Podcast appearances and mentions of simon schuster

Carole Beu from The Women's Bookshop reviews The End and the Beginning by K.J. Holdom, published by Simon & Schuster.

Mark interviews Jessica Sorentino, an author brand strategist with more than a decade of experience helping writers and thought leaders connect with their audiences in meaningful, lasting ways. Prior to the main content, Mark shares comments from recent episodes, a personal update, and a word about this episode's sponsor. This episode is sponsored by an affiliate link to Manuscript Report. Use code MARK10 at checkout and save 10% off your own personalized report. In the interview, Mark and Jessica talk about: What an author's brand is and how to determine what that brand is A technique of visualizing a coffee/lunch date with a dream reader/follower and writing down what you spoke about Stripping back the sales and marketing and finding that common ground The importance of authors having a handy in and having control of marketing their books even when a book is published by a major publisher Work done with Macmillan on their first business-to-consumer product How authors can sometimes feel being "dumped" by their publisher after the initial launch period That it's not really the buzz that makes for solid sales, but it's passionate readers How much of "comps" (ie "comp authors" and "comp titles") are a part of author branding The comradery of authors lifting one another up Jessica's "Turning Pages" private consulting for authors and the triangle of the author/book/reader connection Pulling out themes from a book that can help build out that conversation The value of an author brand during the query/the pitch process to an agent, editor, or publisher How the publishing industry is really about businesses making a bet on what they're investing in Jessica's "Open Book" Substack and how authors can get access to it for free The relationship between platform, brand, and marketing The book club podcast that Jessica co-hosts called "Third Glass" The question of how a book is a want not a need, so how do you make a reader want your book A reminder of the number of times a person needs to see something before it really sticks, which is 12 If you only show up when you have something to promote instead of showing up regularly Prioritizing engagement and conversations versus followers and likes And more... After the interview Mark reflects on a number of things Jessica mentioned. Links of Interest: Jessica's Website Open Book (Substack) Third Glass Podcast (Spotify) EP 482 - Outlining for Novelists Who Don't Outline with Paul Austin Ardoin EP 481 - Becoming a Creative Luminary with Laura Holley EP 309 - From Zero to Four Figures with Paul Austin Ardoin Manuscript Report (Mark's affiliate link - use MARK10 to save 10%) Buy Mark a Coffee Patreon for Stark Reflections Mark's YouTube channel ElevenLabs (AI Voice Generation - Affiliate link) Mark's Stark Reflections on Writing & Publishing Newsletter (Signup) Stark Realities Book An Author's Guide to Working With Bookstores and Libraries The Relaxed Author Buy eBook Direct Buy Audiobook Direct Publishing Pitfalls for Authors Wide for the Win Ghost Stories of the Great Lakes Mark's Canadian Werewolf Books This Time Around (Short Story) A Canadian Werewolf in New York Stowe Away (Novella) Fear and Longing in Los Angeles Fright Nights, Big City Lover's Moon Hex and the City Only Monsters in the Building Once Bitten (Novella) The Canadian Mounted: A Trivia Guide to Planes, Trains and Automobiles Yippee Ki-Yay Motherf*cker: A Trivia Guide to Die Hard Merry Christmas! Shitter Was Full!: A Trivia Guide to National Lampoon's Christmas Vacation I Think It's A Sign That The Pun Also Rises   Jessica Sorentino is an author brand strategist with more than a decade of experience helping writers and thought leaders connect with their audiences in meaningful, lasting ways. She has worked with top publishing houses, including Simon & Schuster and Macmillan Publishers, where she developed deep expertise in positioning authors for commercial success and authentic reader engagement. Jessica is the voice behind Open Book: Where Storytelling Meets Strategy on Substack and co-host of the Third Glass: Reading Between the Wines podcast, where she explores the intersection of storytelling, publishing, and personal brand. Her insights have also been featured on many industry podcasts. A sought-after speaker and respected industry voice, Jessica has repeatedly moderated at the Digital Marketing World Forum. She speaks on the importance of personal branding for authors, sharing best practices for using content and storytelling to build engaged communities as well as strategies for maintaining sustainable content creation. Based in Connecticut with her partner and dog, Jessica spends her mornings reading, her weekends baking and gardening, and her workdays helping authors build story-driven brands that connect them with the readers who will love their work most.   The introductory, end, and bumper music for this podcast ("Laser Groove") was composed and produced by Kevin MacLeod of www.incompetech.com and is Licensed under Creative Commons: By Attribution 3.0    

Mallary Tenore Tarpley is an assistant professor of practice at the University of Texas at Austin, where she teaches journalism classes in the Moody College of Communication and writing classes at the McCombs School of Business. Her debut nonfiction book, SLIP: Life in the Middle of Eating Disorder Recovery, which was published by Simon & Schuster's Simon Element imprint in August 2025, explores the under-discussed complexities of eating disorders and recovery from them. The book is equal parts memoir and journalism, and it weaves together Mallary's own narrative with perspectives from clinicians, researchers, and others with lived experience.  In 2023, Mallary received a generous grant from the Alfred P. Sloan Foundation to support the science-related reporting in the book, specifically around the neurobiological and genetic aspects of eating disorders. Mallary's articles and personal essays about eating disorders have been published in The New York Times, The Wall Street Journal, The Washington Post, The Los Angeles Times, TIME Magazine, and Teen Vogue, among other publications We discuss topics including: What it means to live life in the "in between" Recovery is impossible but imperfect Slips do not have to be failures they can be an opportunity for growth Reframe your thinking about "full recovery" Being authentic with yourself while being open to experiment with food instead of always sticking with "safe foods"   SHOW NOTES: www.mallarytenoretarpley.com Book: Slip: Life in the Middle of Eating Disorder Recovery IG: www.instagram.com/mallarytenoretarpley ____________________________________________ If you have any questions regarding the topics discussed on this podcast, please reach out to Robyn directly via email: rlgrd@askaboutfood.com You can also connect with Robyn on social media by following her on Facebook, Instagram, Twitter, and LinkedIn. If you enjoyed this podcast, please leave a review on iTunes and subscribe. Visit Robyn's private practice website where you can subscribe to her free monthly insight newsletter, and receive your FREE GUIDE "Maximizing Your Time with Those Struggling with an Eating Disorder". Your Recovery Resource, Robyn's new online course for navigating your loved one's eating disorder, is available now! For more information on Robyn's book "The Eating Disorder Trap", please visit the Official "The Eating Disorder Trap" Website. "The Eating Disorder Trap" is also available for purchase on Amazon.

Kim Pittar of Muirs Bookshop in Gisborne reviews White River Crossing by Ian McGuire, published by Simon & Schuster.

The difficulty in life is the choice. And every choice is a crossroads.This week's Working Writer roundup covers three stories that land on the same square, plus an announcement I've been sitting on.1. Simon & Schuster relaunched Pocket Books as a home for indie and hybrid authors.One of the oldest names in American paperback publishing, rebuilt around signing successful self-published writers to print deals. Their own words: “a home for forward-thinking writers, including bestselling indie and hybrid authors looking to amplify their reach.” Translation: New York is no longer asking who has a manuscript. It's asking who has readers. The room you build around your work isn't the consolation prize anymore. It's the asset.2. The industry is counting its robots.BISG and BookNet Canada opened their 2026 “AI in the Book Industry” survey (through July 17). Last year's round found about half the industry using AI, almost entirely in the plumbing: admin, marketing, data. Not the voice. I talk about where Crossroads stands: machines in the machinery, humans in the writing, audiobooks narrated by human beings. The flood of machine-made content drowns the generic. It can't drown a voice a reader trusts.3. Fourteen thousand librarians walked into Chicago.The American Library Association held its 150th annual conference: 14,801 registrants making plans for the future of reading. The quiet answer to “nobody reads anymore,” and a reminder that the professional middle (librarians, book clubs, spiritual directors, retreat leaders) is where books actually travel.And some news of our own: starting this Friday, I'm launching a new live series with Genesis the Greykid, fine-art poet and co-owner of Home, the bar at the corner of Fourth and Market in downtown Chattanooga. A crossroads city, a bar on an intersection, and conversations about the in-betweens: the hard choices, and the constraints (time, money) we build a creative life inside. It can be beautiful.If you're a writer with a message standing at your own crossroads, that's what we build at Crossroads Publishing Group. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit chadprevost.substack.com

Real estate agents spend their careers chasing predictable, consistent income. They want to be able to plan their lives, support their families, grow their businesses, and stop waking up every month wondering where the next closing is going to come from. But the problem is, income is an outcome, not something that happens automatically. Consistent income is created by consistent action. It comes from the conversations we start, the relationships we nurture, the value we provide, the follow-up we actually complete, and the lead generation habits we repeat even when we don't feel like doing them. We want the stability, but we resist the structure that creates it. We want a business that feels predictable, but we keep changing our strategy before anything has enough time to work. We look for the next tool, script, platform, or market opportunity, when the real breakthrough might be much simpler: identifying the business-building activities that match who we are, then doing them consistently enough to create momentum. So how do we stop chasing income and start creating the habits, systems, and consistency that lead to it? In this episode, I'm joined by Dan Rochon, real estate coach, author of Teach to Sell, and creator of the No Broke Months framework. Together, we talk about what it really takes to build predictable income in real estate, how to choose the right lead generation strategy for your personality and business, and why consistency is still one of the most underrated advantages an agent can have. Things You'll Learn In This Episode   Consistency is boring before it becomes profitable The activities that create the most income are often the least exciting ones. So how do we train ourselves to keep doing the work when the work stops feeling new? Your superpower should shape your lead generation Not every agent needs to cold call, host open houses, run ads, or build a YouTube channel. How do we identify the business-building activities that actually match who we are? Prospecting, marketing, and networking all cost something Some strategies cost time. Others cost money. Some cost both. How do we decide which lead generation path makes the most sense for the season of business we're in? AI won't replace the agent who knows how to lead Consumers may have more tools, more data, and more ways to avoid us, but they still want trusted human guidance. How do we position ourselves as the expert they choose when technology gives them endless options?   About the Guest Dan Rochon is a keynote speaker, human behavior expert, real estate broker, podcast host, and author of Teach to Sell, who helps sales professionals make better decisions, build trust, and create consistent income without pressure-based selling. With more than 20 years of experience in real estate, Dan is an active Associate Broker serving Virginia and Maryland, where he guides clients through high-stakes decisions every day. His work has given him a front-row seat to the way fear, urgency, and uncertainty shape human behavior when the stakes are high. Dan is also a former Operating Principal of a Keller Williams brokerage and host of the No Broke Months podcast. His book, Teach to Sell, published by Post Hill Press and distributed by Simon & Schuster, is written for salespeople who hate selling and anyone who wants a better way to influence through clarity, trust, and consistency. To get the book, visit https://www.teachtosellbook.com/ or your bookstore of choice.   About Your Host Marki Lemons Ryhal is a ​​Licensed Managing Broker, REALTOR®, and avid volunteer.  She is a dynamic keynote speaker and workshop facilitator, both on-site and virtual; she's the go-to expert for artificial Intelligence, entrepreneurship, and social media in real estate. Marki Lemons Ryhal is dedicated to all things real estate, and with 25+ years of marketing experience, Marki has taught over 250,000 REALTORS® how to earn up to a 2682% return on their marketing dollars. Marki's expertise has been featured in Forbes, the Washington Post, Homes.com, and REALTOR® Magazine.   Subscribe, Rate & Review Check out this episode on our website, Apple Podcasts, or Spotify, and don't forget to leave a review if you like what you heard. Your review feeds the algorithm, so our show reaches more people. Thank you!     

Join hosts J.D. Barker, Christine Daigle, Jena Brown, and Kevin Tumlinson as they discuss the week's entertainment news, including stories about Simon & Schuster, Elias Thorne, and why publishing more content is making your SEO worse. Then, stick around for a chat with Sarah Vaughan! Sarah Vaughan is the Sunday Times and international bestselling author of Anatomy of a Scandal, Little Disasters and Reputation, plus two earlier novels. Translated into 26 languages, Anatomy of a Scandal became a worldwide number one Netflix limited series, watched for 200 million hours in its first month alone, and starring Sienna Miller, Michelle Dockery and Rupert Friend. Little Disasters dropped on Paramount Plus in May 2025, and stars Diane Kruger, Jo Joyner and a “powerhouse cast” including JJ Feild, Shelley Conn, Emily Taaffe and Stephen Campbell Moore. Reputation has been optioned by Made Up Stories and 3dot productions, the team behind Anatomy of a Scandal. Before writing fiction, Sarah spent 15 years as a journalist, including 11 at the Guardian as a political correspondent and news reporter: great preparation for thrillers exploring power, privilege and misogyny, and incorporating police investigations and criminal trials. Brought up in Devon, she lives near Cambridge, England with her family and dog. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

June 23, 2026 ~ Bridge Michigan's Jordyn Hermani and Simon Schuster join Kevin to discuss what voters are saying about affordability and the economy. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

"Close Relationships With Strangers," released by large imprint Simon & Schuster, is set in — and connects — both Las Vegas and Los Angeles.

Generative AI has been creating race-based content, and the results are...uncomfortable.Brittany's been getting served a lot of AI generated videos of older Asian men, who seem to be feng shui experts of some kind, espousing the benefits of having a “lazy wife” in your household. But it doesn't stop there. Today's guest, Bridget Todd, host of There Are No Girls on the Internet and author of the audiobook, Love at First Prompt: AI and the Future of Intimacy, has been ringing the alarm about AI generated videos featuring Black women. Some are AI slop, while others perpetuate harmful stereotypes about Black women -- and there's a market for it.Bridget joins the show to get into how generative AI has skewed perceptions around race, gender, and privilege online.Bridget's first audiobook, Love at First Prompt: AI and the Future of Intimacy, is available for pre-order now from LoveAtFirstPrompt.AI and comes out July 14th from Simon & Schuster. Support Public Media. Join NPR Plus.Follow Brittany on Instagram: @bmluseFor handpicked podcast recommendations every week, subscribe to NPR's Pod Club newsletter at npr.org/podclub. See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

What if one of the most powerful medicines for longevity, resilience, happiness, cognitive health, and disease prevention wasn't found in a supplement, a prescription, or a cutting-edge biohack—but in the people around you? In this powerful solo episode, Darin Olien dives into one of the most overlooked health crises of our time: loneliness. Drawing from the landmark 85-year Harvard Adult Development Study, the U.S. Surgeon General's loneliness epidemic report, Blue Zones research, neuroscience, and evolutionary biology, Darin reveals why meaningful human connection may be one of the strongest predictors of health and longevity ever discovered. From oxytocin, cortisol, inflammation, vagal tone, and nervous system regulation to suburban design, social media, and the collapse of community structures, Darin exposes the hidden biological costs of isolation—and offers a practical roadmap for rebuilding the human connections we were biologically designed to need.     What You'll Learn The stunning findings from Harvard's 85-year Adult Development Study Why relationships outperform wealth, genetics, diet, and exercise as predictors of well-being How loneliness increases the risk of premature death, dementia, heart disease, and stroke Why social isolation creates measurable biological stress responses The role of oxytocin in lowering inflammation and regulating stress How human connection affects the autonomic nervous system Why Blue Zone communities consistently prioritize social connection The biological difference between digital interaction and real human presence How modern architecture and technology contribute to loneliness Why community is a biological necessity—not a luxury Practical ways to rebuild meaningful relationships today How connection may be one of the most powerful health interventions available   Chapters 00:00:00 – Welcome to SuperLife 00:00:33 – Sponsor: Bite Toothpaste and reducing plastic waste 00:02:49 – The most powerful health study ever conducted 00:03:01 – Harvard follows 724 people for 85 years 00:03:40 – The surprising predictor of a long, healthy life 00:04:00 – Why relationships beat wealth, genetics, diet, and exercise 00:04:42 – The Surgeon General's loneliness epidemic warning 00:05:19 – Introducing the medicine you're not taking 00:05:53 – The health benefits of genuine community 00:06:21 – The fatal convenience of modern life 00:06:47 – Replacing human connection with digital connection 00:07:12 – Why modern convenience may be creating isolation 00:07:23 – Social isolation and premature mortality 00:08:02 – Loneliness and the equivalent of smoking 15 cigarettes a day 00:08:43 – Increased risks of heart disease, stroke, and dementia 00:09:10 – Why loneliness is a biological threat 00:09:52 – The science behind social isolation 00:10:11 – Sponsor: Manna Vitality 00:12:06 – Humans as the most socially dependent species 00:12:53 – Why connection regulates the nervous system 00:13:29 – The autonomic nervous system and social safety 00:13:56 – The brain's constant question: Am I safe? 00:14:03 – The biology of belonging 00:14:24 – The ventral vagal state explained 00:14:55 – Why connection creates measurable physiological changes 00:15:03 – What happens when isolation becomes chronic 00:15:52 – Oxytocin: far more than the "love hormone" 00:16:20 – Eye contact, touch, meals, and human bonding 00:16:42 – How oxytocin lowers stress and inflammation 00:17:04 – Why no supplement can replace connection 00:17:17 – The pharmacology of authentic human moments 00:18:06 – Free medicine hidden in plain sight 00:18:39 – Dan Buettner and the Blue Zones 00:19:29 – What the world's longest-lived populations have in common 00:19:36 – Okinawa's lifelong friendship circles 00:20:08 – Sardinia's active elders and social roles 00:20:40 – Greece's culture of connection and communal meals 00:21:03 – Why longevity wasn't hacked—it was lived 00:21:38 – Social connection as the foundation of daily life 00:22:01 – The shocking decline in face-to-face interaction 00:22:21 – Young people losing 70% of in-person social time 00:22:58 – How community was systematically dismantled 00:23:00 – Robert Putnam's Bowling Alone 00:23:49 – Doing life together versus doing life alone 00:24:05 – How suburban design creates isolation 00:24:49 – The built environment shapes human behavior 00:24:55 – Social media and the promise of connection 00:25:20 – Why digital connection fails biologically 00:25:33 – Social comparison, anxiety, and nervous system stress 00:25:49 – More connected online, more isolated in reality 00:26:03 – A call to action: treating relationships like health practices 00:27:00 – Practical ways to rebuild community 00:28:00 – Prioritizing people over convenience 00:29:00 – Deep conversations, presence, and intentional connection 00:30:00 – Reclaiming community in modern life 00:31:00 – Final thoughts on connection, belonging, and health 00:31:53 – Closing remarks and outro     Thank You to Our Sponsors Bite Toothpaste: Go to trybite.com/DARIN20 or use code DARIN20 for 20% off your first order Manna Vitality: Go to mannavitality.com/ and use code DARIN12 for 12% off your order.     Join the SuperLife Patreon: This is where Darin now shares the deeper work: - weekly voice notes - ingredient trackers - wellness challenges - extended conversations - community accountability - sovereignty practices Join now for only $7.49/month at https://patreon.com/darinolien     Find More from Darin Olien: Website: darinolien.com Instagram: @darinolien Book: Fatal Conveniences Platform & Products: superlife.com New Show: Roadmap to Happiness     Key Takeaway "The longest-running study in human history reached a conclusion that should fundamentally change how we think about health: the quality of our relationships predicts our happiness, resilience, and longevity more than almost anything else. Human connection isn't a luxury, a personality trait, or a nice bonus when life slows down. It is biology. It is medicine. And in a world increasingly designed for isolation, rebuilding community may be one of the most important health decisions we ever make."     Bibliography/Sources: Primary Research — Loneliness, Social Isolation & Health Associated Press. (2023, May 2). Surgeon general: Loneliness poses health risks as deadly as smoking. PBS NewsHour. https://www.pbs.org/newshour/health/surgeon-general-loneliness-poses-health-risks-as-deadly-as-smoking Cacioppo, J. T., & Hawkley, L. C. (2009). Perceived social isolation and cognition. Trends in Cognitive Sciences, 13(10), 447–454. https://doi.org/10.1016/j.tics.2009.06.005 Holt-Lunstad, J., Smith, T. B., & Layton, J. B. (2010). Social relationships and mortality risk: A meta-analytic review. PLoS Medicine, 7(7), e1000316. https://doi.org/10.1371/journal.pmed.1000316 Office of the Surgeon General. (2023). Our epidemic of loneliness and isolation: The U.S. Surgeon General's advisory on the healing effects of social connection and community. U.S. Department of Health and Human Services. https://www.hhs.gov/sites/default/files/surgeon-general-social-connection-advisory.pdf Waldinger, R. J., & Schulz, M. S. (2010). What's love got to do with it? Social functioning, perceived health, and daily happiness in married octogenarians. Psychology and Aging, 25(2), 422–431. https://doi.org/10.1037/a0019087 Neuroscience — Oxytocin, Polyvagal Theory & Community Biology Carter, C. S. (1998). Neuroendocrine perspectives on social attachment and love. Psychoneuroendocrinology, 23(8), 779–818. https://doi.org/10.1016/S0306-4530(98)00055-9 Eisenberger, N. I., & Lieberman, M. D. (2004). Why rejection hurts: A common neural alarm system for physical and social pain. Trends in Cognitive Sciences, 8(7), 294–300. https://doi.org/10.1016/j.tics.2004.05.010 Heinrichs, M., Baumgartner, T., Kirschbaum, C., & Ehlert, U. (2003). Social support and oxytocin interact to suppress cortisol and subjective responses to psychosocial stress. Biological Psychiatry, 54(12), 1389–1398. https://doi.org/10.1016/S0006-3223(03)00465-7 Porges, S. W. (2011). The polyvagal theory: Neurophysiological foundations of emotions, attachment, communication, and self-regulation. W. W. Norton & Company. https://wwnorton.com/books/9780393707007 Blue Zones Research Buettner, D., & Skemp, S. (2016). Blue Zones: Lessons from the world's longest lived. American Journal of Lifestyle Medicine, 10(5), 318–321. https://doi.org/10.1177/1559827616637066 Kreouzi, M., Theodorakis, N., & Constantinou, C. (2022). Lessons learned from Blue Zones, lifestyle medicine pillars and beyond. American Journal of Lifestyle Medicine. https://doi.org/10.1177/15598276221118494 Suzuki, M., Willcox, B. J., & Willcox, D. C. (2001). Implications from and for food cultures for cardiovascular disease: Longevity. Asia Pacific Journal of Clinical Nutrition, 10(2), 165–171. https://doi.org/10.1111/j.1440-6047.2001.00219.x The power of environment: A comprehensive review of the exposome's role in healthy aging. (2025). PubMed Central (PMC11858149). https://pmc.ncbi.nlm.nih.gov/articles/PMC11858149/ Social Capital & Community Decline Oldenburg, R. (1999). The great good place: Cafés, coffee shops, bookstores, bars, hair salons, and other hangouts at the heart of a community. Marlowe & Company. https://books.google.com/books?id=cK80BwAAQBAJ Putnam, R. D. (2000). Bowling alone: The collapse and revival of American community. Simon & Schuster. https://www.simonandschuster.com/books/Bowling-Alone/Robert-D-Putnam/9780743203043 Sbarra, D. A., Briskin, J. L., & Slatcher, R. B. (2019). Smartphones and close relationships: The case for an evolutionary mismatch. Perspectives on Psychological Science, 14(4), 596–618. https://doi.org/10.1177/1745691619826535 Twenge, J. M., Joiner, T. E., Rogers, M. L., & Martin, G. J. (2018). Increases in depressive symptoms, suicide-related outcomes, and suicide rates among U.S. adolescents after 2010 and links to increased new media screen time. Journal of Adolescent Health, 62(1), 78–85. https://doi.org/10.1016/j.jadohealth.2017.06.014 U.S. Bureau of Labor Statistics. (2020). American time use survey. U.S. Department of Labor. https://www.bls.gov/tus/ Pennebaker & Authentic Disclosure Brown, B. (2012). Daring greatly: How the courage to be vulnerable transforms the way we live, love, parent, and lead. Gotham Books. https://brenebrown.com/book/daring-greatly/ Pennebaker, J. W. (1997). Writing about emotional experiences as a therapeutic process. Psychological Science, 8(3), 162–166. https://doi.org/10.1111/j.1467-9280.1997.tb00403.x

