coordination between the Bureau of Indian Affairs, lenders, and tribal communities, establishes timelines, and helps Native families, veterans, and tribal citizens who want to achieve homeownership. The Senate previously approved the measure and it now heads to the president's desk. Get National Native News delivered to your inbox daily. Sign up for our daily newsletter today. Download our NV1 Android or iOs App for breaking news alerts. Check out today’s Native America Calling episode Wednesday, March 11, 2024 – Michigan backs away from Boarding Schools report

On November 29, 2019, a Piper Chieftain is doing a medical charter flight picking up a patient from Seward. As they fly from Anchorage, they never make it, what caused this flight to crash on their way? Find photos and sources for this episode on our website:www.hardlandingspodcast.comSupport us on Patreon:www.patreon.com/hardlandingspodcast

Send a Message to the TeamThe Team finishes(?) the story arch of William Seward winning the Republican nomination in 1860. Panel:Dylan, Chris, and EvanYou can follow and interact with A Fork In Time on….Discord: https://discord.com/invite/xhZEmZMKFSFacebook: https://www.facebook.com/aforkintimeTwitter: @AFITPodcastOur YouTube ChannelIf you enjoy the podcast and want to support it financially, you can help by:Supporting us monthly via Patreon: https://www.patreon.com/aforkintime....or, make a one-time donation via Podfan to A Fork In TimeE-Mail: aforkintimepodcast@gmail.comSupport the show

On this episode of The Agronomists, host Lyndsey Smith is joined by guests Tammy Jones of Paterson Grain and Jenny Rae Seward of Cronkhite Ag to discuss how weeds adapt to management and how herbicide resistance complicates weed control. Jones and Seward cover herbicide layering strategies, best management practices for weed control, and also discuss... Read More

In this episode of Tank Talk, we sit down with Senior Environmental Consultant Leslie Pearson for a first-person account of the Exxon Valdez oil spill and how it reshaped spill prevention and response in Alaska and across the nation. Leslie shares her firsthand experience working on the response in 1989, from documenting shoreline impacts in Seward to navigating the early days of incident command and emergency operations. She reflects on the gaps in preparedness that were exposed, the challenges of working in remote environments, and what it was like to learn on the fly during one of the largest environmental disasters in U.S. history. The conversation explores how the spill led to the creation of the Oil Pollution Act of 1990 (OPA 90), major revisions to SPCC and Facility Response Plan requirements, and Alaska's decision to implement some of the strictest spill prevention regulations in the country under 18 AAC 75. With decades of experience as both a regulator and consultant, Leslie explains why these regulations are more than paperwork - they are institutional memory designed to prevent history from repeating itself. This episode offers valuable perspective for environmental professionals, facility operators, and anyone working in spill prevention, preparedness, and compliance. Support the showintro/outro created with GarageBand

The Christian life is nothing other than a daily Baptism. Baptism does not just happen to us; by it, the Lord transforms us by death and resurrection (Romans 6:3-4). We walk in our Baptism each day by living in repentance and the gracious forgiveness found in Christ. The Lord enables our faith to flourish as we mortify the flesh (Romans 8:13), turning to Him and trusting that His forgiveness in Christ is ours. “God's own child I gladly say it, I am baptized into Christ.” (LSB 594, st. 1) Rev. Daniel Lewis, Assistant Professor of Theology, Concordia University, Seward, NE, joins Rev. Brady Finnern to conclude our study of Baptism as confessed in the Large Catechism. Find your copy of the Book of Concord - Concordia Reader's Edition at cph.org or read online at bookofconcord.org. Study the Lutheran Confession of Faith found in the Book of Concord with lively discussions led by host Rev. Brady Finnern, President of the LCMS Minnesota North District, and guest LCMS pastors. Join us as these Christ-confessing Concordians read through and discuss our Lutheran doctrine in the Book of Concord in order to gain a deeper understanding of our Lutheran faith and practical application for our vocations. Submit comments or questions to: listener@kfuo.org. 