On the nuances of grief and loss, personal rituals, and our willingness to be transformed.  0:00 — Introduction and Guest Introduction 3:04 — Marissa's Personal Story and Grief Journey 7:38 — Building a Grief Plan 13:24 — Understanding Trauma and Its Impact 17:27 — Boundaries and Self-Care 22:52 — The Role of Prayer and Rituals 28:22 — Memorializing Losses and Rituals 32:18 — Connecting with Nature and Finding Support 37:46 — Conclusion and Final Thoughts Merissa Nathan Gerson is the author of Forget Prayers, Bring Cake: A Single Woman's Guide to Grieving, and her writing appears in Modern Love for the New York Times, The Atlantic, Playboy, Tablet, CNN.com and beyond. Merissa trained in Shambhala Shamatha meditation, graduated with an MFA in Writing and Poetics from Naropa University, is a certified Sivananda yoga teacher, and holds an MA in Jewish Studies with a focus on inherited trauma as well as sex and gender from the Graduate Theological Union in Berkeley, California. She was the Inherited Trauma consultant to Amazon's Transparent and is the daughter and granddaughter of war refugees. She is currently training to be a rabbi. Forget Prayers, Bring Cake: A Single Woman's Guide to Grieving came out in 2021 from Mandala Press for Simon & Schuster. This book is a companion for these times. As McArthur Genius Kiese Laymon describes: "Merissa Gerson has created a neon treatise on the art and necessity of grieving."

Sarah Damoff joins Book Gang to discuss The Burning Side, a powerful family saga of marriage, memory, and the secrets that bind generations. This week's Book Gang conversation welcomes back acclaimed author Sarah Damoff, whose new novel, The Burning Side, delivers a gripping book club premise: a multigenerational family forced to rebuild after tragedy, now under one roof. Opening with a house fire, readers witness the unraveling of the tangled lives of April and Leo, who must seek shelter with April's parents—only to discover old wounds and new truths simmering beneath the surface of Deb and Billy's life as they navigate carrying a heavy secret of their own. Damoff draws on her experience as a social worker to craft heart-wrenching, compassionate scenes of family struggle, childhood trauma, and the hard choices that shape marriage and parenthood. In this inviting and deeply immersive conversation, we discuss:

What if loneliness isn't just an emotion… but one of the most dangerous biological threats to your health? In this deeply personal and scientifically explosive solo episode, Darin opens up about something he recently realized in his own life: despite being surrounded by people, he was lonely. But what began as an emotional realization quickly became a deep dive into some of the most shocking research he's ever uncovered, showing that chronic loneliness may increase the risk of heart disease, dementia, cancer, autoimmune dysfunction, accelerated aging, and early death. From inflammatory gene expression and cortisol dysregulation to oxytocin, vulnerability, and the collapse of real human connection in the digital age, this episode reveals why loneliness may be the most overlooked "fatal convenience" of modern life, and how vulnerability may be the medicine. What You'll Learn Why loneliness is a biological crisis, not just an emotional feeling The shocking link between loneliness and heart disease, dementia, and early death Why the quality of your relationships is the #1 predictor of long-term health How loneliness activates inflammatory genes inside your body The role of cortisol, sleep disruption, and chronic stress in social isolation Why social media and "surface-level connection" are replacing real intimacy The connection between loneliness and Alzheimer's disease How oxytocin and genuine connection reduce inflammation Why vulnerability is the gateway to meaningful relationships Practical ways to create deeper connection starting today Chapters 00:00:33 – Sponsor: the truth about the exploding NAD supplement market 00:01:04 – Why supplement verification and transparency matter 00:02:17 – Opening: Darin admits something deeply personal 00:02:30 – "I realized recently… I'm lonely" 00:02:37 – The difference between being surrounded by people vs being truly known 00:03:06 – Loneliness as a biological experience, not just an emotional one 00:03:27 – The hidden risks: heart disease, dementia, cancer, early death 00:03:45 – Why this is not fringe science 00:04:13 – The most important predictor of long-term health 00:04:34 – Why relationship QUALITY matters more than quantity 00:05:06 – The global loneliness epidemic 00:05:11 – U.S. Surgeon General advisory on loneliness 00:05:39 – Loneliness declared a public health crisis 00:06:02 – 50% of Americans report measurable loneliness 00:06:22 – "A generational collapse of connection" 00:06:30 – 29% of adults have no close friends 00:06:40 – Face-to-face interactions dramatically declining 00:07:01 – The UK, Japan, and Australia loneliness crisis initiatives 00:07:32 – The paradox: hyperconnected but deeply isolated 00:08:04 – Loneliness as a biological alarm signal 00:08:31 – What loneliness actually looks like in modern life 00:08:42 – The lonely CEO, the unseen mother, the isolated social media addict 00:09:31 – "Perceived social isolation" and why the brain can't tell the difference 00:10:21 – Meta-analysis of 3.4 million people 00:10:55 – Loneliness vs obesity and smoking risk comparisons 00:11:18 – The biology of loneliness begins 00:11:50 – NF-kB: inflammatory gene activation explained 00:12:33 – How loneliness changes gene expression 00:13:02 – Chronic inflammation and disease pathways 00:13:21 – Cortisol, sleep disruption, and immune dysfunction 00:14:00 – How loneliness affects brain repair and amyloid plaque clearing 00:14:21 – Sponsor: Fatty15 and cellular health 00:18:02 – The Alzheimer's and dementia connection 00:18:25 – Loneliness as a major modifiable dementia risk factor 00:18:57 – Cortisol, neuroinflammation, and brain degeneration 00:19:16 – The hippocampus physically shrinking in lonely people 00:19:27 – Social media as a "fatal convenience" 00:19:57 – The oxytocin economy: connection as medicine 00:20:15 – Oxytocin as one of the body's strongest anti-inflammatory molecules 00:20:30 – HeartMath research: emotional synchronization between people 00:20:48 – "You regulate each other's biology" 00:21:07 – The real barrier: vulnerability 00:21:32 – Darin's recent experiences with radical vulnerability 00:21:54 – Conversations with family, ex-partners, and loved ones 00:22:35 – Brené Brown's research on connection and worthiness 00:23:14 – The "depth audit" exercise 00:23:42 – Reaching out, expressing appreciation, and owning your emotions 00:24:01 – Sacred hours: spending time without phones 00:24:13 – Questions that create real intimacy 00:24:30 – Darin's emotional conversation with his brother 00:25:03 – Protecting yourself from social media disconnection 00:25:20 – Becoming a source of joy and connection in everyday life 00:25:25 – Darin reflects on seven years of subtle loneliness 00:25:48 – The shift from surface conversations to meaningful connection 00:26:01 – "If you want love, give love" 00:26:19 – Final message: generate the connection you want to receive 00:26:22 – Closing thoughts and outro Thank You to Our Sponsors Truniagen: Go to www.truniagen.com and use code DARIN20 at checkout for 20% off Fatty15: Get an additional 15% off their 90-day subscription Starter Kit by going to fatty15.com/DARIN and using code DARIN at checkout. Join the SuperLife Community Get Darin's deeper wellness breakdowns — beyond social media restrictions: Weekly voice notes Ingredient deep dives Wellness challenges Energy + consciousness tools Community accountability Extended episodes Join for $7.49/month → https://patreon.com/darinolien Connect with Darin Olien: Website: darinolien.com Instagram: @darinolien Book: Fatal Conveniences Platform & Products: superlife.com New Show: Roadmap to Happiness Key Takeaway "Loneliness isn't weakness. It isn't failure. It's a biological signal telling you that something essential is missing. And in a world addicted to surface-level connection, the real medicine may simply be this: vulnerability, presence, eye contact, honesty, and the courage to let yourself truly be seen." Bibliography/Sources The Loneliness Epidemic & Public Health Data Bureau of Labor Statistics. (2023). American time use survey. U.S. Department of Labor. https://www.bls.gov/tus/ Cigna. (2023). Cigna U.S. loneliness index. Evernorth Health Services. https://newsroom.cigna.com/loneliness-epidemic-continues-to-rise-cigna-study Murthy, V. H. (2023). Our epidemic of loneliness and isolation: The U.S. Surgeon General's advisory on the healing effects of social connection and community. U.S. Department of Health and Human Services. https://www.hhs.gov/sites/default/files/surgeon-general-social-connection-advisory.pdf Survey Center on American Life. (2021). The state of American friendship: Change, challenges, and loss. American Enterprise Institute. https://www.americansurveycenter.org/research/the-state-of-american-friendship-change-challenges-and-loss/ Mortality & Systemic Health Risk Cohen, S., Doyle, W. J., Skoner, D. P., Rabin, B. S., & Gwaltney, J. M. (1997). Social ties and susceptibility to the common cold. JAMA, 277(24), 1940–1944. https://pubmed.ncbi.nlm.nih.gov/9200634/ Hawkley, L. C., & Cacioppo, J. T. (2010). Loneliness matters: A theoretical and empirical review of consequences and mechanisms. Annals of Behavioral Medicine, 40(2), 218–227. https://pubmed.ncbi.nlm.nih.gov/20396846/ Holt-Lunstad, J., Smith, T. B., Baker, M., Harris, T., & Stephenson, D. (2015). Loneliness and social isolation as risk factors for mortality: A meta-analytic review. Perspectives on Psychological Science, 10(2), 227–237. https://doi.org/10.1177/1745691614568352 Valtorta, N. K., Kanaan, M., Gilbody, S., Ronzi, S., & Hanratty, B. (2016). Loneliness and social isolation as risk factors for coronary heart disease and stroke. Heart, 102(13), 1009–1016. https://heart.bmj.com/content/102/13/1009 Genetics, Inflammation & The Immune System Cole, S. W. (2013). Social regulation of human gene expression: Mechanisms and implications for public health. American Journal of Public Health, 103(S1), S84–S92. https://pmc.ncbi.nlm.nih.gov/articles/PMC3786756/ Cole, S. W., Hawkley, L. C., Arevalo, J. M. G., Sung, C. Y., Rose, R. M., & Cacioppo, J. T. (2007). Social regulation of gene expression in human leukocytes. Genome Biology, 8(9), Article R189. https://pmc.ncbi.nlm.nih.gov/articles/PMC2375027/ Sleep & Cognitive Decline Cacioppo, J. T., Hawkley, L. C., Berntson, G. G., Ernst, J. M., Gibbs, A. C., Stickgold, R., & Hobson, J. A. (2002). Do lonely days invade the nights? Potential social modulation of sleep efficiency. Psychological Science, 13(4), 384–387. https://pubmed.ncbi.nlm.nih.gov/12137144/ Holwerda, T. J., Deeg, D. J. H., Beekman, A. T. F., et al. (2014). Feelings of loneliness, but not social isolation, predict dementia onset. Journal of Neurology, Neurosurgery & Psychiatry, 85(2), 135–142. https://jnnp.bmj.com/content/85/2/135 Oxytocin & The Biology of Connection Szeto, A., Sun-Suslow, N., Mendez, A. J., Hernandez, R. I., Wagner, K. V., & McCabe, P. M. (2017). Regulation of the macrophage oxytocin receptor in response to inflammation. American Journal of Physiology—Endocrinology and Metabolism, 312(2), E183–E189. https://journals.physiology.org/doi/full/10.1152/ajpendo.00424.2016 Uvnas-Moberg, K. (2003). The oxytocin factor: Tapping the hormone of calm, love, and healing. Da Capo Press. https://books.google.com/books?id=b-aKjQoB_nQC Psychology, Vulnerability & Relationship Science Aron, A., Melinat, E., Aron, E. N., Vallone, R. D., & Bator, R. J. (1997). The experimental generation of interpersonal closeness. Personality and Social Psychology Bulletin, 23(4), 363–377. https://doi.org/10.1177/0146167297234003 Brown, B. (2010). The gifts of imperfection: Let go of who you think you're supposed to be and embrace who you are. Hazelden Publishing. https://brenebrown.com/book/the-gifts-of-imperfection/ Cacioppo, J. T., & Patrick, W. (2008). Loneliness: Human nature and the need for social connection. W. W. Norton & Company. https://wwnorton.com/books/9780393335286 Dunbar, R. I. M. (2012). Bridging evolutionary approaches to the social brain and social bonding. In F. B. M. de Waal & P. F. Ferrari (Eds.), The primate mind. Harvard University Press. https://www.hup.harvard.edu/books/9780674063104 Dunbar, R. I. M. (2021). Friends: Understanding the power of our most important relationships. Little, Brown and Company. https://www.hachettebookgroup.com/titles/robin-dunbar/friends/9781408711736/ Waldinger, R., & Schulz, M. (2023). The good life: Lessons from the world's longest scientific study on happiness. Simon & Schuster. https://www.simonandschuster.com/books/The-Good-Life/Robert-Waldinger/9781982166694

2026-05-07 | UPDATES #196 | The fall of an empire – the humbling of the Russian bear and elimination of its vast stock of Soviet weapons, and Soviet-minded population of Putin's Russian Federation. A victory made by housewives: how a German CEO insulted the drone revolution he cannot compete with. Today's episode is a breakdown of why Ukraine's mil-tech threatens every defence prime in NATO and the U.S. with a new paradigm of how to fight wars, and how to supply them. Last Friday, the Atlantic magazine published an interview with one of Europe's most powerful defence executives. The man is Armin Papperger, Chief Executive Officer of Rheinmetall AG — Germany's largest arms manufacturer, market capitalisation north of fifty billion euros, supplier of tanks, 155mm artillery shells, and air defence systems to NATO and to Ukraine itself. The Atlantic's journalist Simon Schuster asked Papperger about Ukraine's domestically-produced drones — the cheap, mass-manufactured, daily-iterated weapons that have, by independent count, destroyed roughly two-thirds of Russia's tank fleet and account for 80 percent of all combat casualties on both sides of this war.----------SUPPORT THE CHANNEL:https://www.buymeacoffee.com/siliconcurtainhttps://www.patreon.com/siliconcurtainhttps://www.gofundme.com/f/scaling-up-campaign-to-fight-authoritarian-disinformation----------ACTIVE CAMPAIGN:We are raising funds for 5 of 15 Vampire DronesSilicon Curtain for Kupiansk Vampires. Dzyga's Paw, together with Jonathan Fink, is joining forces to raise $40,000 to provide the Khartiia Brigade with Vampire Drones.https://dzygaspaw.com/silicon-curtain-for-kupiansk-vampiresThese heavy bombers are designed to destroy manpower and equipment, as well as for remote mining. The Vampire UAV, manufactured by Skyfall, has proven itself to be one of the most effective weapons in the Kupiansk direction. Skyfall is one of Ukraine's largest defense tech companies, producing Vampire bomber drones, various modifications of Shrike FPV drones, P1-SUN, Shahed drone interceptors, communication systems, and components.----------PLEASE HELP ME ME TO GROW SILICON CURTAINWe are planning our events for 2026, and to do more and have a greater impact. After achieving more than 12 events in 2025, we will aim to double that! 24 events and interviews on the ground in Ukraine, to push back against weaponized information, toxic propaganda and corrosive disinformation. Please help us make it happen!----------SOURCES: 1. The Atlantic — Simon Schuster interview with Armin Papperger (published Friday, late March 2026)France24 / AFP — "Rheinmetall addresses row over CEO's Ukraine 'housewives' comment" (29 March 2026) Euronews — "'Every housewife could be CEO of Rheinmetall': Zelenskyy hits back at German weapons boss" (30 March 2026)Ukrainska Pravda — "'Housewives' and 'Lego': Rheinmetall says it respects Ukraine after CEO's controversial remarks" (29 March 2026)Militarnyi — "Rheinmetall Apologizes for CEO's Comments About 'Ukrainian Housewives With 3D Printers'" (late March 2026) The Print — "More 'hits' than Rheinmetall ever — Ukraine drone manufacturer claps back at CEO's 'housewives' remark" (1 April 2026) Bull Source — "Social media backlash as Rheinmetall's Armin Papperger says Ukraine's drones are made by housewives" (April 2026) United24 Media — "Ukraine's New Point-Based Rewards System for Drone Operators Is Rewriting War Management from the Ground Up" (May 2025) United24 Media — "Ukraine Launches Combat E-Points System: Troops Can Now Redeem Kills for Drones and EW Kits" (10 July 2025) SOFREP — "Ukraine Launches Combat-Based Reward System to Equip Troops With Cutting-Edge Tech" (8 May 2025)----------

    Simon Elegant's City on Fire: A Novel of Hong Kong  John chats with writer and journalist Simon Elegant about his third novel, a crime thriller set during the Hong Kong protests of 2019. City on Fire is published by Pegasus Crime, an imprint of Simon & Schuster. The novel follows Inspector Killian Tong's investigation of a brutal murder against a backdrop of political chaos, police tensions, and also personal conflict – Killian's half-sister is a radical protester. John and Simon also discuss the background to the 2019 protests, including the National Security Law and the earlier 2014 Umbrella Movement. Among the books mentioned were: Manchu (1980) by Robert Elegant (a swashbuckling novel by Simon's father). Gorky Park (1981) by Martin Cruz Smith Among the Braves: Hope, Struggle, and Exile in the Battle for Hong Kong and the Future of Global Democracy (2023) by Shibani Mahtani & Timothy McLaughlin Simon's recommendations The Immobile Empire (French 1989, English 1992) by Alain Peyrefitte. This is on the 1973 Macartney mission to Peking. Apple in China (2025) by Patrick McGee, which explores Apple's deep entanglement with China's manufacturing system. Ginkgo Season (2025) by Naomi Xu Elegant, a coming-of-age novel set in Philadelphia. To learn more about Simon Elegant and his novel, visit the publisher's website at www.pegasusbooks.com  The Books on Asia Podcast is co-produced with Plum Rain Press. Podcast host Amy Chavez is author of The Widow, the Priest, and the Octopus Hunter: Discovering a Lost Way of Life on a Secluded Japanese Island. and Amy's Guide to Best Behavior in Japan.The Books on Asia website posts book reviews, podcast episodes and episode Show Notes. Subscribe to the BOA podcast from your favorite podcast service. Subscribe to the Books on Asia newsletter to receive news of the latest new book releases, reviews and podcast episodes.

April 29, 2026 ~ Eli Newman, health reporter for Bridge Michigan and Simon Schuster, Capitol Reporter for Bridge Michigan joins Kevin to take a look at Michigan's healthcare system and what our gubernatorial candidates are saying about it ahead of the election. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

April 29, 2026 ~ Full Show: Kevin Dietz tackles a wide range of major stories, starting with legal and political fallout tied to an alleged COVID cover‑up with attorney and strategist Roshini Rajkumar. Congressman Tim Walberg recaps King Charles' address to Congress and its diplomatic significance, while Bridge Michigan reporters Eli Newman and Simon Schuster break down key health and policy developments inside Lansing. Former DOT Inspector General Mary Schiavo weighs in on the rise of electric air taxis and whether the technology is truly ready for passengers, attorney Steve Haney analyzes the NBA gambling scandal following its first guilty plea, and DraftKings analyst Julian Edlow breaks down Pistons odds and how betting lines have shifted throughout the series. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

A new book provides both a candid and humorous insights to help bridesmaids set boundaries, manage emotional and financial stress, and support their friends without losing themselves in the process. Ruhama Wolle, author and the style partnerships editor at The Cut, to discusses her book, I Hope You Elope: A Bridesmaid Survival Guide. Cover art courtesy of Simon & Schuster

This week we are digging into our broadcast archives to bring you an encore of an episode that is perfect in this 250th-annivesary year of the start of the American Revolution.Walter's guest is Dr. Woody Holton of the University of South Carolina, and they will be talking about Horton's book, Liberty is Sweet: The Hidden History of the American Revolution. (2021, Simon & Schuster).Liberty is Sweet has been described as a “deeply researched and bracing retelling” of the Revolution, which shows how the Founders were influenced by overlooked Americans—women, Native Americans, African Americans, and religious dissenters.

Scott Scovill shares his journey from a young man sneaking onto a U2 tour to a successful entrepreneur and leader in the entertainment industry. He discusses the importance of tenacity, character, and love in business and life, and offers insights into managing multiple companies, building a strong team, and pursuing dreams with relentless passion. His new book Tenacious: The Art of Relentlessly Pursuing Your Wildest Dreams, published by Simon & Schuster, is now available. Sound Bites: "I dropped everything to sneak onto the U2 tour" "The power in my life is tenacity"

In this episode of Capital for Good, we speak with John Fabian Witt, the Allen H. Duffy Class of 1960 Professor of Law at Yale Law School, a professor of history at Yale, and one of the country's most distinguished legal historians. The author of numerous award-winning books, including American Contagions: Epidemics and the Law from Smallpox to COVID-19 and Lincoln's Code: The Laws of War in American History, Witt joins us to discuss his latest, The Radical Fund: How a Band of Visionaries and a Million Dollars Upended America (Simon & Schuster, 2025). We begin with the genesis — of the Garland Fund and Witt's interest in writing about it. He explains that most histories of the Brown v. Board of Education Supreme Court case include mention of a "funny little foundation" that gave early support to the NAACP, launching the legal campaign that would culminate in the desegregation landmark. Witt discovered, however, that Brown was "just the tip of the iceberg." The Garland Fund — named for the young idealist Charles Garland, who at twenty-one refused a million-dollar inheritance — in fact had its fingerprints on a sweeping range of progressive movements in the United States that would shape American democracy. And Witt notes, the conditions of 1920s America that shaped the fund's creation — deep economic inequality, declining labor unions, surging ethno-nationalism, immigration backlash, threats to free speech — look "astonishingly like 2020s America." The fund would come to be known officially as the American Fund for Public Service.  We discuss the fund's three principal focus areas — labor, civil liberties, and civil rights — and the extraordinary cast assembled by inaugural director Roger Baldwin, founder of the ACLU, to govern it, including labor leader (and New Deal "industrial democracy" architect) Sidney Hillman; James Weldon Johnson of the NAACP; and editors from The Nation and The New Republic. We explore some of the initial tensions between the fund's labor and racial justice priorities, and the eventual fusion of the two via efforts like A. Philip Randolph's creation of the Brotherhood of Sleeping Car Porters, the all-Black union within the Pullman Car Company. Witt suggests that this marriage of civil rights and labor organizing — "working class solidarity across racial lines" — was a central contribution of the fund and its grantees. We also touch on the fund's intentionally unconventional approach to philanthropy. Conceived as a kind of "anti-Rockefeller Foundation," the Garland Fund had virtually no staff and was deeply conscious of the "paradox" of "using a Wall Street fortune to attack capitalism and inequality." Many of the fund's progressive investments failed, and others would take years to come to fruition, paying dividends in the newly "plastic" political landscape of the Great Depression.  We conclude with lessons for today from the Garland Fund's experience. Witt asks, if the industrial union was the unit "well suited to manage mass production capitalism" and therefore "responsible for a good deal of equalization of the American economy" for much of the 20th century — what is the 21st century equivalent. "What's going to connect people together and to their economic futures such that some kind of decent political coalition of people who feel the security sufficient to be good citizens can come out of it?" This episode of Capital for Good was recorded at a book talk hosted by the Open Society Foundations in New York. Mentioned in this Episode:  The Radical Fund: How a Band of Visionaries and a Million Dollars Upended America, (Simon & Schuster, 2025) Lincoln's Code: The Laws of War in American History, (Simon & Schuster, 2012) How to Save the American Experiment, (New York Times, 2025) NAACP CIO ACLU

Can Ketamine Help Benzodiazepine Withdrawal? - Melissa Bond & Dr. Amy de la Garza In this episode of The Psychedelic Podcast, Paul F. Austin speaks with Melissa Bond and Dr. Amy de la Garza about the hidden risks of benzodiazepines, the reality of dependency, and what recovery can require. Find full show notes and links here: https://thethirdwave.co/podcast/episode-350/?ref=278  Melissa shares her experience of becoming dependent on prescribed medication, and the physical and emotional challenges of withdrawal. Dr. de la Garza brings a clinical perspective, explaining how benzodiazepines affect the nervous system and why withdrawal can be prolonged and destabilizing. The conversation also looks at where conventional care often falls short, and how more integrative approaches are beginning to emerge. This includes the use of low-dose ketamine as a potential tool to support the nervous system during withdrawal, particularly in more complex or prolonged cases. Melissa Bond is a narrative journalist and poet. Her memoir Blood Orange Night, which chronicles her experience with benzodiazepine dependency, was published by Simon & Schuster and recognized by The New York Times as one of the best audiobooks of 2022. Her work has appeared on PBS, The New York Times Podcast, RadioWest, and TEDx. Dr. Amy de la Garza is a board-certified physician in Family and Addiction Medicine, a certified Functional Medicine practitioner, and co-founder of Nosis Health, a virtual outpatient addiction medicine platform. Her work integrates functional, lifestyle, and emerging therapies, including ketamine-assisted treatment, to support recovery. Highlights: Melissa Bond's experience with benzodiazepine dependency and withdrawal How prescribed use can gradually lead to physical dependence Why benzodiazepine withdrawal can be prolonged and destabilizing The neurological effects of benzodiazepines on the nervous system Gaps in conventional approaches to anxiety and addiction treatment The role of functional and lifestyle medicine in recovery How low-dose ketamine is being explored to support withdrawal What a more integrative, whole-person model of care can look like Episode Links: Melissa's memoir, "Blood Orange Night" Dr. Amy de la Garza's Website Nosis.health Episode Sponsors: The Microdosing Practitioner Certification at Psychedelic Coaching Institute. The Practitioner Certification Program by Third Wave's Psychedelic Coaching Institute. Golden Rule - Get a lifetime discount of 10% with code THIRDWAVE at checkout Disclaimer: This content is for educational, informational, and entertainment purposes only. We do not promote or encourage the illegal use of any controlled substances. Nothing said here is medical or legal advice. Always consult a qualified medical or mental health professional before making decisions related to your health. The views expressed herein belong to the speaker alone, and do not reflect the views of any other person, company, or organization. Third Wave occasionally partners with or shares information about other people, companies, and/or providers. While we work hard to only share information about ethical and responsible third parties, we can't and don't control the behavior of, products and services offered by, or the statements made by people, companies, or providers other than Third Wave. Accordingly, we encourage you to research for yourself, and consult a medical, legal, or financial professional before making decisions in those areas. Third Wave isn't responsible for the statements, conduct, services, or products of third parties. If we share a coupon code, we may receive a commission from sales arising from customers who use our coupon code. No one is required to use our coupon codes.

To kick off National Poetry Month, former poet laureate Ada Limón discusses her new book, Against Breaking: On the Power of Poetry, and listeners share what poetry means to them. Cover courtesy of Simon & Schuster

Join hosts J.D. Barker, Christine Daigle, Jena Brown, JP Rindfleisch, and Kevin Tumlinson as they discuss the week's entertainment news, including stories about Amazon categories, Spotify, and Simon & Schuster's new CEO. Then, stick around for a chat with J.R. Thornton! J.R. Thornton is a writer and the author of two novels, Beautiful Country, and Lucien. Born in London, UK, J. R. graduated from Harvard College in 2014, where he studied history, English, and Chinese. An internationally ranked junior tennis player, he later competed for Harvard and on the men's professional circuit. Shortly after graduating from Harvard, J. R. published his first novel, Beautiful Country, loosely inspired by experiences he had living in Beijing as a teenager. The novel became a best-seller in China, and the film rights were subsequently purchased by WME/IMG. J. R. returned to China in 2016 as a member of the inaugural class of Schwarzman Scholars, earning an M.A. from Tsinghua University. He speaks Chinese and Italian, and lives in Milan, where he works for AC Milan. Lucien is his second novel. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Get Dr. Vonda's latest insights on strength, bone health, longevity, and aging with power delivered straight to your inbox. Join her free health & longevity newsletter here: https://www.drvondawright.com/resources/aging-longevity What if the single most powerful window to shape your child's lifelong health isn't in the pediatrician's office, it's in the nine months before they're even born? In this episode, I sit down with Jessie Inchauspé, the French biochemist and NYT bestselling author known worldwide as the Glucose Goddess, to explore her groundbreaking new book Nine Months That Count Forever and why pregnancy nutrition is the most underestimated conversation in medicine today. What we cover: - How four pillars of pregnancy nutrition: choline, protein, omega-3s, and glucose control actively shape your baby's brain and metabolic health. - Why 90% of pregnant mothers lack enough choline, and how this egg yolk nutrient shapes your baby's brain cells and cognitive performance. - How glucose spikes pass to your baby in utero, programming greater vulnerability to obesity and diabetes for life. - Why building muscle before pregnancy protects both mother and baby from excessive blood sugar spikes. - What to do when first-trimester nausea strikes, and why one extra egg yolk a day can still make a difference.   About Jessie Inchauspe: Jessie Inchauspé is a French biochemist, founder, and international bestselling author. She has devoted her career to translating cutting-edge science into easy tips to help people improve their physical and mental health. Through her books Glucose Revolution and The Glucose Goddess Method, which have sold over 3 million copies in 43 languages, she has reshaped the global conversation around blood sugar. Nine Months That Count Forever, her latest, breaks down the complex topic of pregnancy nutrition. Jessie is the founder of the wildly popular social community @GlucoseGoddess, where she reaches over seven million people across platforms. She holds a BSc in mathematics from King's College, London, and an MSc in biochemistry from Georgetown University. Connect with Jessie Inchauspe: Website: https://www.glucosegoddess.com/pages/9-months-that-count-forever Instagram: https://www.instagram.com/glucosegoddess/ ▶️Jessie's new YouTube series on "What I (Glucose Goddess) Eat in a Day: Pregnancy Edition", a preview of what is to come in her new book.

On February 28, 2026, Ali Khamenei was assassinated. He was killed in a joint American and Israeli airstrike, in a bunker so deep the elevator took five minutes to reach it, at a meeting with senior advisers whose location intelligence services had tracked for months. The infrastructure that made this targeted assassination possible—the human networks engaged in the patient penetration of one of the most hostile intelligence environments on earth—had been built over more than two decades. Today, Yonah Jeremy Bob joins Mosaic's editor Jonathan Silver to delve into how the Mossad build that infrastructure. Bob is the senior military and intelligence analyst for the Jerusalem Post and has deep access to the Israeli intelligence community. His book Target Tehran, co-authored with Ilan Evyatar and published by Simon & Schuster in 2023, was named a top book of the year by the Wall Street Journal. When Prime Minister Netanyahu was photographed in his war room during Operation Midnight Hammer in June 2025, a copy of Target Tehran was visible on the table in front of him. Bob also has a forthcoming book with the Wall Street Journal's Elliot Kaufman, titled In the War Room: The Inside Story of Israel's Fight Against Hamas and the Iranian Axis. Before the airstrikes, there was a decades-long effort to recruit agents inside the nuclear program, to infiltrate Iran's supply chains, and to track and, when necessary, to assassinate the Iranian officials and weapons producers who posed the greatest threat to Israel and America. This episode examines three operations in depth—the 2018 theft of Iran's nuclear archive, the assassination of the weapons-program chief Mohsen Fakhrizadeh, and the infiltration of the supply chain for the Natanz nuclear complex—and asks what Israeli human intelligence is contributing to Operations Roaring Lion and Epic Fury. This episode of the Tikvah Podcast is generously sponsored by Dr. Michael Schmerin and Family. If you are interested in sponsoring an episode of the Tikvah Podcast, we invite you to join the Tikvah Ideas Circle. Visit tikvah.org/circle to learn more and join.

This spring, I'm going to try a small experiment: a live studio for writers actively building a novel, where I'll read your opening pages and we'll work on them together, live.____Atelier Skye: The Studio for Serious NovelistsHere's what this will look like:Twelve novelists. Six Saturdays. Live sessions. Direct developmental critique.No recordings. No passive consumption. A working studio.This studio is designed for writers who:* Are actively drafting a novel* Have 8–10 strong opening pages ready* Want developmental-level critique* Care about both craft and industry positioning* Take their work seriouslyThis is not an introductory writing class.It is a professional room.REGISTER here: https://buy.stripe.com/fZu5kCgtd5PY1nV1Fs8EM00Enrollment is first come, first served until the atelier reaches 12 writers.About the Studio Lead:I'm Evelyn Skye, a New York Times bestselling novelist and the author of eleven books, published by major houses including Penguin Random House, Simon & Schuster, HarperCollins, Macmillan, and Disney, and translated into sixteen languages worldwide. I have also written for Netflix in a literary-film collaboration starring Millie Bobby Brown, Angela Bassett, and Robin Wright.My work has been featured in PEOPLE, Newsweek, The Hollywood Reporter, CBS New York, The Morning Blend on NBC, The Mirror, Woman's World Magazine, South China Morning Post, Book Riot, PopSugar, Bustle, Psychology Today, Mochi Magazine, and more.I've been a featured speaker and guest of honor around the world—at the Festival du Livre de Paris, the Danish Fantasy Festival, San Diego Comic Con, Emerald City Comic Con, and more. I have a Bachelor's degree in Russian literature from Stanford University and a J.D. from Harvard Law School.Over the past decade, I've developed a deep understanding of what makes a manuscript not only compelling on the page, but viable in the marketplace.In this studio, I bring that experience directly to your opening pages.More details about the studio at:https://www.creativeinspiredalive.com/p/the-studio-for-serious-novelists-writing-workshop This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.creativeinspiredalive.com/subscribe