We believe that Baptism is for all ages. Since Baptism is commanded for all nations (Matthew 28:19) and gives us the Holy Spirit (Acts 2:38-39), we trust in the power of the Word as opposed to ourselves. The Word has power whether a person is 99 years or one day old. The Word does not become inconsistent or incompatible due to our response. We baptize for the sake of following Christ's command and receiving the benefits He gives—no matter the age! Thanks be to God for this inexpressible gift! Rev. Daniel Lewis, Assistant Professor of Theology, Concordia University, Seward, NE, joins Rev. Brady Finnern to continue our study of Baptism as confessed in the Large Catechism. Find your copy of the Book of Concord - Concordia Reader's Edition at cph.org or read online at bookofconcord.org. Study the Lutheran Confession of Faith found in the Book of Concord with lively discussions led by host Rev. Brady Finnern, President of the LCMS Minnesota North District, and guest LCMS pastors. Join us as these Christ-confessing Concordians read through and discuss our Lutheran doctrine in the Book of Concord in order to gain a deeper understanding of our Lutheran faith and practical application for our vocations. Submit comments or questions to: listener@kfuo.org. 

Guest: Michael Vorenberg. To undercut radicals, Johnson followed Seward's advice to declare the insurrection ended by executive proclamation in 1866. Vorenberg notes this "official" peace ignored realities like the New Orleans massacre. Simultaneously, Senator Doolittle was misled by General Carlton regarding the mistreatment of the Navajo at Bosque Redondo during his peace commission tour.1880 GAR BUILDING

Guest: Patrick K. O'Donnell. This segment introduces the "Jesse Scouts," a Union special forces unit formed by John Frémont and named after his wife. Led by figures like John Charles Carpenter, these men wore Confederate disguises to infiltrate enemy lines. Despite their effectiveness as commandos, their lack of discipline led to friction with the regular Army. Guest: Patrick K. O'Donnell. Richard Blazer leads the "Legion of Honor," a hunter-killer team using Jesse Scout tradecraft to fight Confederate partisans in West Virginia. Blazer employs detective work to track down the ruthless Thurman brothers, who attack Union supply lines in the rugged terrain of the Appalachians. Guest: Patrick K. O'Donnell. A failed Union raid on Richmond carrying orders to kill Jefferson Davis prompts the Confederacy to escalate irregular warfare and political influence operations. As the Confederate Secret Service aids the Copperhead movement, author Herman Melville embeds with Union cavalry to witness the hunt for the elusive John Mosby. Guest: Patrick K. O'Donnell. Confederate General Jubal Early threatens Washington, D.C., where Lincolnwitnesses the battle at Fort Stevens. Meanwhile, partisan leader John Mosby operates independently, capturing Union forces at Mount Zion Church. O'Donnell notes that better coordination between Early and Mosby could have endangered the capital. Guest: Patrick K. O'Donnell. Grant orders total war in the Shenandoah Valley to crush Mosby's Rangers. Although Richard Blazer's scouts initially have success with Spencer carbines, they are eventually lured into a trap and annihilated by Mosby's men at Kabletown, where Blazer is captured by Ranger Lewis Powell. Guest: Patrick K. O'Donnell. Lewis Powell, the Ranger who captured Blazer, is revealed to be a Confederate Secret Service operative working with John Wilkes Booth. Powell returns to Baltimore to aid in a plot to kidnap Lincoln, while Mosby deploys troops to secure a potential escape route for the conspirators. Guest: Patrick K. O'Donnell. Harry Harrison Young takes command of the Jesse Scouts, serving as Sheridan'sstrategic eyes in Confederate uniforms. These daring scouts deceive enemy forces and carry messages through enemy lines, enabling Sheridan to move his army effectively to join Grant and trap Lee. Guest: Patrick K. O'Donnell. Robert E. Lee rejects the option of guerrilla warfare at Appomattox, choosing surrender to preserve the nation. Years later, former partisan John Singleton Mosby becomes close friends with U.S. Grant and joins the Republican Party, earning the enmity of many Southerners but symbolizing reconciliation. Guest: Michael Vorenberg. At Appomattox, Grant offers generous terms allowing Confederates to keep horses and sidearms. However, Lincoln does not immediately declare the war over; in his final speech, he focuses on the complex path to peace and suffrage, viewing the surrender as a step rather than a conclusion. Guest: Michael Vorenberg. Following Lincoln's assassination, General Sherman negotiates a surrender with Confederate General Johnston at Bennett Place. Sherman attempts to secure a comprehensive peace including civil matters, but officials in Washington, seeking stricter retribution, reject the terms as too generous, forcing a second, purely military surrender. Guest: Michael Vorenberg. While the Grand Review celebrates victory in Washington, General Sheridan is sent to the Texas border with 50,000 troops to counter French imperial ambitions in Mexico and suppress remaining Confederate resistance. Meanwhile, Confederate General Kirby Smith flees to Mexico rather than surrender his western forces. Guest: Michael Vorenberg. The government utilizes military tribunals to try Lincoln's assassins and Andersonville commandant Henry Wirz, arguing the war is ongoing. Prosecutors hope to pressure Wirz into implicating Jefferson Davis in prisoner atrocities to justify hanging the Confederate president, but Wirz refuses and is executed alone. Guest: Michael Vorenberg. Vorenberg discusses Richard Henry Dana's "Grasp of War" speech, which argued the war could not end until the victor secured guarantees against future conflict. This philosophy, demanding the enemy be held down, contrasted sharply with Lincoln's "let 'em up easy" wrestling metaphor, fueling Congressional debates over reconstruction. Guest: Michael Vorenberg. Vorenberg explains how President Johnson's racism and desire for a hasty peace alienated Congress. Johnson vetoed the Civil Rights and Freedman's Bureau Acts, arguing the war was over. Republicans, however, insisted war powers remained necessary to protect freedmen, leading them to override Johnson and unite against him. Guest: Michael Vorenberg. To undercut radicals, Johnson followed Seward's advice to declare the insurrection ended by executive proclamation in 1866. Vorenberg notes this "official" peace ignored realities like the New Orleans massacre. Simultaneously, Senator Doolittle was misled by General Carlton regarding the mistreatment of the Navajo at Bosque Redondo during his peace commission tour. Guest: Michael Vorenberg. General Grant found himself caught between a hostile President Johnson and Secretary Stanton. Vorenberg describes the disastrous "swing around the circle" tour, where Johnson used Grant'spopularity as a shield while making embarrassing speeches. Witnessing Johnson's behavior, Grant ultimately sided with Stanton, realizing the President was unworthy of his loyalty.