How can trauma become a catalyst for creative transformation? What lessons can indie authors learn from the music industry's turbulent journey through technological disruption? With Jack Williamson. In the intro, Why recipes for publishing success don't work and what to do instead [Self-Publishing with ALLi Podcast]; Why your book isn't selling: metadata [Novel Marketing Podcast]; Creating a successful author business [Fantasy Writers Toolshed Podcast]; Bones of the Deep – J.F. Penn. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Jack Williamson is a psychotherapist, coach, and bestselling author who spent nearly two decades as a music industry executive. He's the founder of Music & You, his latest nonfiction book is Maybe You're The Problem, and he also writes romance under A.B. Jackson. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Finding post-traumatic growth and meaning after bereavement, and using tragedy as a catalyst for creative transformation Why your superpower can also be your Achilles heel, and how indie authors can overcome shiny object syndrome Three key lessons from the music industry: embracing change, thinking creatively about marketing, and managing pressure for better creativity The A, B, C technique for PR interviews and why marketing is storytelling through different mediums How to deal with judgment and shame around AI in the author community by understanding where people sit on the opinion-belief-conviction continuum Three AI developments coming from music to publishing: training clauses in contracts, one-click genre adaptation, and licensed AI-generated video adaptations You can find Jack at JackWilliamson.co.uk and his fiction work at ABJackson.com. Transcript of the interview with Jack Williamson Jo: Jack Williamson is a psychotherapist, coach, and bestselling author who spent nearly two decades as a music industry executive. He's the founder of Music & You, his latest nonfiction book is Maybe You're The Problem, and he also writes romance under A.B. Jackson. Welcome to the show. Jack: Thank you so much for having me, Jo. It's a real honour to be on your podcast after listening all of these years. Jo: I'm excited to talk to you. We have a lot to get into, but first up— Tell us a bit more about you and why get into writing books after years of working in music. Jack: I began my career at the turn of the millennium, basically, and I worked for George Michael and Mariah Carey's publicist, which I'm sure you can imagine was quite the introduction to the corporate world. From there I went on to do domestic and international marketing for a load of massive artists at Universal, so the equivalent of the top five publishers in the publishing world that we all work in. Then from there I had a bit of a challenge. In December 2015, I lost my brother, unfortunately to suicide. For any listener or any person that's gone through a traumatic event, it can really make you reassess everything, make you question life, make you question your purpose. When I went through that, I was thinking, well, what do I want to do? What do I want out of life? So I went on this journey for practically the next ten years. I retrained to be a psychotherapist. I created a bucket list—a list of all the things that I thought maybe my brother would've wanted to do but didn't do. One of the things was scatter his ashes at the Seven Wonders of the world. Then one of the items on my bucket list was to write a book. The pandemic hit. It was a challenge for all of us, as you've spoken about so much on this wonderful podcast. I thought, well, why not? Why not write this book that I've wanted to write? I didn't know when I was going to do it because I was always so busy, and then the pandemic happened and so I wrote a book. From there, listening to your wonderful podcast, I've learned so much and been to so many conferences and learned along the way. So now I've written five books and released three. Jo: That's fantastic. I mean, regular listeners to the show know that I talk about death and grief and all of this kind of thing, and it's interesting that you took your brother's ashes to the Seven Wonders of the world. Death can obviously be a very bad, negative thing for those left behind, but it seems like you were able to reframe your brother's experience and turn that into something more positive for your life rather than spiralling into something bad. So if people listening are feeling like something happens, whether it's that or other things— How can we reframe these seemingly life-ending situations in a more positive way? Jack: It is very hard and there's no one way to do it. I think as you always say, I never want to tell people what to do or what to think. I want to show them how to think and how they can approach things differently or from a different perspective. I can only speak from my journey, but we call it in therapeutic language, post-traumatic growth. It is, how do you define it so it doesn't define you? Because often when you have a bereavement of a loved one, a family member, it can be very traumatic, but how can you take meaning and find meaning in it? There's a beautiful book called Man's Search for Meaning, and the name of the author escapes me right now, but he says— Jo: Viktor Frankl. Jack: Yes. Everyone quotes it as one of their favourite books, and one of my favourite lines is, “Man can take everything away from you, apart from the ability to choose one thought over the other.” I think it's so true because we can make that choice to choose what to think. So in those moments when we are feeling bad, when we're feeling down, we want to honour our feelings, but we don't necessarily want to become them. We want to process that, work through, get the support system that we need. But again, try to find meaning, try to find purpose, try to understand what is going on, and then pay it forward. Irrespective of your belief system, we all yearn for purpose. We all yearn for being connected to something bigger than ourselves. If we can find that through bereavement maybe, or through a traumatic incident, then hopefully we can come through the other side and have that post-traumatic growth. Jo: I love that phrase, post-traumatic growth. That's so good. Obviously people think about post-traumatic anything as like PTSD—people immediately think a sort of stress disorder, like it's something that makes things even worse. I like that you reframed it in that way. Obviously I think the other thing is you took specific action. You didn't just think about it. You travelled, you retrained, you wrote books. So I think also it's not just thinking. In fact, thinking about things can sometimes make it worse if you think for too long, whereas taking an action I think can be very strong as well. Jack: Ultimately we are human beings as opposed to human doings, but actually being a human doing from time to time can be really helpful. Actually taking steps forward, doing things differently, using it as a platform to move forward and to do things that maybe you didn't before. When you are confronted with death, it can actually make you question your own mortality and actually question, am I just coasting along? Am I stuck in a rut? Could I be doing something differently? One of the things that bereavement, does is it holds a mirror up to ourselves and it makes us question, well, what do we want from our life? Are we here to procreate? Are we here to make a difference? Some of us can't procreate, or some of us choose not to procreate, but we can all make a difference. And it's, how do we do that? Where do we do that? When do we do that? Jo: That's interesting. I was thinking today about service and gratitude. I'm doing this Master's and I was reading some theology stuff today, and service and gratitude, I think if you are within a religious tradition, are a normal part of that kind of religious life. Whether it's service to God and gratitude to God, or service and gratitude to others. I was thinking that these two things, service and gratitude, can actually really help reframe things as well. Who can we serve? As authors, we're serving our readers and our community. What can we be grateful about? That's often our readers and our community as well. So I don't know, that helped me today—thinking about how we can reframe things, especially in the world we're in now where there's a lot of anger and grief and all kinds of things. Jack: That's what we've got to look at. We are here to serve. Again, that can take different shapes, different forms. Some of us work in the service industry. I provide a service as a psychotherapist, you serve your listeners with knowledge and information that you gather and dispense through the research you do or the guests you have on. We serve readers of the different genres that we write in. It's what ways can we serve, how can we serve? Again, I think we all, if we can and when we can, should pay it forward. Someone said this to me once in the music industry: be careful who you meet on the way up and how you treat them on the way up, because invariably you'll meet them on the way down. So if you can pay forward that kindness, if you can be kind, considerate, and treat people how you want to be treated, that is going to pay dividends in the long run. It may not come off straight away, but invariably it will come back to you in some way, shape, or form in a different way. Jo: I've often talked about social karma and karma in the Hindu sense—the things that you do come back to you in some other form. Possibly in another life, which I don't believe. In terms of, I guess, you didn't know what was going to happen to your brother, and so you make the most of the life that we have at the moment because things change and you just don't know how things are going to change. You talk about this in your book, Maybe You're The Problem, which is quite a confronting title. So just talk about your book, Maybe You're The Problem, and why you wrote that. Put it into context with the author community and why that might be useful. Jack: Thank you for flagging my book. I intentionally crossed out “maybe” on the merchandise I did as well, because in essence, we are our own problem. We can get in the way, and it's what happened to us when we grew up wasn't our fault, but what we do with it is our responsibility. We may have grown up in a certain period or a climate. We didn't necessarily choose to do that, but what we do with that as a result is up to us. So we can stay in our victimhood and we can blame our parents, or we can blame the generation we are in, or we can blame the city, the location—however, that is relinquishing your power. That is staying in a victim mindset rather than a survivor or a thriver mindset. So it's about how can we look at the different areas in our life. Whether that is conflict, whether that is imposter syndrome, whether that is the generation we're born into. We try to understand how that has shaped us and how we may be getting in our own way to stop us from growing, to stop us from expanding, and to see where our blind spots are, our limitations are, and how that may impact us. There's so much going on in the moment in the world, whether that is in the digital realm, whether that is in the geo-climate that we're in at the moment. Again, that's going to bring up a lot for us. How can we find solutions to those problems for us so that we continue to move forward rather than be restricted and hindered by them? Jo: Alright. Well let's get into some more specifics. You have been in the author community now for a while. You go to conferences and you are in the podcast community and all this kind of thing. What specific issues have you seen in the author community? Maybe around some of the things you've mentioned, or other things? How might we be able to deal with those? Jack: With authors, I think it is such a wonderful and unique industry that I have an honour and privilege of being a part of now. One of the main things I've learned is just how creative people are. Coming from a creative industry like the music industry, there is a lot of neurodivergence in the creative industries and in the author community. Whether that is autism, whether that is ADHD—that is a real asset to have as a superpower, but it can be an Achilles heel. So it's understanding—and I know that there is an overexposure of people labelling themselves as ADHD—but on the flip side to that, it's how can we look at what's going on for us? For ADHD, for example, there's a thing called shiny object syndrome. You've talked about this in the past, Joanna, where it's like a new thing comes along, be it TikTok, be it Substack, be it bespoke books, be it Shopify, et cetera. We can rush and quickly be like, “oh, let me do this, let me do that,” before we actually take the time to realise, is this right for me? Does this fit my author business? Does this fit where I'm at in my author journey? I think sometimes as authors, we need to not cave in to that shiny object syndrome and take a step back and think to ourselves, how does this serve me? How does this serve my career? How does this work for me if I'm looking at this as a career? If you're looking at it as a hobby, obviously it's a different lens to look through, but that's something that I would often make sure that we look at. One of the other things that really comes up is that in order for any of us to address our fears and anxieties, we need to make sure that we feel psychologically safe and to put ourselves in spaces and places where we feel seen, heard, and understood, which can help address some of the issues that I've just mentioned. Being in that emotionally regulated state when we are with someone we know and trust—so taking someone to a conference, taking someone to a space or a place where you feel that you can be seen, heard, and understood—can help us and allow us to embrace things that we perceive to be scary. That may be finding an author group, finding an online space where you can actually air and share your thoughts, your feelings, where you don't feel that you are being judged. Often it can be quite a judgmental space and place in the online world. So it's just finding your tribe and finding places where you can actually lean into that. So there'd be two things. Jo: I like the idea of the superpower and the Achilles heel because I also feel this when we are writing fiction. Our characters have strengths, but your fatal flaw is often related to your strength. Jack: Yes. Jo: For example, I know I am independent. One of the reasons I'm an independent author is because I'm super independent. But one of my greatest fears is being dependent. So I do lots of things to avoid being dependent on other people, which can lead me to almost damage myself by not asking for help or by trying to make sure that I control everything so I never have to ask anyone else to do something. I'm coming to terms with this as I get older. I feel like this is something we start to hit—I mean, as a woman after menopause—is this feeling of I might have to be dependent on people when I'm older. It's so interesting thinking about this and thinking— My independence is my strength. How can it also be my weakness? So what do you think about that? You're going to psychotherapist me now. Jack: I definitely won't, but it's interesting. Just talking about that, we all have wounds and we all have the shadow, as you've even written about in one of your books. And it's how that can come from a childhood wound where it's like we seek help and it's not given to us. So we create a belief system where I have to do everything myself because no one will help me. Or we may have rejection sensitivity, so we reject ourselves before others can reject us. So it's actually about trying, where we can, to honour our truths, honour that we may want to be independent, for example, but then realising that success leaves clues. I always say that if you are independent—and I definitely align a hundred percent with you, Joanna—I've had to work really hard myself in personal therapy and in business and life to realise that no human is an island and we can't all do this on our own. Yes, it's amazing with the AI agents now that can help us in a business capacity, but having those relationships that we can tap into—like you mentioned all of the people that you tap into—it's so important to have those. I always say that it's important to have three mentors: one person that's ahead of you (for me, that would be Katie Cross because she's someone that I find is an amazing author and we speak at least once a month); people that are at the same level as you that you can go on the journey together with (and I have an author group for that); and then someone that is perceived to be behind you or in a younger generation than you, because you can learn as much from them as they can learn from you. If you can actually tap into those people whilst honouring your independence, then it feels like you can still go on your own journey, but you can tap in and tap out as and when needed. Sacha Black will give you amazing insights, other people like Honor will give you amazing insights, but you can also provide that for them. So there's that safety of being able to do it on your own. But on the flip side, you still have those people that you can tap into as and when necessary as a sounding board, as information on how they were successful, and go from there. Jo: No, I like that. If you're new to the show, Sacha Black and Honor Raconteur have been on the show and they are indeed some of my best friends. So I appreciate that. I really like the idea of the three mentor idea. I just want to add to that because I do think people misunderstand the word mentor sometimes. You mentioned you speak to Katie Cross, but I've found that a lot of the mentors that I've had who are ahead of me have often been books. We mentioned the Viktor Frankl book, and if people don't know, he was Jewish and in the concentration camps and survived that. So it's a real survivor story. But to me, books have been mostly my mentors in terms of people who are ahead of me. We don't always need to speak to or be friends with our mentors. I think that's important too, right? Because I just get emails a lot that say, “Will you be my mentor?” And I don't think that's the point. Jack: Oh, I a hundred percent agree with you. If you don't have access to those mentors—like Oprah Winfrey is one of the people that I perceive as a mentor—I listen to podcasts, I read her books, I watch interviews. There is a way to absorb and acquire that information, and it doesn't have to be a direct relationship with them. It is someone that you can gain the knowledge and wisdom that they've imparted in whatever form you may consume it. Which is why I think it is important to have those three levels: that one that is above you that may be out of reach in terms of a human connection, but you can still access; then the people at the same level as you that you can have those relationships and grow with; and again, that one behind that you can help pave the way for them, but also learn from them as well. So a hundred percent agree that that mentor that you are looking for that may be ahead of you doesn't necessarily need to be someone that is in a real-world relationship. Jo: So let's just circle back to your music industry experience. You mentioned being on the sort of marketing team for some really big names in music, and I mean, it's kind of a sexy job really. It just sounds pretty cool, but of course the music industry has just as many challenges as publishing. What did you learn from working in the music industry that you think might be particularly useful for authors? Jack: The perception of reality was definitely a lot different. It does look sexy and glamorous, but the reality is similar to going to conferences. It's pretty much flight, hotel, and dark rooms with terrible air conditioning that you spend a lot of time in. So sorry to burst the illusion. But I mean, it does have its moments as well. There is so much I've learned over the years and there's probably three things that stand out the most. The first one was I entered the industry right at the height of the music industry. In 2000, 2001. That was when Napster really exploded and it decimated the music industry. It wiped half the value in the space of four years. Then the music industry was trying to shut it down, throwing legal, throwing everything at it, but it was like whack-a-mole. As soon as one went down such as Napster, ten others popped up like Kazaa. So you saw that the old guard wasn't willing to embrace change. They weren't willing to adapt. They assumed that people wanted the formats of CDs, vinyls, cassettes, and they were wrong. Yes, people wanted music, but they actually wanted the music. They didn't care about the format, they just wanted the access. So that was one of the really interesting things that I learned, because I was like, you have to embrace change. You can't ignore it. You can't push it away, push it aside, because it's coming whether you like it or not. I think thankfully the music industry has learned as AI's coming, because now you have to embrace it. There's a lot of legal issues that have been going on at the moment with rights, which you've covered about the Anthropic case and so on. It's such a challenge, and I just think that's the first one. The second one I learned was back in 2018. There was an artist I worked on called Freya Ridings. At that time I was working at an independent record label rather than one of the big three major record labels. She had great songs and we were up against one of the biggest periods of the year and trying to make noise. At the time, Love Island was the biggest TV show on, and everyone wanted to be on it in terms of getting their music synced in the scenes. We were just like, we are never going to compete. So we thought, we need to be clever here. We need to think differently. What we did is we found out what island the show was being recorded on, and we geo-targeted our ads just to that island because we knew the sync team were going to be on there. So we just went hard as nails, advertised relentlessly, and we knew that the sync people would then see the adverts. As a result of that, Freya got the sync. It became the biggest song that season on Love Island, back when it was popular. As a result of that, we built from there. We were like, right, we can't compete with the majors. We have to think differently. We need to do things differently. We need to be creative. It wasn't an easy pathway. That year there were only two other songs that were independent that reached the top 10. So we ended up becoming a third and the biggest song that year. The reason I'm saying that is we can't compete with the major publishers. But the beauty of the independent author community is because we have smaller budgets—most of us, not all of us, but most of us—we have to think differently. We have to make our bang for our buck go a lot further. So it's actually— How can we stay creative? How can we think differently? What can we do differently? So that would be the second thing. Then the third main lesson that I learned, and this is more on the creative side, is that pressure can often work against you, both in a business sense, but especially creativity. I've seen so many artists over the years have imposed deadlines on them to hand in their albums, and it's impacted the quality of their output. Once it's handed in, the stress and the pressure is off, and then you realise that actually those artists end up creating the best material that they have, and then they rush to put it on. Whether that's Mariah Carey's “We Belong Together,” Adele with her song “Hello,” Taylor Swift did the same with “Shake It Off”—they're just three examples. The reason is that pressure keeps us in our beta brainwave state, which is our rational, logical mind. For those of us that are authors that are writing fiction, or even if we are creating stories in our nonfiction work to deliver a point, we need to be in that creative mindset. So we need to be in the alpha and the gamma brain state. Because our body works on 90-minute cycles known as our ultradian rhythm, we need to make sure that we honour our cycle and work with that. If we go past that, our creativity and our productivity is going to go down between 60% and 40% respectively. So as authors, it's important—one, to apply the right amount of pressure; two, to work in breaks; and three, to know what kind of perspective we're looking at. Do we need to be rational and logical, or do we need to be creative? And then adjust the sails accordingly. Jo: That's all fantastic. I want to come back on the marketing thing first—around what you did with the strategic marketing there and the targeted ads to that island. That's just genius. I feel like a lot of us, myself included, we struggle to think creatively about marketing because it's not our natural state. Of course, you've done a lot of marketing, so maybe it comes more naturally to you. I think half the time we don't even use the word creative around marketing, when you're not a marketeer. What are some ways that we can break through our blocks around marketing and try to be more creative around that? Jack: I would challenge a lot of authors on that presumption, because as authors we're in essence storytellers, and to tell a story is creative. There's a great quote: “One death is a tragedy. A thousand deaths is a statistic.” If you can create a story, a compelling narrative about a death in the news, it's going to pull at the heartstrings of people. It's going to really resonate and get with them. Whereas if you are just quoting statistics, most people switch off because they become desensitised to it. So I think because we can tell stories, and that's the essence of what we do, it's how can we tell our story through the medium of social media? How can we tell a story through our creative ads that we then put out onto Facebook or TikTok or whatever platform that we're putting them out—BookBub, et cetera? How can we create a narrative that garners the attention? If we are looking at local media or traditional media, how can we do that? How can we get people to buy in to what we're selling? So it's about having different angles. For me with my new romance book, Stolen Moments, one of the stories I had that really has helped me get some coverage and PR is we recorded the songs next door to the Rolling Stones. Now that was very fortunate timing, very fortunate. But everyone's like, “Oh my God, you recorded next door to the Rolling Stones?” So it's like, well, how can you bring in these creative nuggets that help you to find a story? Again, marketing is in essence telling a story, albeit through different mediums and forms. So it's just how can you package that into a marketable product depending on the platform in which you're putting it out on. Jo: I think that's actually hilarious, by the way, because what you hit on there, as someone with a background in marketing, your story about “we recorded an album for the book next door to the Rolling Stones”—it's got nothing to do with the romance. Jack: Oh, the romance is that the pop star in the book writes and records songs. Jo: Yes, I realised that. But the fact is— For doing things like PR, it's the story behind the story. They don't care that you've written a romance. Jack: Yes. Jo: They're far more interested in you, the author, and other things. So I think what you just described there was a kind of PR hook that most of us don't even think about. Jack: I'm sure a lot of authors already know this, so it's a good reminder, and if you don't, it's great. It's called the A, B, C technique. When you get asked a question, you Answer the question. So that's A. You Build a bridge, and then you go to C, which is Covering one of your points. So whenever you get asked a question, have a list of things you want to get across in an interview. Then just make sure that you find that bridge between whatever the question is to cover off one of your points, and that's how you can do it. Because yes, you may be selling a story, like I said, about writing the songs, but then you can bridge it into actually covering and promoting whatever it is you're promoting. So I think that's always quite helpful to remember. Jo: Well, that's a good tip for things like coming on podcasts as well. I've had people on who don't do what you just mentioned and will just try and shoehorn things in in a more deliberate fashion, whereas other people, as you have just done with your romance there, bring it in while answering a question that actually helps other people. So I think that's the kind of thing we need to think about in marketing. Okay, so then let's come back to the embracing change, and as you mentioned, the AI stuff that's going on. I feel like there's so many “stories” around AI right now. There's a lot of stories being told on both sides—on the positive side, on the negative side—that people believe and buy into and may or may not be true. There's obviously a lot of anger. There's, I think, grief—a big thing that people might not even realise that they have. Can you talk about how authors might deal with what's coming up around the technological change around AI, and any of your personal thoughts as well? Jack: I was thinking about this a lot recently. I mean, I guess everyone is in their own ways and forms. One of the things that came up for me is we have genre expectations and we have generation expectations. When we look at genres, you will have different expectations from different genres. For romance, they want a happily ever after or a happy for now. For cosy mysteries, they expect the crime to be solved. So we as authors make sure we endeavour to meet those expectations. The challenge is that if we are looking at AI, we are all in our own generations. We might be in slightly different generations, but there are going to be different generation expectations from the Alpha generation that's coming up and the Beta generation that's just about to start this year or next year because they're going to come into the world where they don't know any different to AI. So they will have a different expectation than us. It will just be normal that there will be AI agents. It will just be normal that there are AI narrators. It will be normalised that AI will assist authors or assist everyone in doing their jobs. So again, it is a grieving period because we can long for what was, we can yearn for things that worked for us that no longer work for us—whether it's Facebook groups, whether it's the Kindle Rush. We can mourn the loss of that, but that's not coming back. I mean, sometimes there may be a resurgence, but essentially, we've got to embrace the change. We've got to understand that it's coming and it's going to bring up a lot of different emotions because you may have been beholden to one thing and you may be like, yes, I've now got my TikTok lives, and then all of a sudden TikTok goes away. I know Adam, when he was talking about it, he'll just find another platform. But there'll be a lot of people that are beholden to it and then they're like, what do I do now? So again, it's never survival of the fittest—it's survival of the most adaptable. I always use this metaphor where there are three people on three different boats. A storm comes. And the first, the optimist, is like, “Oh, it'll pass,” and does nothing. The pessimist complains about the storm and does nothing. But the realist will adjust the sails and use the storm to find its way to the other side, to get through. It's not going to be easy, but they're actually taking change and making change to get to where they need to go, rather than just expecting or complaining. I get it. We are not, and I hate the expression, “we're all in the same boat.” I call bleep on that. I'm not going to swear. We're not all in the same boat. We're all in the same storm, but different people are going through different things. For some, they can adjust and adapt really quickly like a speedboat. For others, they may be like Jack and Rose in the Titanic on that terrible prop where they're clinging to dear life and trying to get through the storm. So it's about how do I navigate this upcoming storm? What can I do within my control to get through the storm? For some it may be easier because they have the resources, or for some of us that love learning, it's easy to embrace change. For others that have a fear mindset and it's like, “Oh, something new, it's scary, I don't want to embrace it”—you are going to take longer. So you may not be the speedboat, but at some point we are going to have to embrace that change. Otherwise we're going to get left behind. So you need to look at that. Jo: The storm metaphor is interesting, and being in different boats. I feel I do struggle. I struggle with people who suddenly seem to be discovering the storm. I've been talking about AI now since 2016. That's a decade. Jack: Yes. Jo: Even ChatGPT has been around more than three years, and people come to me now and they're talking about stories that they've seen in the media that are just old now. Things have moved on so much. I feel like maybe I was on my boat and I looked through my telescope and I saw the storm. I've been talking about the storm and I've had my own moments of being in the middle of the storm. Now I definitely do struggle with people who just seem to have arrived without any knowledge of it before. I oscillate between being an optimist and a realist. I think I'm somewhere between the two, probably. But I think what is driving me a little crazy in the author community right now is judgment and shame. There are people who are judging other people, and there's shame felt by AI-curious or AI-positive people. So I want to help the people who feel shame in some way for trying new technology, but they still feel attacked. Then those people judge other authors for their choices to use technology. So how do you think we can deal with judgment and shame in the community? Which is a form of conflict, I guess. Jack: Of course. I think with that, there's another great PR quote: “If it bleeds, it leads.” Especially in this digital age, there's a lot of clickbait. So the more polarising, the more emotion-evoking the headline, the more likely you are to engage with that content—whether that is reading it or whether that's posting or retweeting, or whatever format you are consuming it on. So unfortunately, media has now become so much more polarising. It's dividing us rather than uniting us. So people are going to have stronger positions. There's so much even within this to look at. One is, you have to work out where people are on the continuum. Do they have an opinion on AI? Do they have a belief? Or do they have a conviction? Now you're not going to move someone that has a conviction about something, so it's not worth even engaging with them because they're immovable. Like they say, you shouldn't talk about sports, politics, and religion. There are certain subjects that may not be worth talking about, especially if they have a conviction. Because they may not even be able to agree to disagree. They may not be willing or able to hear you. So first and foremost, it's about understanding, well, where are those people sitting on the continuum of AI? Are they curious? Do they have an opinion, but they're open to hearing other opinions? Do they have a belief that could be changed or evolved if they find more information? That's where I think it is. It's not necessarily our jobs—even though you do an amazing job of it, Joanna—but a lot of people are undereducated on these issues or these new technologies. So in some cases it's just a case of a lack of education or them being undereducated. Hopefully in time they will become more and more educated. But again, it's how long is a piece of string? Will people catch up? Will they stay behind? Are they fearful? I guess because of social media, because of the media, as they say, if you can evoke fear in people, you can control them. You can control their perspectives. You can control their minds. So that's where we see it—a lot of people are operating from a fear mindset. So then that's when they project their vitriol in certain cases. If people want to believe a certain thing, that's their choice. I'm not here to tell people what to think. Like I said earlier, it's more about how to think. But I would just encourage people to find people that align with you. Do a sense test, like a litmus test, to find where they sit on the continuum and engage with those people that are open and have opinions or beliefs. But shy away or just avoid people that have convictions that maybe are the polar opposite of yours. Jo: It's funny, isn't it? We seem to be in a phase of history when I feel like you should be able to disagree with people and still be friends. Although, as you mentioned, there's certain members of my family where we just stay on topics of TV shows and movies or music, or what books are you reading? Like, we don't go anywhere near politics. So I do think that might be a rule also with the AI stuff. As you said, find a community, and there are plenty of AI-positive spaces now for people who do want to talk about this kind of stuff. I also think that, I don't know whether this is a tipping point this year, but certainly— I know people who are in bigger corporates where the message is now, “You need to embrace this stuff. It is now part of your job to learn how to use these AI tools.” So if that starts coming into people's day jobs, and also people who have, I don't know, kids at school or people at university who are embracing this more—I mean, maybe it is a generational thing. Jack: Yes. Look, there were so many people that were resistant to working from home, or corporations that were, and then the pandemic forced it. Now everyone's embraced it in some way, shape, or form. I mean, there are people that don't, but the majority of people—when something's forced on you, you have to adapt. So again, if those things are implemented in corporations, then you're going to see it. I'm seeing so many amazing new things in AI that have been implemented in the music industry that we'll see in the publishing industry coming down the road. That will scare a lot of people, but again, we have to embrace those things because they're coming and there's going to be an expectation—especially from the younger generations—that these things are available. So again, it's not first past the post, but if you can be ahead of the wave or at least on the wave, then you are going to reap the rewards. If you are behind the wave, you're going to get left behind. So that's my opinion. I'm not trying to encourage anyone to see from my lens, but at the same time, I do think that we need to be thinking differently. We need to always embrace change where we can, as we can, at the pace that we can. Jo: You mentioned there AI things coming down the road in the music industry. And now everyone's going, wait, what is coming? So tell us— What do you see ahead that you think might also shift into the author world? Jack: There are three things that I've seen. Two that have been implemented and one that's been talked about and worked on at the moment. The first, and this will be quite scary for people, is that major record labels—so think the major publishers on our side—they're all now putting clauses in their contracts that require the artists that sign with them to allow their works to be trained by their own AI models. So that is something that is now actually happening in record labels. I wouldn't be surprised, although I don't have insight into it, if Simon & Schuster, HarperCollins, et cetera, are potentially doing the same with authors that sign to them. So that's going to become more standardised. So that is on the major side. But then on the creative side, there are two things that really excite me. The music AI platforms that we're hearing about, the stories that we've seen in the press, and it's the fact that with a click of a button, you can recreate a song into a different genre. I find it so fascinating because if you think about that—turning a pop song into a country song or a rap song into a dance song—the possibilities that we have as authors with our books, if we wish to do so, are amazing. I just think, for example, with your ARKANE series, Joanna, imagine clicking a button and just with one click you can take Morgan Sierra and turn her into a romantic lead in a romance book. Jo: See, it's so funny because I personally just can't imagine that because it's not something I would write. But I guess one example in the romance genre itself is I know plenty of romance authors who write a clean and a spicy version of the same story, right? It is already happening in that way. It's just not a one-click. Jack: Well, I think you can also look at it another way. I think one of the most famous examples is Twilight. With Twilight and Stephenie Meyer, if she had the foresight—and I'm not saying she didn't, just to clarify—but fan fiction is such a massive sub-genre of works. And obviously from Twilight came 50 Shades of Gray. Imagine if she had the licensing rights like the NFTs, where she could have made money off of every sale. So that you could then, through works that you create and give licence, earn a percentage of every release, every sale, every consumption unit of your works. There are just so many possibilities where you can create, adapt, have spinoffs that can then build out your world. Obviously, there may need to be an approval process in there for continuity and quality control because you want to make sure you're doing that, but I think that has such massive potential in publishing if we wish to do so. Or like I said, change characters. Like Robert Langdon's character in Dan Brown's books—no longer being the kind of thriller, but maybe being a killer instead. There's so many possibilities. It's just, again, how to think, not what to think—how to think differently and how we can use that. So that's the second of three. Jo: Oh, before you move on, you did mention NFTs and I've actually been reading about this again. So I'm usually five years early. That's the general rule. I started talking about NFTs in mid-2021, and obviously there was a crypto crash, it goes up and down, blah, blah, blah. But forget the crypto side—on the blockchain side, digital originality, and exactly what you said about saying like, where did this originate? This is now coming back in the AI world. It could be that I really was five years early. So amusingly—and I'm going to link to it in the notes because I did a “Why NFTs Are Exciting for Authors” solo episode, I think in 2022—it may be that the resurgence will happen in the next year, and all those people who said I was completely wrong, that this may be coming back. Digital originality I think is what we're talking about there. But so, okay, so what was the other thing? Jack: So the third one is the one that I'm most excited about, but I think will be the most scary for people. Obviously consumption changes and formats change. Like I said, in music I've seen it all the time—whether it's vinyl to cassettes, to CDs, to downloads, to streaming. Again, there's different consumption of the same format, and we see that with books as well, obviously—hardbacks, paperbacks, eBooks, audiobooks. Now with the rise of AI, AI narration has made audiobooks so much more accessible for people. I know that there are issues with certain people not wanting to do it, or certain platforms not allowing AI narration to be uploaded unless it's their own. The next step is what I'm most excited about. What I'm seeing now in the music industry is people licensing their image to then recreate that as music videos because music videos are so expensive. One of my friends just shot a music video for two million pounds. I don't think many authors would ever wish to spend that. If you can license your image and use AI to create a three-minute music video that looks epic and just as real as humanly possible, imagine if those artists—or if we go a step further, those actors—license their image to then be used to adapt our books into a TV series or a film. So that then we are in a position where that is another format of consumption alongside an audiobook, a paperback, an eBook, hardcover, special edition, and so on and so forth. It potentially has the opportunity to open us up to a whole new world. Because yes, there are adaptations of books that we're seeing at the moment, but for those of us that are trying to get our content into different formats, this can be a new pathway. I'm going to make a prediction here myself, Joanna. Jo: Mm-hmm. Jack: I would say in the next five to ten years, there will be a platform akin to a Netflix, Amazon Prime, Disney Plus, Apple Plus, where you can license the rights to an image of an actor or an actress. Then with the technology—and you may need people to help you adapt your book into a TV series or a film—that can then be consumed. I just think the possibilities are endless. I mean, again, I think of your character and I'm like, oh, what would it be if Angelina Jolie licensed her image and you could have her play the lead character in your ARKANE series? I mean, again, the possibilities potentially are endless here. Jo: Well, and on that, if people think this won't happen—1776, I don't know if you've seen this, it's just being teased at the moment. Darren Aronofsky has made an American revolutionary story all with AI. So this is being talked about at the moment. It's on YouTube at the moment. The AI video is just extraordinary already, so I totally agree with you. I think things are going to be quite weird for a while, and it will take a while to get used to. You mentioned coming into the music industry in 2000, 2001—I started my work before the internet, and then the internet came along and lots of things changed. I mean, anyone who's older than 40, 45-ish can remember what work was like without the internet. Now we are moving into a time where it'll be like, what was it like before AI? And I think we'll look back and go like, why the hell did we do that kind of thing? So it is a changing world, but yes, exciting times, right? I think the other thing that's happening right now, even to me, is that things are moving so fast. You can almost feel like a kind of whiplash with how much is changing. How do we deal with the fast pace of change while still trying to anchor ourselves in our writing practice and not going crazy? Jack: Again, it's that everything everywhere all at once—you can get lost and discombobulated. I always say be the tortoise, not the hare—because you don't want to fly and die. You want pace and grace. Everyone will have a different pace. For some marathon runners, they can run a five-minute mile, some can run an eight-minute mile, some can run a twelve-minute mile. It's about finding the pace that works for you. Every one of us have different commitments. Every one of us have different ways we view the industry—some as a hobby, some as a business. So it's about honouring your needs, your commitment. Some of us, as you've had people on the podcast, some people are carers. They have to care. Some people are parents. Some people don't have those commitments and so can devote more time and then actually learn more, change more as a result. So again, it's about finding your groove, finding your rhythm, honouring that, and again, showing up consistently. Because motivation may get you started, but it's habit and discipline that sees you through. Keep that discipline, keep that pace and grace. Be consistent in what you can do. And know where you're at. Don't compare and despair, because again, if you look at someone else, they may be ahead of you, but the race is only with yourself in the end. So you've got to just focus on where you are at and am I in a better place than I was yesterday? Am I working on my business as well as in my business? How am I doing that? When am I doing that? And what am I doing that for? If you can be asking yourself those questions and making sure you're staying true to yourself and not burning out, making sure that you are honouring your other commitments, then I think you are going at the pace that feels right for you. Jo: Brilliant. Jo: Where can people find you and your books and everything you do online? Jack: Thank you so much for having me on, Joanna, today. You can find me on JackWilliamson.co.uk for all my nonfiction books and therapy work. Then for my fiction work, it is ABJackson.com, or ABJacksonAuthor on Instagram and TikTok. Jo: Well, thanks so much for your time, Jack. That was great. Jack: Thank you so much. The post Post-Traumatic Growth, Creative Marketing, And Dealing With Change with Jack Williamson first appeared on The Creative Penn.