Outline00:00 - Intro02:55 - Brachistochrone problem20:52 - Beginning of the calculus of variations32:00 - Principle of least action42:37 - Maximum principle1:02:35 - Dynamic programming1:11:12 - Linear quadratic control1:16:37 - Beyond optimal control: games, nonsmooth analysis, MPC, RL1:28:40 - OutroLinks300 years of optimal control: https://tinyurl.com/2s3t8se4Brachistochrone: https://tinyurl.com/mwmv38ewActa Eruditorum, 1696: https://tinyurl.com/55yf5v49Acta Eruditorum, 1697: https://tinyurl.com/2a7msaajBernoulli family: https://tinyurl.com/y2vx2xdnLeibniz–Newton calculus controversy: https://tinyurl.com/3974fdhdCalculus of variations: https://tinyurl.com/3vvz8tufBeginning of the Calculus of Variations: https://tinyurl.com/mv6btxfnLagrangian mechanics: https://tinyurl.com/ycx5fv46Euler–Lagrange equation: https://tinyurl.com/53yybvyxHamiltonian mechanics: https://tinyurl.com/yfrd8zhzHamilton–Jacobi equation: https://tinyurl.com/46m9cuvsPontryagin: https://tinyurl.com/35ehxnexPontryagin's autobiography:  https://ega-math.narod.ru/LSP/book.htmDiscovery of the Maximum Principle: https://tinyurl.com/3s43nv4tMaximum Principle: https://tinyurl.com/4f7352t4Goddard problem: https://tinyurl.com/5n8swp2mHamilton–Jacobi–Bellman equation: https://tinyurl.com/4uemn5y4Kalman filter: https://tinyurl.com/39zx5yryClarke: https://tinyurl.com/yj2tzcjbMPC: https://tinyurl.com/4sf5pzvy RL: https://tinyurl.com/ee5ne7szAlphaGo: https://tinyurl.com/ydrf8jscSupport the showPodcast infoPodcast website: https://www.incontrolpodcast.com/Apple Podcasts: https://tinyurl.com/5n84j85jSpotify: https://tinyurl.com/4rwztj3cRSS: https://tinyurl.com/yc2fcv4yYoutube: https://tinyurl.com/bdbvhsj6Facebook: https://tinyurl.com/3z24yr43Twitter: https://twitter.com/IncontrolPInstagram: https://tinyurl.com/35cu4kr4Acknowledgments and sponsorsThis episode was supported by the National Centre of Competence in Research on «Dependable, ubiquitous automation» and the IFAC Activity fund. The podcast benefits from the help of an incredibly talented and passionate team. Special thanks to L. Seward, E. Cahard, F. Banis, F. Dörfler, J. Lygeros, ETH studio and mirrorlake . Music was composed by A New Element.

Send a textSteep grades, sharper ideas, and zero fluff—this conversation with Jackson Cole tracks a season where grit meets growth. We start with the highlights: a win at Cirque Series Alyeska, more Cirque podiums at Killington and Grand Targhee, a strong Rut 28K, and a proud top‑26 at the World Mountain and Trail Running Championships short trail. Then we zoom out to what shaped it all: a two‑week, 1,100‑mile bikepacking trip across New Zealand's South Island that built deep aerobic strength and reconnected Jackson with the Southern Alps, from Aspiring and Aoraki's glaciated faces to the ridge‑rich basins of Arthur's Pass and Nelson Lakes.Jackson breaks down why low‑altitude alpine can still feel massive, how technical courses reward decision‑making as much as VO2, and what The GOAT race showed him about grit over turnover. We revisit his hard push on T‑Winot in the Tetons—route choice, switchback ethics, and the line between fourth‑class flow and fifth‑class traps—and unpack the honest realities of chasing the Grand Teton FKT: weeks of scouting, precise acclimatization, and respect for the gold standards already set.Worlds in Canfranc gets the spotlight it deserves: a steep, technical course that elevated skyrunners who are lesser known stateside, a New Zealand team that punched above its weight with minimal federation support, and a personal moment of pride that lingers longer than a ranking. From there, we look at the sport's fault lines and opportunities—brand money flowing into short trail, the need to keep true skyrunning alive in North America, the promise of Beast of Big Creek, and why governance, fair access, and year‑round anti‑doping have to catch up with the cash.We wrap with a living 2026 sketch: Mount Marathon in Seward, a possible return to Minotaur, Beast of Big Creek, and a decision tree that includes Whistler, Speedgoat, and a Skyrunner World Series run depending on support. If you care about real mountains, real talk, and a future where athletes can race hard without selling the soul of the sport, this one hits home.If this resonated, follow the show, share it with a friend who loves steep trails, and leave a quick review so more mountain‑minded listeners can find us.Follow Jackson on IG - @jayrcoleeFollow James on IG - @jameslauriello Follow the Steep Stuff Podcast on IG - @steepstuff_pod

From the classic script written by Orson Welles and John Houseman, the Icebox Radio Theater presents "Dracula", recorded before a live audience in Int'l Falls, Minnesota on Oct 30, 2025. Starring Jeffrey Adams as the count and Seward, Dalton Johnson as Jonathon Harker, Aela Mackintosh as Mina Harker, Diane Adams as Lucy Westerna, and Justin Kapla as Van Helsing. Other voices by the talented cast. Direction and Sound Effects by Jeffrey Adams.