February 20, 2026 ~ Jamie Edmonds and Lloyd Jackson speak with Simon Schuster, Capitol Reporter for Bridge Michigan. They discuss Jocelyn Benson's vision for high-speed rail and a statewide transit network. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

It's been 30 years since award-winning author Anita Heiss made her debut on the Australian literary scene. She reveals the moment she finally felt she'd made it in the industry and why her powerful historical novel, Dirrayawadha, was one of the most challenging books of her career. Anita opens up about crafting a love story against the violence of the Bathurst War, and how she balances stories of trauma with scenes of profound love and joy. Plus, she shares about her forthcoming rom-com with a political heart, The Paradise Pact, and the insights she's learned from her latest role as publisher-at-large of Bundyi, a First Nations imprint from Simon & Schuster.   Dr Anita Heiss is an internationally published, award-winning author of over 20 books, including non-fiction, historical fiction, commercial women's fiction and children's novels. She is a proud member of the Wiradyuri Nation of central New South Wales and Publisher at Large of Bundyi, an imprint of Simon & Schuster cultivating First Nations talent. Today we're discussing her career, including her historical fiction novel, Dirrayawadha (Rise Up), about the Bathurst War of 1824, and her latest rom com, The Paradise Pact.  Find The Paradise Pact and Anita's other books at Booktopia or from your local bookshop or library.  Books & authors discussed in this episode: Who Am I? The Diary of Mary Talence, Sydney 1937 by Anita Heiss Not Meeting Mr Right by Anita Heiss  Secrets by Judy Morrison I Am Nannertgarrook by Tasma Walton  Robbie Arnott  Larissa Behrendt Tell Her She's Dreaming by Simone Amelia Jordan, from ep 106 It's Been a Pleasure Noni Blake by Claire Christian  The Pearl of Tagai Town by Lenora Thacker The Strangers by Katherena Vermette Test Cricket: A History by Tim Wigmore  The Graduate by Rebecca Lim  Upcoming events James is speaking at Fresh Voices: The Penguin Literary Prize Shortlist on Wednesday 11 March Ashley is on book tour across Australia with events in Canberra, Perth, Bowral, Hobart, Launceston, Brisbane, Melbourne, Mornington, Wollongong, the Central Coast, Sydney and Adelaide (and Darwin TBA) Ashley is Teaching Unexpected Editing Strategies in person at Avid Reader on Sunday 15 March  Ashley is at Manly Writers Festival on Friday 20 March  James is teaching Setting & Landscape for Writers at the Woolshed on Saturday 21 March Ashley is teaching Online: Crime Writing for Faber Academy starting 12 May Learn more about Ashley's thrillers, Dark Mode and Cold Truth, and get your copies from your local bookshop or library. Plus check out Like, Follow, Die from Audible or pre-order the book – out 24 February 2026! Learn more about James's award-winning novel Denizen and get your copy from your local bookshop or library.   Get in touch! ashleykalagianblunt.com jamesmckenziewatson.com Instagram: @akalagianblunt + @jamesmcwatson

This week we'll be talking with Charleston author Victoria Benton Frank about her new novel, The Violet Hour. Victoria was born in New York City, raised in Montclair, New Jersey, but considers herself to have dual residency in the Lowcountry. She is a graduate of the College of Charleston and the French Culinary Institute. Her mother was the late Dorothea Benton Frank, a best-selling novelist and native of Sullivan's Island.With the release of The Violet Hour (2026, Simon & Schuster), her second novel, she continues to hone her craft, this time with a story of grief and healing.

This week on Enjoying Orange Slices with Jeff & Ian

Oren Cass, founder and chief economist of American Compass and editor of The New Conservatives: Restoring America's Commitment to Family, Community, and Industry (Simon & Schuster, 2025), argues for a new approach to global trade, one based on balance.

On this week's episode of The Professional Noticer, Andy welcomes Pat Kelly—retired Hollywood screenwriter and debut novelist behind the upcoming thriller Rifle Season, already being hailed as "the first big thriller of 2026."  Tune in to hear Pat and Andy walk through the heart-pounding premise of Rifle Season. Listen as Pat explains the authenticity behind the hunting details, the character dynamics that drive the story, the almost-missed Glock safety error caught by publicist David Brown, and why Simon & Schuster and 20th TV are already all-in on this gripping new series. Pre-order "Rifle Season: A Thriller" on Amazon — Available January 27, 2026: https://amzn.to/48mxD8D

Mark interviews J.D. Barker about his writing and publishing journey and his many collaborations over the years, including with James Patterson, and the unique publishing and distribution collaboration with Simon & Schuster that combines the best of the self-publishing and the traditional publishing worlds. Prior to the interview, Mark shares comments from recent episodes, a personal update and a word about this episode's sponsor. This episode is sponsored by an affiliate link to Manuscript Report. Use code MARK10 at checkout and save 10% off your own personalized report. In their interview, Mark and J.D. talk about: How JD was always interested in writing including a little business endeavor he had when he was youngBeing told by his mother that writing is a fantastic hobby, but you have to get a "real job" - and following her advice The main day job he had, which he hated, and coming home at night to write How the first two decades he'd been writing he did ghost writing and did book-doctor sort of work Having written six different books that hit the New York Times bestseller list but had other people's names on the cover JD's wife coming up with a plan to get him to writing for himself How putting his feet to the coals was what JD really needed What it was like writing on his own The value that JD recognizes in the 20 years of writing other peoples' books Having Asperger's which often involves mimicking other people (which JD could do on paper, continuing to write in another person's voice) How ghostwriting for celebrities/NYT Bestselling authors can be very lucrative What it was like co-authoring with James Patterson Being the only guy who has ever gotten James Patterson to "pants" a novel, but how Patterson convinced him to outline, which he now does for certain projects What a typical work-day looks like for JD Making a change in terms of what time of day JD does interviews Working with a virtual assistant and the various PR agencies JD works with Switching over to paying for PR a la carte rather than a monthly retainer Selling more than half a million copies of his first self-published book, which caught the attention of agents That "taste" of being an indie author which mean a loss of freedom Creating his own unique path within publishing that's a blend of self-publishing and traditional publishing models The imprint JD has with Simon & Schuster - Hampton Creek Press How JD has done a number of recent co-authored titles under his imprint by paying the co-authors up front in a work-for-hire manner, which removes the complexity of paying royalties The way JD can pay it forward by helping the mentor the co-authors that he is working on Why JD gave away a skid of hardcover books at Reader Nation in Vegas Advice JD has about authors who are constantly "chasing each other" The unique marketing JD created for his book SOMETHING I KEEP UPSTAIRS that involved an overnight stay in a real haunted house What James Patterson did to get his book ALONG CAME A SPIDER onto the New York Times bestseller list And more... After the interview Mark reflects on a few of the things from the conversation that have inspired him in different ways.   Links of Interest: J.D. Barker's Website EP 445 - Overcoming The Self Sabotage From Buried Trauma with Andrea Torrey Balsara Manuscript Report (Mark's affiliate link - use MARK10 to save 10%) Buy Mark a Coffee Patreon for Stark Reflections Mark's YouTube channel ElevenLabs (AI Voice Generation - Affiliate link) Mark's Stark Reflections on Writing & Publishing Newsletter (Signup) An Author's Guide to Working With Bookstores and Libraries The Relaxed Author Buy eBook Direct Buy Audiobook Direct Publishing Pitfalls for Authors An Author's Guide to Working with Libraries & Bookstores Wide for the Win Mark's Canadian Werewolf Books This Time Around (Short Story) A Canadian Werewolf in New York Stowe Away (Novella) Fear and Longing in Los Angeles Fright Nights, Big City Lover's Moon Hex and the City Only Monsters in the Building The Canadian Mounted: A Trivia Guide to Planes, Trains and Automobiles Yippee Ki-Yay Motherf*cker: A Trivia Guide to Die Hard Merry Christmas! Shitter Was Full!: A Trivia Guide to National Lampoon's Christmas Vacation I Think It's A Sign That The Pun Also Rises   J.D. Barker (Jonathan Dylan Barker) is an international bestselling American author whose work has been broadly described as suspense thrillers, often incorporating elements of horror, crime, mystery, science fiction, and the supernatural.   The introductory, end, and bumper music for this podcast ("Laser Groove") was composed and produced by Kevin MacLeod of www.incompetech.com and is Licensed under Creative Commons: By Attribution 3.0  

On this episode of ‘The Write Question,' host Lauren Korn speaks with debut novelist Eliana Ramage, author of ‘To the Moon and Back' (Avid Reader Press, Simon & Schuster).

On this episode of ‘The Write Question,' host Lauren Korn speaks with debut novelist Eliana Ramage, author of ‘To the Moon and Back' (Avid Reader Press, Simon & Schuster).

Lisa Adler of Unity Books Wellington reviews Queen Esther by John Irving, published by Simon & Schuster.

Why do some romance authors build decades-long careers while others vanish after one breakout book? What really separates a throwaway pen name and rapid release strategy from a legacy brand and a body of work you're proud of? How can you diversify with trad, indie, non-fiction, and Kickstarter without burning out—or selling out your creative freedom? With Jennifer Probst. In the intro, digital ebook signing [BookFunnel]; how to check terms and conditions; Business for Authors 2026 webinars; Music industry and AI music [BBC; The New Publishing Standard]; The Golden Age of Weird. This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Jennifer Probst is a New York Times, USA Today, and Wall Street Journal bestselling author of over 60 books across different kinds of romance as well as non-fiction for writers. Her latest book is Write Free. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights, and the full transcript is below. Show Notes How Jennifer started writing at age 12, fell in love with romance, and persisted through decades of rejection A breakout success — and what happened when it moved to a traditional publisher Traditional vs indie publishing, diversification, and building a long-term, legacy-focused writing career Rapid-release pen names vs slow-burn author brands, and why Jennifer chooses quality and longevity Inspirational non-fiction for writers (Write Naked, Write True, Write Free) Using Kickstarter for special editions, re-releases, courses, and what she's learned from both successes and mistakes – plus what “writing free” really means in practice How can you ‘write free'? You can find Jennifer at JenniferProbst.com. Transcript of interview with Jennifer Probst Jo: Jennifer Probst is a New York Times, USA Today, and Wall Street Journal bestselling author of over 60 books across different kinds of romance as well as non-fiction for writers. Her latest book is Write Free. So welcome, Jennifer. Jennifer: Thanks so much, Joanna. I am kind of fangirling. I'm really excited to be on The Creative Penn podcast. It's kind of a bucket list. Jo: Aw, that's exciting. I reached out to you after your recent Kickstarter, and we are going to come back to that in a minute. First up, take us back in time. Tell us a bit more about how you got into writing and publishing. Jennifer: This one is easy for me. I am one of those rarities. I think that I knew when I was seven that I was going to write. I just didn't know what I was going to write. At 12 years old, and now this will kind of date me in dinosaur era here, there was no internet, no information on how to be a writer, no connections out there. The only game in town was Writer's Digest. I would go to my library and pore over Writer's Digest to learn how to be a writer. At 12 years old, all I knew was, “Oh, if I want to be a famous writer, I have to write a book.” So I literally sat down at 12 and wrote my first young adult romance. Of course, I was the star, as we all are when we're young, and I have not stopped since. I always knew, since my dad came home from a library with a box of romance novels and got in trouble with my mum and said, basically, “She's reading everything anyway, just let her read these,” I was gone. From that moment on, I knew that my entire life was going to be about that. So for me, it wasn't the writing. I have written non-stop since I was 12 years old. For me, it was more about making this a career where I can make money, because I think there was a good 30 years where I wrote without a penny to my name. So it was more of a different journey for me. It was more about trying to find my way in the writing world, where everybody said it should be just a hobby, and I believed that it should be something more. Jo: I was literally just going back in my head there to the library I used to go to on my way home from school. Similar, probably early teens, maybe age 14. Going to that section and… I think it was Shirley Conran. Was that Lace? Yes, Lace books. That's literally how we all learned about sex back in the day. Jennifer: All from books. You didn't need parents, you didn't need friends. Amazing. Jo: Oh, those were the days. That must have been the eighties, right? Jennifer: It was the eighties. Yes. Seventies, eighties, but mostly right around in the eighties. Oh, it was so… Jo: I got lost about then because I was reminiscing. I was also the same one in the library, and people didn't really see what you were reading in the corner of the library. So I think that's quite funny. Tell us how you got into being an indie. Jennifer: What had happened is I had this manuscript and it had been shopped around New York for agents and for a bunch of publishers. I kept getting the same exact thing: “I love your voice.” I mean, Joanna, when you talk about papering your wall with rejections, I lived that. The only thing I can say is that when I got my first rejection, I looked at it as a rite of passage that created me as a writer, rather than taking the perspective that it meant I failed. To me, perspective is a really big thing in this career, how you look at things. So that really helped me. But after you get like 75 of them, you're like, “I don't know how much longer I can take of this.” What happened is, it was an interesting story, because I had gone to an RWA conference and I had shopped this everywhere, this book that I just kept coming back to. I kept saying, “I feel like this book could be big.” There was an indie publisher there. They had just started out, it was an indie publisher called Entangled. A lot of my friends were like, “What about Entangled? Why don't you try more digital things or more indie publishers coming up rather than the big traditional ones?” Lo and behold, I sent it out. They loved the book. They decided, in February of 2012, to launch it. It was their big debut. They were kind of competing with Harlequin, but it was going to be a new digital line. It was this new cutting-edge thing. The book went crazy. It went viral. The book was called The Marriage Bargain, and it put me on the map. All of a sudden I was inundated with agents, and the traditional publishers came knocking and they wanted to buy the series. It was everywhere. Then it hit USA Today, and then it spent 26 weeks on The New York Times. Everybody was like, “Wow, you're this overnight sensation.” And I'm like, “Not really!” That was kind of my leeway into everything. We ended up selling that series to Simon & Schuster because that was the smart move for then, because it kind of blew up and an indie publisher at that time knew it was a lot to take on. From then on, my goal was always to do both: to have a traditional contract, to work with indie publishers, and to do my own self-pub. I felt, even back then, the more diversified I am, the more control I have. If one bucket goes bad, I have two other buckets. Jo: Yes, I mean, I always say multiple streams of income. It's so surprising to me that people think that whatever it is that hits big is going to continue. So you obviously experienced there a massive high point, but it doesn't continue. You had all those weeks that were amazing, but then it drops off, right? Jennifer: Oh my goodness, yes. Great story about what happened. So 26 weeks on The New York Times, and it was selling like hotcakes. Then Simon & Schuster took it over and they bumped the price to their usual ebook price, which was, what, $12.99 or something? So it's going from $2.99. The day that they did it, I slid off all the bestseller lists. They were gone, and I lost a lot of control too. With indies, you have a little bit more control. But again, that kind of funnels me into a completely different kind of setup. Traditional is very different from indie. What you touched on, I think, is the biggest thing in the industry right now. When things are hot, it feels like forever. I learned a valuable lesson: it doesn't continue. It just doesn't. Maybe someone like Danielle Steel or some of the other big ones never had to pivot, but I feel like in romance it's very fluid. You have genres hitting big, you have niches hitting big, authors hitting big. Yes, I see some of them stay. I see Emily Henry still staying—maybe that will never pause—but I think for the majority, they find themselves saying, “Okay, that's done now. What's next?” It can either hit or not hit. Does that make sense to you? Do you feel the same? Jo: Yes, and I guess it's not just about the book. It's more about the tactic. You mentioned genres, and they do switch a lot in romance, a lot faster than other genres. In terms of how we do marketing… Now, as we record this, TikTok is still a thing, and we can see maybe generative AI search coming on the horizon and agentic buying. A decade ago it might have been different, more Facebook ads or whatever. Then before that it might have been something else. So there's always things changing along the way. Jennifer: Yes, there definitely is. It is a very oversaturated market. They talk about, I don't know, 2010 to 2016 maybe, as the gold rush, because that was where you could make a lot of money as an indie. Then we saw the total fallout of so many different things. I feel like I've gone through so many ups and downs in the industry. I do love it because the longer you're around, the more you learn how to pivot. If you want this career, you learn how to write differently or do whatever you need to do to keep going, in different aspects, with the changes. To me, that makes the industry exciting. Again, perspective is a big thing. But I have had to take a year to kind of rebuild when I was out of contract with a lot of things. I've had to say, “Okay, what do you see on the horizon now? Where is the new foundation? Where do you wanna restart?” Sometimes it takes a year or two of, “Maybe I won't be making big income and I cut back,” but then you're back in it, because it takes a while to write a few new books, or write under a pen name, or however you want to pivot your way back into the industry. Or, like you were saying, diversifying. I did a lot of non-fiction stuff because that's a big calling for me, so I put that into the primary for a while. I think it's important for authors to maybe not just have one thing. When that one thing goes away, you're scrambling. It's good to have a couple of different things like, “Well, okay, this genre is dead or this thing is dead or this isn't making money. Let me go to this for a little while until I see new things on the horizon.” Jo: Yes. There's a couple of things I want to come back to. You mentioned a pen name there, and one of the things I'm seeing a lot right now—I mean, it's always gone on, but it seems to be on overdrive—is people doing rapid-release, throwaway pen names. So there's a new sub-genre, they write the books really fast, they put them up under whatever pen name, and then when that goes away, they ditch that pen name altogether. Versus growing a name brand more slowly, like I think you and I have done. Under my J.F. Penn fiction brand, I put lots of different sub-genres. What are your thoughts on this throwaway pen name versus growing a name brand more slowly? Jennifer: Well, okay, the first thing I'm goign to say is: if that lights people up, if you love the idea of rapid release and just kind of shedding your skin and going on to the next one, I say go for it. As long as you're not pumping it out with AI so it's a complete AI book, but that's a different topic. I'm not saying using AI tools; I mean a completely AI-written book. That's the difference. If we're talking about an author going in and, every four weeks, writing a book and stuff like that, I do eventually think that anything in life that disturbs you, you're going to burn out eventually. That is a limited-time kind of thing, I believe. I don't know how long you can keep doing that and create decent enough books or make a living on it. But again, I really try not to judge, because I am very open to: if that gives you joy and that's working and it brings your family money, go for it. I have always wanted to be a writer for the long term. I want my work to be my legacy. I don't just pump out books. Every single book is my history. It's a marking of what I thought, what I put out in the world, what my beliefs are, what my story is. It marks different things, and I'm very proud of that. So I want a legacy of quality. As I got older, in my twenties and thirties, I was able to write books a lot faster. Then I had a family with two kids and I had to slow down a little bit. I also think life sometimes drives your career, and that's okay. If you're taking care of a sick parent or there's illness or whatever, maybe you need to slow down. I like the idea of a long-term backlist supporting me when I need to take a back seat and not do frontlist things. So that's how I feel. I will always say: choose a long, organic-growth type of career that will be there for you, where your backlist can support you. I also don't want to trash people who do it differently. If that is how you can do it, if you can write a book in a month and keep doing it and keep it quality, go for it. Jo: I do have the word “legacy” on my board next to me, but I also have “create a body of work I'm proud of.” I have that next to me, and I have “Have you made art today?” So I think about these things too. As you say, people feel differently about work, and I will do other work to make faster cash rather than do that with books. But as we said, that's all good. Interestingly, you mentioned non-fiction there. Write Free is your latest one, but you've got some other writing books. So maybe— Talk about the difference between non-fiction book income and marketing compared to fiction, and why you added that in. Jennifer: Yes, it's completely different. I mean, it's two new dinosaurs. I came to writing non-fiction in a very strange way. Literally, I woke up on New Year's Day and I was on a romance book deadline. I could not do it. I'll tell you, my brain was filled with passages of teaching writing, of things I wanted to share in my writing career. Because again, I've been writing since I was 12, I've been a non-stop writer for over 30 years. I got to my computer and I wrote like three chapters of Write Naked (which was the first book). It was just pouring out of me. So I contacted my agent and I said, “Look, I don't know, this is what I want to do. I want to write this non-fiction book.” She's like, “What are you talking about? You're a romance author. You're on a romance deadline. What do you want me to do with this?” She was so confused. I said, “Yes, how do you write a non-fiction book proposal?” And she was just like, “This is not good, Jen. What are you doing?” Anyway, the funny story was, she said, “Just send me chapters.” I mean, God bless her, she's this wonderful agent, but I know she didn't get it. So I sent her like four chapters of what I was writing and she called me. I'll never forget it. She called me on the phone and she goes, “This is some of the best stuff I have ever read in my life. It's raw and it's truthful, and we've got to find a publisher for this.” And I was like, “Yay.” What happened was, I believe this was one of the most beautiful full circles in my life: Writer's Digest actually made me an offer. It was not about the money. I found that non-fiction for me had a much lower advance and a different type of sales. For me, when I was a kid, that is exactly what I was reading in the library, Writer's Digest. I would save my allowance to get the magazine. I would say to myself, “One day, maybe I will have a book with Writer's Digest.” So for me, it was one of the biggest full-circle moments. I will never forget it. Being published by them was amazing. Then I thought I was one-and-done, but the book just completely touched so many writers. I have never gotten so many emails: “Thank you for saying the truth,” or “Thank you for being vulnerable.” Right before it published, I had a panic attack. I told my husband, “Now everybody's going to know that I am a mess and I'm not fabulous and the world is going to know my craziness.” By being vulnerable about the career, and also that it was specifically for romance authors, it caused a bond. I think it caused some trust. I had been writing about writing for years. After that, I thought it was one-and-done. Then two or three years later I was like, “No, I have more to say.” So I leaned into my non-fiction. It also gives my fiction brain a rest, because when you're doing non-fiction, you're using a different part of your brain. It's a way for me to cleanse my palate. I gather more experiences about what I want to share, and then that goes into the next book. Jo: Yes, I also use the phrase “palate cleanser” for non-fiction versus fiction. I feel like you write one and then you feel like, “Oh, I really need to write the other now.” Jennifer: Yes! Isn't it wonderful? I love that. I love having the two brains and just giving one a break and totally leaning into it. Again, it's another way of income. It's another way. I also believe that this industry has given me so much that it is automatic that I want to give back. I just want to give as much as possible back because I'm so passionate about writing and the industry field. Jo: Well, interestingly though, Writer's Digest—the publisher who published that magazine and other things—went bankrupt in 2019. You've been in publishing a long time. It is not uncommon for publishers to go out of business or to get bought. Things happen with publishers, right? Jennifer: Yes. Jo: So what then happened? Jennifer: So Penguin Random House bought it. All the Writer's Digest authors did not know what they were going to do. Then Penguin Random House bought it and kept Writer's Digest completely separate, as an imprint under the umbrella. So Writer's Digest really hasn't changed. They still have the magazine, they still have books. So it ended up being okay. But what I did do is—because I sold Write Naked and I have no regrets about that, it was the best thing for me to do, to go that route—the second and the third books were self-published. I decided I'm going to self-publish. That way I have the rights for audio, I have the rights for myself, I can do a whole bunch of different things. So Write True, the second one, was self-published. Writers Inspiring Writers I paired up with somebody, so we self-published that. And Write Free, my newest one, is self-published. So I've decided to go that route now with my non-fiction. Jo: Well, as I said, I noticed your Kickstarter. I don't write romance, so I'm not really in that community. I had kind of heard your name before, but then I bought the book and joined the Kickstarter. Then I discovered that you've been doing so much and I was like, “Oh, how, why haven't we connected before?” It's very cool. So tell us about the Kickstarters you've done and what you know, because you've done, I think, a fiction one as well. What are your thoughts and tips around Kickstarter? Jennifer: Yes. When I was taking that year, I found myself kind of… let's just say fired from a lot of different publishers at the time. That was okay because I had contracts that ran out, and when I looked to see, “Okay, do we want to go back?” it just wasn't looking good. I was like, “Well, I don't want to spend a year if I'm not gonna be making the money anyway.” So I looked at the landscape and I said, “It's time to really pull in and do a lot more things on my own, but I've got to build foundations.” Kickstarter was one of them. I took a course with Russell Nohelty and Monica Leonelle. They did a big course for Kickstarter, and they were really the ones going around to all the conferences and basically saying, “Hey guys, you're missing out on a lot of publishing opportunities here,” because Kickstarter publishing was getting good. I took the course because I like to dive into things, but I also want to know the foundation of it. I want to know what I'm doing. I'm not one to just wing it when it comes to tech. So what happened is, the first one, I had rights coming back from a book. After 10 years, my rights came back. It was an older book and I said, “You know what? I am going to dip my foot in and see what kind of base I can grow there. What can I do?” I was going to get a new cover, add new scenes, re-release it anyway, right? So I said, “Let's do a Kickstarter for it, because then I can get paid for all of that work.” It worked out so fantastically. It made just enough for my goal. I knew I didn't want to make a killing; I knew I wanted to make a fund. I made my $5,000, which I thought was wonderful, and I was able to re-release it with a new cover, a large print hardback, and I added some scenes. I did a 10-year anniversary re-release for my fans. So I made it very fan-friendly, grew my audience, and I was like, “This was great.” The next year, I did something completely different. I was doing Kindle Vella back in the day. That was where you dropped a chapter at a time. I said, “I want to do this completely different kind of thing.” It was very not my brand at all. It was very reality TV-ish: young college students living in the city, very sexy, very angsty, love triangles, messy—everything I was not known for. Again, I was like, “I'm not doing a pen name because this is just me,” and I funnelled my audience. I said, “What I'm going to do is I'm going to start doing a chapter a week through Kindle Vella and make money there. Then when it's done, I'm going to bundle it all up and make a book out of it.” So I did a year of Kindle Vella. It was the best decision I made because I just did two chapters a week, which I was able to do. By one year I had like 180,000 words. I had two to three books in there. I did it as a hardback deluxe—the only place you could get it in print. Then Vella closed, or at least it went way down. So I was like, “Great, I'm going to do this Kickstarter for this entire new thing.” I partnered with a company that helps with special editions, because that was a whole other… oh Joanna, that was a whole other thing you have to go into. Getting the books, getting the art, getting the swag. I felt like I needed some help for that. Again, I went in, I funded. I did not make a killing on that, but that was okay. I learned some things that I would have changed with my Kickstarter and I also built a new audience for that. I had a lot of extra books that I then sold in my store, and it was another place to make money. The third Kickstarter I used specifically because I had always wanted to do a writing course. I go all over the world, I do keynotes, I do workshops, I've done books, and I wanted to reach new writers, but I don't travel a lot anymore. So I came up with the concept that I was going to do my very first course, and it was going to be very personal, kind of like me talking to them almost like in a keynote, like you're in a room with me. I gathered a whole bunch of stuff and I used Kickstarter to help me A) fund it and B) make myself do it, because it was two years in the making and I always had, “Oh, I've got this other thing to do,” you know how we do that, right? We have big projects. So I used Kickstarter as a deadline and I decided to launch it in the summer. In addition to that, I took years of my posts from all over. I copied and pasted, did new posts, and I created Write Free, which was a very personal, essay-driven book. I took it all together. I took a couple of months to do this, filmed the course, and the Kickstarter did better than I had ever imagined. I got quadruple what I wanted, and it literally financed all the video editing, the books, everything that I needed, plus extra. I feel like I'm growing in Kickstarter. I hope I'm not ranting. I'm trying to go over things that can help people. Jo: Oh no, that is super useful. Jennifer: So you don't have to go all in and say, “If it doesn't fund it's over,” or “I need to make $20,000.” There are people making so much money, and there are people that will do a project a year or two projects a year and just get enough to fund a new thing that they want to do. So that's how I've done it. Jo: I've done quite a few now, and my non-fiction ones have been a lot bigger—I have a big audience there—and my fiction have been all over the place. What I like about Kickstarter is that you can do these different things. We can do these special editions. I've just done a sprayed-edge short story collection. Short story collections are not the biggest genre. Jennifer: Yes. I love short stories too. I've always wanted to do an anthology of all my short stories. Jo: There you go. Jennifer: Yes, I love that for your Kickstarter. Love it. Jo: When I turned 50 earlier this year, I realised the thing that isn't in print is my short stories. They are out there digitally, and that's why I wanted to do it. I feel like Kickstarter is a really good way to do these creative projects. As you say, you don't have to make a ton of money, but at the end of the day, the definition of success for us, I think for both of us, is just being able to continue doing this, right? Jennifer: Absolutely. This is funding a creative full-time career, and every single thing that you do with your content is like a funnel. The more funnels that you have, the bigger your base. Especially if you love it. It would be different if I was struggling and thinking, “Do I get an editor job?” I would hate being an editor. But if you look at something else like, “Oh yes, I could do this and that would light me up, like doing a course—wow, that sounds amazing,” then that's different. It's kind of finding your alternates that also light you up. Jo: Hmm. So were there any mistakes in your Kickstarters that you think are worth sharing? In case people are thinking about it. Jennifer: Oh my God, yes. So many. One big thing was that I felt like I was a failure if I didn't make a certain amount of money because my name is pretty well known. It's not like I'm brand new and looking. One of the big things was that I could not understand and I felt like I was banging my head against the wall about why my newsletter subscribers wouldn't support the Kickstarter. I'm like, “Why aren't you doing this? I'm supposed to have thousands of people that just back.” Your expectations can really mess with you. Then I started to learn, “Oh my God, my newsletter audience wants nothing to do with my Kickstarter.” Maybe I had a handful. So then I learned that I needed longer tails, like putting it up for pre-order way ahead of time, and also that you can't just announce it in your newsletter and feel like everybody's going to go there. You need to find your streams, your Kickstarter audience, which includes ads. I had never done ads either and I didn't know how to do that, so I did that all wrong. I joined the Facebook group for Kickstarter authors. I didn't do that for the first one and then I learned about it. You share backer updates, so every time you go into your audience with a backer update, there's this whole community where you can share with like-minded people with their projects, and you post it under your updates. It does cross-networking and sharing with a lot of authors in their newsletters. For the Write Free one, I leaned into my networking a lot, using my connections. I used other authors' newsletters and people in the industry to share my Kickstarter. That was better for me than just relying on my own fanbase. So definitely more networking, more sharing, getting it out on different platforms rather than just doing your own narrow channel. Because a lot of the time, you think your audience will follow you into certain things and they don't, and that needs to be okay. The other thing was the time and the backend. I think a lot of authors can get super excited about swag. I love that, but I learned that I could have pulled back a little bit and been smarter with my financials. I did things I was passionate about, but I probably spent much more money on swag than I needed to. So looking at different aspects to make it more efficient. I think each time you do one, you learn what works best. As usual, I try to be patient with myself. I don't get mad at myself for trying things and failing. I think failing is spectacular because I learn something. I know: do I want to do this again? Do I want to do it differently? If we weren't so afraid of failingqu “in public”, I think we would do more things. I'm not saying I never think, “Oh my God, that was so embarrassing, I barely funded and this person is getting a hundred thousand.” We're human. We compare. I have my own reset that I do, but I really try to say, “But no, for me, maybe I'll do this, and if it doesn't work, that's okay.” Jo: I really like that you shared about the email list there because I feel like too many people have spent years driving people to Kindle or KU, and they have built an email list of readers who like a particular format at a particular price. Then we are saying, “Oh, now come over here and buy a beautiful hardback that's like ten times the price.” And we're surprised when nobody does it. Is that what happened? Jennifer: Exactly. Also, that list was for a non-fiction project. So I had to funnel where my writers were in my newsletter, and I have mostly readers. So I was like, “Okay…” But I think you're exactly right. First of all, it's the platform. When you ask anybody to go off a platform, whether it's buy direct at your Shopify store or go to Kickstarter, you are going to lose the majority right there. People are like, “No, I want to click a button from your newsletter and go to a site that I know.” So you've got that, and you've got to train them. That can take some time. Then you've got this project where people are like, “I don't understand.” Even my mum was like, “I would love to support you, honey, but what the heck is this? Where's the buy button and where's my book?” My women's fiction books tend to have some older readers who are like, “Hell no, I don't know what this is.” So you have to know your audience. If it's not translating, train them. I did a couple of videos where I said, “Look, I want to show you how easy this is,” and I showed them directly how to go in and how to back. I did that with Kindle Vella too. I did a video from my newsletter and on social: “Hey, do you not know how to read this chapter? Here's how.” Sometimes there's a barrier. Like you said, Joanna, if I have a majority that just want sexy contemporary, and I'm dropping angsty, cheating, forbidden love, they're like, “Oh no, that's not for me.” So you have to know whether there's a crossover. I go into my business with that already baked into my expectations. I don't go in thinking I'm going to make a killing. Then I'm more surprised when it does well, and then I can build it. Jo: Yes, exactly. Also if you are, like both of us, writing across genres, then you are always going to split your audience. People do not necessarily buy everything because they have their preferences. So I think that's great. Now we are almost out of time, but this latest book is Write Free. I wondered if you would maybe say— What does Write Free mean to you, and what might it help the listeners with? Jennifer: Write Free is an extremely personal book for me, and the title was really important because it goes with Write Naked, Write True, and Write Free. These are the ways that I believe a writer should always show up to the page. Freedom is being able to write your truth in whatever day that is. You're going to be a different writer when you're young and maybe hormonal and passionate and having love affairs. You're going to write differently when you're a mum with kids in nappies. You're going to write differently when you are maybe in your forties and you're killing your career. Your perspective changes, your life changes. Write Free is literally a collection of essays all through my 30 years of life. It's very personal. There are essays like, “I'm writing my 53rd book right now,” and essays like, “My kids are in front of SpongeBob and I'm trying to write right now,” and “I got another rejection letter and I don't know how to survive.” It is literally an imprint of essays that you can dip in and dip out of. It's easy, short, inspirational, and it's just me showing up for my writing life. That's what I wish for everybody: that they can show up for their writing life in the best way that they can at the time, because that changes all the time. Jo: We can say “write free” because we've got a lot of experience at writing. I feel like when I started writing—I was an IT consultant—I literally couldn't write anything creative. I didn't believe I could. There'll be people listening who are just like, “Well, Jennifer, I can't write free. I'm not free. My mind is shackled by all these expectations and everything.” How can they release that and aim for more freedom? Jennifer: I love that question so much. The thing is, I've spent so many years working on that part. That doesn't come overnight. I think sometimes when you have more clarification of, “Okay, this is really limiting me,” then when you can see where something is limiting you, at least you can look for answers. My answers came in the form of meditation. Meditation is a very big thing in my life. Changing my perspective. Learning life mottos to help me deal with those kinds of limitations. Learning that when I write a sex scene, I can't care about my elderly aunt who tells my mother, “Dear God, she ruined the family name.” It is your responsibility to figure out where these limitations are, and then slowly see how you can remove them. I've been in therapy. I have read hundreds of self-help books. I take meditation courses. I take workshop courses. I've done CliftonStrengths with Becca Syme. I don't even know if that's therapy, but it feels like therapy to me as a writer. Knowing my personality traits. I've done Enneagram work with Claire Taylor, which has been huge. The more you know yourself and how your brain is showing up for yourself, the more you can grab tools to use. I wish I could say, “Yes, if everybody meditates 30 minutes a day, you're going to have all blocks removed,” but it's so personal that it's a trick question. If everybody started today and said, “Where is my biggest limitation?” and be real with yourself, there are answers out there. You just have to go slowly and find them, and then the writing more free will come. I hope that wasn't one of those woo-woo answers, but I really do believe it. Jo: I agree. It just takes time. Like our writing career, it just takes time. Keep working on it, keep writing. Jennifer: Yes. And bravery, right? A lot of bravery. Just show up for yourself however you can. If “write free” feels too big, journal for yourself and put it in a locked drawer. Any kind of writing, I think, is therapeutic too. Jo: Brilliant. So where can people find you and your books and everything you do online? Jennifer: The best place to go is my website. I treat it like my home. It's www.JenniferProbst.com. There is so much on it. Not just books, not just free content and free stories. There's an entire section just for writers. There are videos on there. There are a lot of resources. I keep it up to date and it is the place where you can find me. Of course I'm everywhere on social media as Author Jennifer Probst. You can find me anywhere. I always tell everybody: I answer my messages, I answer my emails. That is really important to me. So if you heard this podcast and you want to reach out on anything, please do. I will answer. Jo: Fantastic. Well, thanks so much for your time, Jennifer. That was great. Jennifer: Thanks for having me, Joanna.The post Writing Free: Romance Author Jennifer Probst On A Long-Term Author Career first appeared on The Creative Penn.