Send a Message to the TeamIn this episode, the team Continues to look at the implications of William Seward winning the Republican nomination in 1860, and eventually the presidency. Panel:Dylan, Kai, and EvanYou can follow and interact with A Fork In Time on….Discord: https://discord.com/invite/xhZEmZMKFSFacebook: https://www.facebook.com/aforkintimeTwitter: @AFITPodcastOur YouTube ChannelIf you enjoy the podcast and want to support it financially, you can help by:Supporting us monthly via Patreon: https://www.patreon.com/aforkintime....or, make a one-time donation via Podfan to A Fork In TimeE-Mail: aforkintimepodcast@gmail.comSupport the show

Text us your questions to answer on a future episode (if you want me to contact you, please include your email)KellyAnn and Matt from Salted Roots come on the podcast to share their story of building unique accommodations in Alaska in Seward and Anchorage and their local insight into both places.Salted Roots (use code PODCAST to save 10%)Come to Alaska with Jennie and Jay in June (all the details here)Join the Alaska Planning Club on Patreon and ask me anything!Book an Alaska planning session with JennieSign up for Jennie's free weekly email newsletter - Alaska InsiderHave Jennie plan your trip for youJennie's digital workshops and planners (save 10% with code: podcast)Follow Jennie on InstagramSupport the show

Kevin Lane is the executive chef and co-owner of The Cookery and The Lone Chicharron Taqueria in Seward, and he was recently named as a James Beard Award semifinalist. Reflecting on that recognition, he says it wouldn't have been possible without his team at The Cookery, or the kitchens and crews from his past that shaped the way he cooks today. Those roots stretch back to California's Sacramento area, where he was raised on crockpot meals, black-eyed peas, and lentil stew, before he found his way into kitchens in San Diego. Around nineteen, he was eating street tacos, shucking oysters, and learning the pace of restaurant life — first on the cold oyster bar, then on the hotline, where teamwork and discipline took root. Those early experiences still show up in his food today — the steady presence of Mexican influence, the belief that cooking is ultimately about making people happy, and he's still shucking oysters.  He was still early in his career when he moved to Juneau to work as a Sous Chef. There, and later in Sitka, he recognized the realities of Alaska's food system, how kitchens relied heavily on frozen and canned goods because they were dependable. Orders had to be placed seven to ten days out, and even then, fresh vegetables and herbs might arrive frozen and mushy. It was a lot different from working in California, where you could order produce in the morning and expect it that afternoon. The learning curve was steep, but learning to adapt is what good cooks do. So, given Alaska's abundance of fresh seafood, he adjusted his cooking and learned to let fish become the focus. And now that there's more access to farm-fresh produce than ever before, the constraints that once defined cooking in Alaska have eased, expanding what's possible on a menu.