What if great friendships aren't found by luck but built through effort?Bestselling novelist Fredrik Backman, the mind behind A Man Called Ove (adapted into the Tom Hanks film A Man Called Otto), Anxious People, and the beloved Beartown series, has spent his career writing about the quiet power of ordinary people. But in his real life, he learned one of his most important lessons from his best friend of 30 years: meaningful friendship is a skill you develop, not a lottery you win.Despite being a self-described introvert, Fredrik discovered that you don't need hundreds of friends. You only get a few humans who truly shape your life. His newest book, My Friends, is a tribute to those relationships and the daily work of showing up for the people who matter most.In this candid and inspiring conversation, Fredrik and I talk about the healing power of friendship, why differences make relationships stronger, the value of having friends who edit us, and the joy of being genuinely happy for someone else.If you want to become a better friend and build deeper connections, this episode offers heartfelt lessons from one of the world's most compassionate storytellers.This is A Bit of Optimism.---------------------------This episode is brought to you by the Porsche USA Macan---------------------------To check out Fredrik's newest book, “My Friends,” visit: https://www.simonandschuster.com/books/My-Friends/Fredrik-Backman/9781982112820Find the full-length speech Fredrik gave for Simon & Schuster here: https://www.youtube.com/watch?v=NSuSyZ92Cjg

In August 2025, Polish researchers tested something nobody had thought to check: what happens to doctors' skills after they rely on AI assistance? The AI worked perfectly—catching problems during colonoscopies, flagging abnormalities faster than human eyes could. But when researchers pulled the AI away, the doctors' detection rates had dropped. They'd become less skilled at spotting problems on their own. We're all making decisions like this right now. A solution fixes the immediate problem—but creates a second-order consequence that's harder to see and often more damaging than what we started with. Research from Gartner shows that poor operational decisions cost companies upward of 3% of their annual profits. A company with $5 billion in revenue loses $150 million every year because managers solved first-order problems and created second-order disasters. You see this pattern everywhere. A retail chain closes underperforming stores to cut costs—and ends up losing more money when loyal customers abandon the brand entirely. A daycare introduces a late pickup fee to discourage tardiness—and late pickups skyrocket because parents now feel they've paid for the privilege. The skill that separates wise decision-makers from everyone else isn't speed. It's the ability to ask one simple question repeatedly: "And then what?" What Second-Order Thinking Actually Means First-order thinking asks: "What happens if I do this?" Second-order thinking asks: "And then what? And then what after that?" Most people stop at the first question. They see the immediate consequence and act. But every action creates a cascade of effects, and the second and third-order consequences are often the opposite of what we intended. Think about social media platforms. First-order? They connect people across distances. Second-order? They fragment attention spans and fuel polarization. The difference isn't about being cautious—it's about being thorough. In a world where business decisions come faster and with higher stakes than ever before, the ability to trace consequences forward through multiple levels isn't optional anymore. Let me show you how. How To Think in Consequences Before we get into the specific strategies, here's what you need to understand: Second-order thinking isn't about predicting the future with certainty. It's about systematically considering possibilities that most people ignore. The reason most people fail at this isn't lack of intelligence—it's that our brains evolved to focus on immediate threats and rewards. First-order thinking kept our ancestors alive. But in complex modern systems—businesses, markets, organizations—first-order thinking gets you killed. The good news? This is a learnable skill. You don't need special training or advanced degrees. You need two things: a framework for mapping consequences, and a method for forcing yourself to actually use it. Two strategies will stop your solutions from creating bigger problems: Map How People Will Actually Respond - trace your decision through stakeholders, understand what you're actually incentivizing, and predict how the system adapts. Run the "And Then What?" Drill - force yourself to see three moves ahead before you act, using a simple three-round questioning method. Let's break down each one. Strategy 1: Map How People Will Actually Respond Here's the fundamental insight that separates good decision-makers from everyone else: People respond to what you reward, not what you intend. When you make a decision, you're not just choosing an action—you're sending signals into a complex system of human beings who will interpret those signals, adapt their behavior, and create consequences you never imagined. Your job is to trace those adaptations before they happen. This strategy has three components that work together: First: Identify ALL Your Stakeholders When considering a decision, list everyone it will affect directly and indirectly. Don't just think about your immediate team—think about: Your customers (current and potential) Your competitors (how will they respond?) Your suppliers and partners Your employees at different levels Your investors or board Regulatory bodies or industry watchdogs Adjacent markets or ecosystems Most executives stop after listing two or three obvious groups. The consequences you miss come from the stakeholders you forgot to consider. Here's what research shows: Wharton professor Philip Tetlock spent two decades studying how well experts predict future events. His landmark finding? Even highly credentialed experts' predictions were only slightly better than random chance—barely better than a dart-throwing chimp. But the real insight came when Tetlock discovered that certain people can forecast with exceptional accuracy. These "superforecasters" share one key trait: they relentlessly ask "And then what?" before making predictions. They don't just see the immediate effect. They trace the decision through the entire system. The people making million-dollar decisions are operating blind beyond the first consequence. Our job is to see what they're missing. Second: Understand What You're Actually Rewarding This is where most decisions go wrong. You think you're incentivizing one behavior, but you're actually rewarding something completely different. Here's the test: For each stakeholder, ask yourself: "What does this decision make easier, more profitable, or less risky for them?" Quick example: Remember the daycare that introduced a late pickup fee to discourage tardiness? They thought they were incentivizing on-time pickup. But here's what they actually rewarded: guilt-free lateness. Parents who felt terrible about being late now had a clear price for that guilt. The fee didn't discourage the behavior—it legitimized it. Late pickups skyrocketed. The daycare asked the wrong question. They asked: "What punishment will discourage lateness?" Instead, they should have asked: "What does a $5 fee actually incentivize?" Another example: You add a performance metric to improve efficiency. First-order thinking says: "People will work more efficiently." But what are you actually rewarding? Optimizing for the metric—often at the expense of things you didn't measure but actually matter more. Sales quotas reward closing deals, not necessarily solving customer problems. Employee of the month awards reward visibility, not necessarily the best work. Quarterly earnings targets reward short-term thinking, not building long-term value. When you rush a hiring decision to fill a role quickly, you're rewarding speed over quality. The second-order effect? Your team learns that urgency matters more than fit, and future hiring suffers. The pattern: People don't follow the spirit of your policy—they follow the incentives. And they're incredibly creative at finding ways to game systems when the incentives misalign with the goals. Third: Trace Each Response Forward Now that you know who's affected and what you're incentivizing, trace how they'll respond—and then how the system responds to THEIR response. This is where the stakeholder analysis and incentives analysis combine into real predictive power. Example: When ride-sharing apps added surge pricing to solve driver shortages, here's how it played out: First-order: More drivers show up when prices surge. Problem solved, right? Second-order stakeholder responses: Customers started waiting out surge periods, meaning fewer overall rides Drivers started gaming the system—turning off their apps to create artificial shortages that triggered surges Competitors without surge pricing captured price-sensitive customers Media coverage made "surge pricing" synonymous with price gouging, damaging brand trust Third-order systemic effects: The solution trained customers to use the service less frequently It taught drivers to manipulate the platform rather than respond to genuine demand It created a PR vulnerability that regulators could exploit The very mechanism designed to solve shortages created new shortages through gaming behavior The original problem (driver shortages during peak times) was real. The first-order solution (higher prices attract more drivers) was economically sound. But nobody mapped how customers and drivers would actually respond to the incentives created by surge pricing. The key insight: Complex systems don't just accept your decisions—they adapt to them. And those adaptations often work directly against your original intent. Try it now: Pause this video for 30 seconds. Think of one decision your company made in the last year. Who were the stakeholders? How did they actually respond? Was it what you expected? [5-second pause built into video] If their response surprised you—you just found a second-order effect you missed. Strategy 2: Run the "And Then What?" Drill Now you have a framework for thinking about consequences. But frameworks don't change behavior—practice does. This is your daily practice method. Before any significant decision, literally ask yourself "And then what?" at least three times. Out loud. Make it awkward. Make it unavoidable. Here's why this works: Your brain will naturally stop at the first answer. The question forces you to keep going. It's a cognitive override—a way to fight your brain's preference for first-order thinking. The Three Rounds: Round 1: Immediate Consequence State the obvious first-order effect. This should come easily. "We'll discount our product by 20%." And then what? "We'll attract more customers and gain market share." Round 2: Response and Adaptation Now apply Strategy 1. How will stakeholders respond? What are we actually incentivizing? And then what? "Competitors will match our discount to protect their market share. And customers will start expecting permanently lower prices—we've trained them that our regular price was inflated. Early adopters who paid full price feel cheated." Round 3: Systemic Effects Trace the second-order responses forward. What happens when multiple stakeholders adapt simultaneously? And then what? "We're now in a price war. Our margins erode across the entire product line. We can't fund innovation or customer service improvements. Competitors with deeper pockets can outlast us. We've commoditized our own product and destroyed the brand value that justified our original pricing. We're stuck in a race to the bottom." The pattern you're looking for: Are the third-order effects consistent with your goals, or do they undermine them? Most people never get past Round 1. By forcing yourself to Round 3, you'll see patterns others miss. Try it now: Think of a decision you're facing right now—any decision. Say out loud what happens first. Now say out loud: "And then what?" Answer it. Now say it again: "And then what?" [5-second pause built into video] Did Round 3 surprise you? If yes—you just found your blind spot. Let Me Show You How This Actually Works Let me walk you through a decision I faced as CTO at HP. We were under pressure to cut R&D spending by 15% to hit quarterly earnings targets. Round 1: Immediate consequence. "We hit our quarterly numbers. Wall Street is happy. Stock price stays stable. The board is pleased." Round 2: Response and adaptation. And then what? "Our best researchers—the ones working on breakthrough projects with 3-5 year horizons—see the writing on the wall. They start looking at competitors who aren't cutting R&D. Meanwhile, the teams that survive shift focus to incremental improvements with shorter payback periods because that's what won't get cut next quarter." Round 3: Systemic effects. And then what? "Eighteen months later, our innovation pipeline is empty. We're selling the same products with minor tweaks while competitors who maintained R&D investment launch breakthrough products. We lose market leadership. Now we need to spend 3X what we saved just to catch up—but our best people are already gone." We fought that cut. We protected the long-term R&D. Some of those projects became billion-dollar product lines. But I watched other companies make that first-order decision and destroy their innovation capability. That conversation took maybe five minutes. But it saved HP from years of playing catch-up. Put This Into Practice Right Now Take a decision you're facing this week—any decision with financial or operational implications. Write down the decision at the top of a page. Be specific. List three immediate consequences. These should come easily. Take each consequence and ask "And then what?" twice. Write down both second-order and third-order effects. Find which effect you hadn't considered. That's your blind spot. Do this for one decision this week, and you'll start seeing consequences others don't. Make it a habit, and it becomes automatic—like a chess player who sees five moves ahead. The Unfair Advantage Right now, in your company, there are people who seem to always be one step ahead. They don't work longer hours. They're not more talented. But somehow, they avoid the disasters others walk into. They see opportunities others miss. They get promoted while others are fixing problems. Here's their secret: While everyone else celebrates the first-order win, they're already managing the second-order consequences. While you're implementing the solution, they've already anticipated what breaks next. That gap—between first-order thinking and second-order thinking—is the difference between running in place and actually advancing. Your challenge: For the next 30 days, before every significant decision, ask "And then what?" three times out loud. Not in your head. Out loud. Make it awkward. Make it unavoidable. Because the ones who rise aren't the fastest problem-solvers, they're the ones who solve problems that stay solved.. So …  Start asking the question. Three times. Every decision. The question isn't whether we have time to think this way. It's whether we can afford to keep making decisions that create bigger problems than they solve. Your Thinking 101 Journey The Thinking 101 series teaches how to think clearly in a world designed to confuse everyone—here's our journey so far: In Episode 1, we exposed the thinking crisis—AI dependency is creating cognitive debt, and independent thinking has become the most valuable skill in the modern world. In Episode 2, we learned to distinguish deductive certainty from inductive probability and stop treating patterns as proven facts. In Episode 3, we discovered how to distinguish true causation from mere correlation—saving ourselves from solving the wrong problem perfectly. In Episode 4, we learned how to harness the power of analogies while avoiding their traps—generating useful comparisons systematically and spotting false analogies that manipulate thinking. In Episode 5, we mastered probabilistic thinking—how to make decisions with incomplete information and act wisely when nothing is guaranteed. Today, in Episode 6, we learned how to stop our decisions from creating bigger problems—mapping how people actually respond to our decisions, understanding what we are truly incentivizing, and asking "And then what?" until we see patterns others miss. Up next—Episode 7: "Proportional & Numerical Thinking—Understanding Scale and Magnitude." We will learn how to think in terms of scale, ratios, and relative magnitude—understanding when numbers matter and when they don't, spotting statistical tricks used to mislead, and developing intuition about large numbers that most people lack. Hit that subscribe button so you don't miss future episodes. Also—hit the like and notification bell. It helps with the algorithm so others see our content. Why not share this video with a colleague who you think would benefit from it? Because right now, while you've been watching this, someone just made a decision that solves today's problem perfectly—and just created three bigger problems for next quarter. The only question is: will you be the one who sees them coming?     SOURCES CITED IN THIS EPISODE 1. Cost of Poor Operational Decisions Rathindran, R. (2018, December 20). Gartner Says Bad Financial Decisions by Managers Cost Firms More Than 3 Percent of Profits. Gartner Press Release. https://www.gartner.com/en/newsroom/press-releases/2018-12-20-gartner-says-bad-financial-decisions-by-managers-cost-firms-more-than-3-percent-of-profits 2. Expert Forecasting Accuracy and Second-Order Thinking Tetlock, P. E., & Gardner, D. (2015). Superforecasting: The Art and Science of Prediction. Crown Publishers. 3. AI Impact on Medical Diagnostic Skills Romańczyk, M., et al. (2025). Endoscopist deskilling risk after exposure to artificial intelligence in colonoscopy: A multicentre, observational study. Lancet Gastroenterology & Hepatology. As reported by NPR Health News, August 19, 2025. https://www.npr.org/sections/shots-health-news/2025/08/19/nx-s1-5506292/doctors-ai-artificial-intelligence-dependent-colonoscopy 4. Unintended Consequences of Incentive Systems Merton, R. K. (1936). The unanticipated consequences of purposive social action. American Sociological Review, 1(6), 894-904. 5. Second-Order Effects in Economics Henderson, D. R. (2018). Unintended consequences. In The Concise Encyclopedia of Economics. Library of Economics and Liberty. https://www.econlib.org/library/Enc/UnintendedConsequences.html     ADDITIONAL READING On Second-Order Thinking and Decision-Making Marks, H. (2011). The Most Important Thing: Uncommon Sense for the Thoughtful Investor. Columbia University Press. Dalio, R. (2017). Principles: Life and Work. Simon & Schuster. Tetlock, P. E., & Gardner, D. (2015). Superforecasting: The Art and Science of Prediction. Crown Publishers. On Systems Thinking and Consequences Meadows, D. H. (2008). Thinking in Systems: A Primer. Chelsea Green Publishing. Senge, P. M. (1990). The Fifth Discipline: The Art & Practice of The Learning Organization. Currency. On Incentives and Unintended Effects Levitt, S. D., & Dubner, S. J. (2005). Freakonomics: A Rogue Economist Explores the Hidden Side of Everything. William Morrow. Munger, C. T. (1995). The Psychology of Human Misjudgment. Speech presented at Harvard Law School.     Note: All sources cited in this episode have been accessed and verified as of November 2025.