Meet my friends, Clay Travis and Buck Sexton! If you love Verdict, the Clay Travis and Buck Sexton Show might also be in your audio wheelhouse. Politics, news analysis, and some pop culture and comedy thrown in too. Here’s a sample episode recapping four takeaways. Give the guys a listen and then follow and subscribe wherever you get your podcasts. You're Fired! Clay and Buck open with breaking news of another ICE-involved shooting after agents were attacked during an arrest operation. The suspects—identified as Venezuelan illegal immigrants with final deportation orders—reportedly assaulted an officer, prompting him to fire in self-defense. This follows a string of violent confrontations and protests targeting federal agents, with ICE vehicles vandalized and weapons stolen from government vehicles. The hosts warn that Minneapolis has become the epicenter of Resistance 2.0, echoing the chaos of the 2020 BLM riots, and argue that President Trump must act decisively to prevent nationwide unrest. The conversation intensifies as Clay and Buck analyze Trump’s Truth Social post threatening to invoke the Insurrection Act if Minnesota officials fail to stop organized attacks on federal law enforcement. They frame this as a defining moment for Trump’s second term, contrasting his current posture with what they call the missed opportunity to crush BLM riots in 2020. Buck emphasizes that Democrats are weaponizing immigration enforcement as a political wedge, portraying ICE as “Gestapo” and encouraging obstruction—language that, they argue, incites violence against officers. Clay underscores the stakes: Trump cannot afford to break faith with voters on border security, making Minneapolis a “crucible decision” for his presidency. The Left Wants to Abolish ICE Clay and Buck open with sharp analysis of Rep. Shri Thanedar’s renewed call to abolish ICE, reviving a radical slogan first championed by AOC during Trump’s first term. They argue that Democrats’ strategy is clear: dismantle enforcement while keeping immigration laws on the books to avoid openly admitting their open borders agenda. This, they contend, is part of a long-term plan to reshape America’s demographics and political landscape. The hosts highlight Trump’s historic success in reversing decades of migration trends, noting that net migration turned negative in 2025 for the first time since the 1920s. Approximately 2.6 million illegal immigrants left the country through deportations and self-removal, a stark contrast to Biden’s border surge that saw monthly inflows soar to 200,000. Clay and Buck frame this as proof that Trump’s enforcement policies are working, even as Democrats and media allies attempt to undermine ICE operations by portraying agents as brutal and lawless. They warn that rhetoric from figures like Hakeem Jeffries—accusing ICE of “brutalizing American families”—is fueling hostility and setting the stage for violence against federal officers, echoing the chaos of 2020’s BLM riots. Gov't Makes Things Expensive The conversation then pivots to Trump’s new “Great Healthcare Plan,” unveiled by White House Press Secretary Karoline Leavitt, which emphasizes affordability and transparency. The plan aims to permanently lower prescription drug prices, redirect subsidies from insurers to consumers, mandate public price disclosures to eliminate surprise bills, and hold insurance companies accountable with clear rate comparisons. Clay and Buck stress that Trump learned from Republicans’ 2018 midterm losses over healthcare and is now positioning affordability—alongside housing and credit card interest reform—as a cornerstone of his economic message. They argue that Trump’s proactive approach on healthcare and cost-of-living issues could resonate deeply with voters, contrasting his market-driven solutions with Democrats’ push for government control. Should We Buy Greenland? Updates on President Trump’s Greenland acquisition push, following high-level meetings between U.S., Danish, and Greenlandic officials at the White House. Clay and Buck explain Trump’s rationale for pursuing Greenland as a long-term national security asset, citing its strategic Arctic location, potential mineral wealth, and historical parallels to Seward’s purchase of Alaska and the Louisiana Purchase. They argue that Greenland could be critical for monitoring nuclear submarine activity and countering Russian and Chinese influence in the Arctic, framing Trump’s vision as a century-long play for American dominance rather than a short-term real estate flip. Make sure you never miss a second of the show by subscribing to the Clay Travis & Buck Sexton show podcast wherever you get your podcasts! ihr.fm/3InlkL8 For the latest updates from Clay and Buck: https://www.clayandbuck.com/ Connect with Clay Travis and Buck Sexton on Social Media: X - https://x.com/clayandbuck FB - https://www.facebook.com/ClayandBuck/ IG - https://www.instagram.com/clayandbuck/ YouTube - https://www.youtube.com/c/clayandbuck Rumble - https://rumble.com/c/ClayandBuck TikTok - https://www.tiktok.com/@clayandbuck YouTube: https://www.youtube.com/@VerdictwithTedCruzSee omnystudio.com/listener for privacy information.