This month, Jude and Stef have the pleasure of interviewing Tolkien educator, influencer and now biographer Don Marshall about his new book, “J.R.R. Tolkien: The Father of Modern Fantasy” which will be published on November 25, 2025, by Adams Media, an imprint of Simon & Schuster. We chat with Don about how the book came about, the challenges and delights of the writing process, and the surprises Don found along the way. Thanks for joining us again on Athrabeth, Don!  Citations: Thank you to our special guest Don Marshall! You can find links to Don's social media below:https://beacons.ai/donmarshall72  J.R.R. Tolkien: The Father of Modern Fantasy by Don Marshall will be published on November 25, 2025, by Adam's Media, an imprint of Simon & Schuster, in both book and audiobook format!Find your copy at the link below:https://www.simonandschuster.com/books/J-R-R-Tolkien/Don-Marshall/Pocket-Portraits/9781668135440

AN ELEGY FOR THE ELITE—Michael Grynbaum is a correspondent for The New York Times, where he has covered media, politics, and culture for 18 years. He's reported on three presidential campaigns, two New York City mayors—they're always so boring—and the transformation of the media world in the Trump era. He lives in Manhattan and he's a graduate of Harvard.His first book, Empire of the Elite: Inside Condé Nast, the Media Dynasty that Reshaped America, was published by Simon & Schuster in June, 2025. In the book, Michael chronicles the origins of the company, its go-go boom days in the eighties and nineties, and its more recent post-print transformation into whatever Condé Nast is these days. We'll figure that out later.Michael's bestseller captured a lot of attention when it was published—it's a bestseller and it's the latest in the line of books by and about Condé Nast magazine makers—full of great anecdotes and good stories. The kind of stuff we love here on Print Is Dead (Long Live Print!), and it's extremely readable.—This episode is made possible by our friends at Commercial Type and Freeport Press. A production of Magazeum LLC ©2021–2025

Try to go through a day without using an analogy. I guarantee you'll fail within an hour. Your morning coffee tastes like yesterday's batch. Traffic is moving like molasses. Your boss sounds like a broken record. Every comparison you make—every single one—is your brain's way of understanding the world. You can't turn it off. When someone told you ChatGPT is "like having a smart assistant," your brain immediately knew what to expect—and what to worry about. When Netflix called itself "the HBO of streaming," investors understood the strategy instantly. These comparisons aren't just convenient—they're how billion-dollar companies are built and how your brain actually learns. The person who controls the analogy controls your thinking. In a world where you're bombarded with new concepts every single day—AI tools, cryptocurrency, remote work culture, creator economies—your brain needs a way to make sense of it all. By the end of this episode, you'll possess a powerful toolkit for understanding the unfamiliar by connecting it to what you already know—and explaining complex ideas so clearly that people wonder why they never saw it before. Thinking in analogies—or what's called analogical thinking—is how the greatest innovators, communicators, and problem-solvers operate. It's the skill that turns confusion into clarity and complexity into something you can actually work with. What is Analogical Thinking? But what does analogical thinking entail? At its core, it's the practice of understanding something new by comparing it to something you already understand. Your brain is constantly asking: "What is this like?" When you learned what a virus does to your computer, you understood it by comparing it to how biological viruses infect living organisms. When someone explains blockchain as "a shared spreadsheet that no one can erase," they're using analogy to make an abstract concept concrete. Researchers have found something remarkable: your brain doesn't actually store information as facts—it stores it as patterns and relationships. When you learn something new, your brain is literally asking "What does this remind me of?" and building connections to existing knowledge. Analogies aren't just helpful for communication—they're the fundamental mechanism of human understanding. You can't NOT think in analogies. The question is whether you're doing it consciously and well, or unconsciously and poorly. The quality of your analogies determines how quickly you learn, how deeply you understand, and how effectively you can explain ideas to others. Remember this: whoever controls the analogy controls the conversation. Master this skill, and you'll never be at the mercy of someone else's framing again. The Crisis of Bad Analogies Thinking in analogies is a double-edged sword. I learned this the hard way. A few years ago, I watched a brilliant engineer struggle to explain a revolutionary idea to executives. He had the data, the logic, the technical proof—but he couldn't get buy-in. Then someone in the room said, "So it's basically like Uber, but for industrial equipment?" Instantly, heads nodded. Funding approved. Project greenlit. One analogy did what an hour of explanation couldn't. Six months later, that same analogy killed the project. Because "Uber for equipment" came with assumptions—about pricing, about scale, about network effects—that didn't actually apply. The team kept forcing their solution to fit the analogy instead of recognizing when the comparison broke down. I watched millions of dollars and two years of work disappear because nobody questioned whether the analogy was still serving them. The same mental shortcut that helps you understand new things can also trap you in outdated patterns. Consider Quibi's spectacular failure. In 2020, Jeffrey Katzenberg and Meg Whitman launched a streaming service with $1.75 billion in funding—more than Netflix had when it started. Their analogy? "It's like TV shows, but designed for your phone." They created high-quality 10-minute episodes optimized for mobile viewing. Six months later, Quibi shut down. What went wrong? The analogy was flawed. They assumed mobile viewing was like TV viewing, just shorter. But people don't watch phones the way they watch TV—they watch phones while doing other things, in stolen moments, with interruptions. YouTube and TikTok understood this. They built for distraction and fragmentation. Quibi built for focused attention that didn't exist. That misunderstanding burned through nearly $2 billion in 18 months. We see this constantly where complex issues get reduced to simplistic analogies that feel intuitive but lead to flawed conclusions. Someone compares running a country to running a household budget—"If families have to balance their budgets, why shouldn't governments?" The analogy sounds intuitive, but it ignores that countries can print currency, carry strategic long-term debt, and operate on completely different time horizons than households. The cost of bad analogical thinking is enormous. You waste time applying solutions that worked in one context to problems where they don't fit. You miss opportunities because you're trying to squeeze new situations into old patterns. And worst of all, you become easy to manipulate—because anyone who controls your analogies controls how you think. How To Think Using Analogies So how do we harness the power of analogy while avoiding its traps? Let me show you five essential strategies that will transform how you use comparison to understand your world. Generate Analogies Systematically The first skill is learning to create useful analogies on demand. Most people wait for analogies to pop into their heads randomly, but you can develop a systematic process for generating them whenever you need one. Map the structure of what you're trying to understand, then search for similar structures in domains you know well. Netflix's recommendation algorithm didn't come from studying other algorithms—it came from asking "How do humans recommend things?" and mapping that social process onto a technical system. Steps to generate powerful analogies: Identify the core function or relationship: Strip away surface details and ask what the thing actually does. A heart pumps fluid through a system. Now you can compare it to anything else that pumps fluid—engines, wells, plumbing systems.  Look across multiple domains: Don't limit yourself to obvious comparisons. The best analogies often come from unexpected places. The inventor of Velcro, George de Mestral, understood how burrs stuck to fabric by comparing them to hooks and loops—leading to a billion-dollar fastening system.  Map specific correspondences: Once you find a potential analogy, be explicit about what maps to what. If you're comparing your startup to a marathon, what corresponds to training? What's the equivalent of hitting the wall? What represents the finish line?  Test the analogy's limits: Push the comparison and see where it breaks down. This isn't a failure—it's information. Every analogy has boundaries, and knowing them makes the analogy more useful.  Consider multiple analogies: Don't settle for the first comparison that works. Electricity is like water flowing through pipes AND like cars on a highway. Each analogy reveals different insights.  Recognize When Analogies Break Down Most people fall in love with an analogy and push it beyond its useful range. A powerful analogy becomes a dangerous one the moment you forget it's just a comparison, not reality itself. The human brain loves patterns, and once we find one that works, we want to apply it everywhere. This is how we end up with terrible advice like "Just be yourself in job interviews" because "authentic relationships require honesty"—taking an analogy from personal relationships and stretching it to professional contexts where it doesn't fit. How to recognize the breakdown: Watch for forced mappings: If you find yourself struggling to make pieces fit, the analogy might be wrong. When the comparison starts requiring elaborate explanations or special exceptions, it's probably breaking down.  Check for contradictory predictions: A good analogy should help you predict behavior. If your analogy suggests one outcome but reality keeps producing another, the comparison isn't working.  Look for what's missing: What does the analogy leave out? Understanding the gaps is as important as understanding the matches. Social media isn't "the modern town square"—because town squares had time constraints, physical presence, and social accountability that platforms lack.  Test edge cases: Push your analogy to extremes. If "your body is a temple," does that mean you should let tourists visit? When an analogy gets absurd at the edges, you've found its limits.  A good analogy is a map, not the territory. The moment you forget that, you're lost. Use Analogies to Explain Complex Ideas Analogies are your secret weapon for making complicated concepts accessible to anyone. The person who can explain quantum physics using everyday comparisons has a superpower in our information-saturated world. Match the analogy to your audience's knowledge and choose comparisons that illuminate rather than obscure. The explanatory analogy playbook: Know your audience's knowledge base: You can compare machine learning to "teaching a child through examples" for general audiences, but that same analogy won't work for computer scientists who need technical precision.  Start with the familiar: Always move from what people know to what they don't. "Imagine your favorite playlist, but instead of songs it recommends..." grounds abstract concepts in concrete experience.  Be explicit about the comparison: Don't assume people will automatically see the connection. Say "Think of it like this..." and make the mapping clear.  Use multiple analogies for complex concepts: One analogy rarely captures everything. Combine several different comparisons to give people multiple angles of understanding.  Identify False Analogies in Arguments People will use analogies to manipulate your thinking—sometimes intentionally, sometimes not. Workplace debates are full of analogical arguments: "Remote work is like letting students do homework unsupervised—productivity will plummet." But is professional work really like homework? The analogy assumes similarities that may not exist. Recognizing false analogies protects you from being intellectually hijacked. When someone uses comparison to make their argument, your job is to evaluate whether the comparison is valid. Your defense against false analogies: Ask what's being compared: Make the analogy explicit. Often people use vague gestures toward similarity without stating exactly what maps to what.  Examine the relevant similarities: Are the things being compared actually alike in ways that matter to the argument? Comparing a business to a family sounds warm, but families don't fire members for poor performance.  Identify critical differences: What's different between the two things? Sometimes those differences destroy the analogy's validity. Saying "hiring is like dating" ignores that employment is a contractual relationship with completely different expectations and legal frameworks than romantic partnerships.  Consider alternative analogies: If someone says "Unlimited vacation policies are like giving employees a blank check," counter with "Actually, it's more like trusting professionals to manage their own time like we trust them to manage budgets." Different analogies suggest different conclusions.  Demand literal argument: When someone relies heavily on analogy to make their case, ask them to make the argument without comparison. If they can't, the analogy might be doing rhetorical work rather than logical work.  Build Your Analogy Library The final strategy is long-term: deliberately expand your collection of mental models and experiences so you have more source material for analogies. The person who only knows their own industry can only draw comparisons from that narrow domain. But someone who reads widely, pursues diverse experiences, and studies multiple fields can make unexpected connections. Steve Jobs famously took a calligraphy class—years later, those insights about typeface and design influenced the Mac's revolutionary interface. The analogy between typographic beauty and digital design wouldn't have been available without that cross-domain experience. Building your source material: Read across disciplines: Don't just consume content in your field. Read history, science, philosophy, biography. Each domain gives you new patterns to recognize elsewhere.  Study other industries: How do restaurants manage inventory? How do sports teams develop talent? These patterns might apply to your completely different context.  Learn the fundamental models: Some analogies recur because they capture universal patterns. Evolution, network effects, compound interest, equilibrium—these models apply across countless domains.  Practice deliberately: Make it a habit to ask "What is this like?" when you encounter new ideas. The more you practice generating analogies, the faster and better you'll become.  Practice A practical and effective way to develop this skill is to practice explaining concepts across contexts. Here's how you can sharpen your ability to think in analogies: Choose a concept you know well: Pick something from your area of expertise—a technical process, a business strategy, a creative technique, whatever you know deeply.  Identify three different audiences: Consider explaining this concept to a child, to someone in a completely different profession, and to an expert in an unrelated field.  Generate three analogies: For each audience, create a different analogy that would make the concept clear. Force yourself to draw from domains that audience would understand.  Test your analogies: If possible, actually explain your concept to someone using your analogy. Watch their face—confusion means the analogy isn't working, clarity means it is.  Refine and iterate: Share your analogies with others and adjust based on their feedback. The best analogies often emerge through conversation and iteration.  This exercise trains you to think flexibly, draw connections across domains, and understand the mechanics of what makes analogies work or fail. The more you practice, the more naturally these comparisons will come to you when you need them. The Rewards Mastering analogical thinking is a journey, not a destination. It requires constant practice, intellectual curiosity, and the humility to recognize when your comparisons break down. But the rewards are transformative. You'll learn faster by connecting new information to what you already know. You'll explain complex ideas with clarity that makes you invaluable in any professional setting. You'll spot flawed reasoning in arguments before others even notice something's wrong. You'll generate creative solutions by borrowing patterns from unexpected domains. Most importantly, you'll develop the mental flexibility to navigate an increasingly complex world. When AI reshapes your industry, you'll understand it by comparison to previous technological disruptions. When new social dynamics emerge, you'll make sense of them by recognizing familiar patterns in new contexts. The best thinkers aren't those who memorize the most facts—they're those who see connections others miss. Steve Jobs didn't invent the smartphone—he saw that a phone could be like a computer in your pocket. Jeff Bezos didn't invent retail—he saw that a bookstore could be like an infinite warehouse. Every breakthrough starts with someone asking "What if this is like that?" That's the power of thinking in analogies. And now you have the tools to make it yours. Your Thinking 101 Journey The Thinking 101 series is teaching you how to think clearly in a world designed to confuse you—here's our journey so far: In Episode 1, we exposed the thinking crisis—AI dependency is creating cognitive debt, and independent thinking has become the most valuable skill in the modern world. In Episode 2, you learned to distinguish deductive certainty from inductive probability and stop treating patterns as proven facts. In Episode 3, you discovered how to distinguish true causation from mere correlation—saving yourself from solving the wrong problem perfectly. Today, you learned how to harness the power of analogies while avoiding their traps—generating useful comparisons systematically, recognizing when analogies break down, and spotting false analogies that manipulate thinking. Up next—Episode 5: "Probabilistic Thinking—Living with Uncertainty." You'll learn how to think in probabilities rather than certainties, make decisions with incomplete information, and act wisely when nothing is guaranteed. Hit that subscribe button so you don't miss future episodes. Also—hit the like and notification bell. It helps with the algorithm so others see our content. Why not share this video with a colleague who you think would benefit from it? Because right now, while you've been watching this, someone just pitched a billion-dollar idea using a flawed analogy—and investors nodded along because it "sounded like" something that worked before. The only question is: will you be the one who sees through it? SOURCES CITED IN THIS EPISODE Cognitive Science Research on Analogical Reasoning Green, A.E., Fugelsang, J.A., & Dunbar, K.N. (2006). Automatic activation of categorical and abstract analogical relations in analogical reasoning. Memory & Cognition, 34(7), 1414-1421. https://link.springer.com/article/10.3758/BF03195906  Brain Pattern Recognition and Memory Storage Gentner, D., & Smith, L. (2012). Analogical Reasoning. Encyclopedia of Human Behavior (Second Edition), 1, 130-136. https://groups.psych.northwestern.edu/gentner/papers/gentnerSmith_2012.pdf  Neuroscience of Analogical Thinking Parsons, S., Maillet, D., Sayfullin, A., & Ansari, D. (2022). The Neural Correlates of Analogy Component Processes. Cognitive Science, 46(3). https://pubmed.ncbi.nlm.nih.gov/35297092/  Quibi Shutdown and Funding Details Spangler, T. (2020). Quibi Confirms Shutdown, Jeffrey Katzenberg Startup Will Shop Assets. Variety. October 22, 2020.https://variety.com/2020/digital/news/quibi-confirms-shutdown-jeffrey-katzenberg-meg-whitman-1234812643/  Quibi Funding History Crunchbase. (2020). Quibi Is Shutting Down After Raising $1.75B In Funding. October 22, 2020. https://news.crunchbase.com/startups/quibi-shutting-down/  Steve Jobs Stanford Commencement Speech Jobs, S. (2005). 'You've got to find what you love,' Jobs says. Stanford Commencement Address. June 12, 2005. https://news.stanford.edu/stories/2005/06/youve-got-find-love-jobs-says  ADDITIONAL READING On Analogical Reasoning and Cognition Holyoak, K. J., & Thagard, P. (1995). Mental Leaps: Analogy in Creative Thought. MIT Press. Gentner, D., Holyoak, K. J., & Kokinov, B. N. (Eds.). (2001). The Analogical Mind: Perspectives from Cognitive Science. MIT Press. On Thinking and Decision-Making Kahneman, D. (2011). Thinking, Fast and Slow. Farrar, Straus and Giroux. On Innovation and Cross-Domain Learning Isaacson, W. (2011). Steve Jobs. Simon & Schuster. Note: All sources cited in this episode have been accessed and verified as of October 2025.

Blanchard* trains more than 150,000 people annually in 30 countries. The firm's founder, Ken Blanchard, is one of the all-time outstanding leadership and management experts. His books, including most notably The One Minute Manager, have sold more than 28 million copies. That's what pretty much everyone knows. However, in her new biography, Catch People Doing Things Right: How Ken Blanchard Changed the Way the World Leads, veteran book editor and author Martha C. Lawrence reveals a side of Blanchard that few people outside of his immediate circle know — an exceptionally kind and generous man of deep conviction who had to overcome numerous hardships and setbacks to achieve his global stature. Martha has worked closely with Blanchard for more than two decades, following stints at Simon & Schuster and Harcourt Publishers, where she edited hundreds of books.  Catch People Doing Things Right delivers an inspiring roadmap for anyone seeking to lead with both results and relationships in mind. Blanchard, who is now 86 years old, has been a guest on Monday Morning Radio twice, in 2019 and 2022. *Formerly The Ken Blanchard Companies Monday Morning Radio is hosted by the father-son duo of Dean and Maxwell Rotbart. Photo: Martha C. Lawrence, Catch People Doing Things RightPosted: October 20, 2025 Monday Morning Run Time: 48:23 Episode: 14.20 Popular Books By Ken Blanchard: The Secret: What Great Leaders Know and Do Simple Truths of Leadership: 52 Ways to Be a Servant Leader and Build Trust  The Simple Truths of Service: Inspired by Johnny the Bagger The New One Minute Manager: A Timeless Guide to Effective Leadership, Stress Reduction, and Success in a Rapidly Changing Workplace Martha Lawrence's Mystery Novels Include: Murder in Scorpio The Cold Heart of Capricorn Ashes of Aries

Can you be the "perfect mom" while secretly drinking around the clock? In this raw and honest conversation, Rebecca Greene sits down with Emily Redondo, author of Wife Mother Drunk: An Intergenerational Memoir of Loss and Love. From the outside, Emily had it all—four kids, a loving husband, and the picture-perfect family life. But behind closed doors, she was hiding bottles, cycling through seven rehab stays, and battling the shame that comes with chronic relapse. Emily opens up about what it's really like to struggle with alcohol addiction as a mother, why relapse doesn't mean failure, and how generational trauma shaped her relationship with drinking. This isn't a neat redemption story—it's the messy, complicated truth about recovery while raising kids, the unrealistic expectations we place on mothers, and why simply "quitting" isn't always the answer. In this episode, you'll discover: ➤ Why Emily's "perfect mom" appearance masked years of hidden drinking and multiple rehab stays ➤ The reality of chronic relapse and why it doesn't look like the stereotypical image of an "alcoholic mom" ➤ How generational patterns and her own mother's alcoholism influenced Emily's journey ➤ The changes Emily had to make at home beyond just getting sober—including boundaries, dividing household labor, and honest conversations with her kids ➤ Why self-care for mothers goes far beyond bubble baths and manicures Two powerful quotes from Emily "I never, ever quit trying. There was not like this point where it was like, I'm just gonna quit trying to quit. It was every day, every single day." "The more I wallow in what's happened and try to grapple with how terrible I was as a mom, then the more I'm robbing myself of right now. I've used up all the time to do that, and now I'm gonna get over it." Connect with Emily Redondo: Website: https://www.emilyredondoauthor.com/ Instagram: @emily_redondo_author Book: Wife Mother Drunk: An Intergenerational Memoir of Loss and Love (available on Amazon, Simon & Schuster, and other retailers) Learn more about your ad choices. Visit megaphone.fm/adchoices

Struggling with self-doubt or pressure as an entrepreneur? Learn how to think like an elite athlete. In this episode, Dr. Cindra Kamphoff reveals the mindset strategies used by NFL players and Olympians to build confidence, resilience, and unstoppable mental strength. In this powerful conversation, host David Hill sits down with Dr. Cindra Kamphoff — mental performance coach to the Minnesota Vikings and Team USA Track & Field — to uncover how entrepreneurs can master the same mindset tools as top athletes. Dr. Cindra shares actionable strategies to overcome self-doubt, manage pressure, and build the confidence needed to pursue your biggest goals. From her “Learn, Burn, Return” method to the “Truth Meter” framework, you'll discover how to silence your inner critic, reframe failure, and perform at your best — even under stress. Whether you're leading a team, launching a business, or chasing a dream that scares you, this episode gives you the mental tools to stay focused, confident, and resilient through every challenge.     Key Takeaways How to transform anxiety into focus and excitement The “Learn, Burn, Return” tool for bouncing back fast after setbacks Why confidence is a decision, not just a feeling The truth about inner critics — and how to quiet yours Daily mindset routines used by elite athletes and leaders Why psychological safety drives peak team performance     Guest Bio: Dr. Cindra Kamphoff Dr. Cindra Kamphoff is an award-winning keynote speaker, certified mental performance coach, and author of the Amazon bestseller Beyond Grit: Ten Powerful Practices to Gain the High Performance Edge. She has provided mindset coaching for the Minnesota Vikings and U.S. Olympic Track & Field team and is the founder of the Mentally Strong Institute, where she and her team help leaders, athletes, and entrepreneurs unlock mental toughness and resilience. Her podcast, The High Performance Mindset, ranks in the top 0.5% globally with over 4 million downloads. Her next book with Simon & Schuster, coming soon, dives into the science of confidence.    

This week on Bound + Determined, I'm beyond thrilled to introduce you to my editor and book collaborator, Hannah Robinson. She has been an integral part in helping me make Do the Thing all that I want it to be for you. I have 3 weeks until my manuscript deadline, and I'm right on time! In this episode, you'll hear how we worked together, and some of the challenges I came across in my writing. Hannah and I crossed paths many times over the years, as she was previously at Simon & Schuster and Hachette, where many of my clients have published. Now, Hannah is out on her own and eager to shed light on how editors can support authors in diverse ways. Hannah is an absolute stand-out talent at what she does, and she's breaking down all the ways an outside editor/collaborator (someone beyond your Publisher's editor) can enhance your writing experience and the final product. Don't miss it!  

Kelly Drane, research director at Giffords Law Center, Ned Parker, investigative reporter at Thomson Reuters, and McKay Coppins, staff writer at The Atlantic and the author of Romney: A Reckoning (Simon & Schuster, 2023), talk about guns and the state of political violence in America after conservative activist Charlie Kirk was shot and killed at an event on a Utah college campus.