Podcast appearances and mentions of simon schuster

Jena Friedman is an Academy Award-nominated writer, comedian, and creator behind critically acclaimed series such as TRUE CRIME STORY: INDEFENSIBLE on AMC+, SOFT FOCUS on Adult Swim, and co-writer of BORAT 2: Subsequent Movie Film, which garnered her an Oscar nomination. Her writing credits include Netflix's NOBODY WANTS THIS, ABC's THE CONNERS, and she served as a field producer for THE DAILY SHOW WITH JON STEWART and writer for THE LATE SHOW WITH DAVID LETTERMAN. A contributing writer to THE NEW YORKER, Jena's bestselling debut book, Not Funny: Essays on Life, Comedy, Culture, Et Cetera., was published by Simon & Schuster in 2023. She has appeared on THE LATE SHOW WITH STEPHEN COLBERT, CONAN, THE NIGHTLY SHOW WITH LARRY WILMORE, and in the Sundance hit film PALM SPRINGS. Her first stand-up special and Edinburgh show, AMERICAN C*NT, was named one of the Top Ten Comedy Specials by Paste Magazine in 2016, and her sold-out follow-up, MISCARRIAGE OF JUSTICE, was critically-acclaimed. Her 2022 show, LADYKILLER, was ranked #2 in Decider's "Ten Best Stand-Up Specials of 2022." Her new show MOTHERF*CKER is now out, also performing in Edinburgh so check it out! We chat about her new comedy shows in Edinburgh, fake copies of her book, not playing the ‘game', John McAfee, grief, writing for Roseanne*, working on Jon Stewart, life changing moments from Conan, being kicked out of improv, working on Borat 2 plus plenty more!   Check Jena out on: Instagram: https://www.instagram.com/jenafriedman Website: http://www.jenafriedman.com/ Tickets including Edinburgh: http://www.jenafriedman.com/tour.html Book: https://www.simonandschuster.com/books/Not-Funny/Jena-Friedman/9781982178291?fbclid=PAZXh0bgNhZW0CMTEAAac1mm--WCiwGjnjAeZhpZalCe-0A66YNFrdA6iA6QSWflvK-r0wpxmyBFqqGw_aem_NEQ4unGsoT17fMPMGVCbDg   TikTok: https://www.tiktok.com/@jenafriedman   Youtube: https://www.youtube.com/user/JenaFriedman2 John McAfee interview: https://www.youtube.com/watch?v=tfe4Fjf3sds Substack: https://jenafriedman.substack.com/ ------------------------------------------- Follow @Funny in Failure on Instagram and Facebook https://www.instagram.com/funnyinfailure/ https://www.facebook.com/funnyinfailure/ and @Michael_Kahan on Insta & Twitter to keep up to date with the latest info. https://www.instagram.com/michael_kahan/ https://twitter.com/Michael_Kahan

One of the writing skills I am asked about the most is, “How do I get emotion on the page?” People ask this no matter what genre they are writing, because no one wants to produce a manuscript that is flat and unengaging. Emotion is the key, but figuring out how to inspire your reader to feel something is a tricky thing to learn and an even trickier thing to master.In her debut novel, Slanting Towards the Sea (Simon & Schuster, July 2025), Lidija Hilje has mastered it. The story feels so raw and so real—and English is not even Lidija's first language! It's a remarkable achievement. I'm excited to speak with Lidija about her path to publication and how she figured out how to get the emotion of her characters onto the page.Links from the Pod:Article from Jane FriedmanGuide on Literary Fiction from LidijaLidija's website: www.lidijahilje.comAuthor Accelerator book coaches Barbara Boyd and Nita CollinsHey everyone, it's Jenny Nash. This episode happens to feature an Author Accelerator book coach. Author Accelerator is the company I founded more than 10 years ago to lead the emerging book coaching industry. If you've been curious about what it takes to become a successful book coach, which is to say, someone who makes money, meaning, and joy out of serving writers, I've just created a bunch of great content to help you learn more. You can access it all by going to bookcoaches.com/waitlist. We'll be enrolling a new cohort of students in our certification program in October, so now's a perfect time to learn more and start making plans for a whole new career.Transcript below!EPISODE 456 - TRANSCRIPTJennie NashHey everyone, it's Jennie Nash. This episode happens to feature an Author Accelerator book coach. Author Accelerator is the company I founded more than 10 years ago to lead the emerging book coaching industry. If you've been curious about what it takes to become a successful book coach—which is to say, someone who makes money, meaning, and joy out of serving writers—I've just created a bunch of great content to help you learn more. You can access it all by going to bookcoaches.com/waitlist. That's bookcoaches.com/waitlist. We'll be enrolling a new cohort of students in our certification program in October, so now's a perfect time to learn more and start making plans for a whole new career.Multiple Speakers:Is it recording? Now it's recording, yay. Go ahead. This is the part where I stare blankly at the microphone. I don't remember what I'm supposed to be doing. Alright, let's start over. Awkward pause. I'm going to rustle some papers. Okay, now one, two, three.Jennie NashHey writers, I'm Jennie Nash, and this is the Hashtag AmWriting podcast, the place where we talk about writing all the things; short things, long things, fiction, nonfiction, pitches, and proposals. Today I'm talking with Lidija Hilje, the author of the novel Slanting Towards the Sea. And what we're talking about is how to capture emotion on the page—the most elusive thing in the entire writing universe. Lidija lives in Croatia. She's a former lawyer who I know because she became a book coach through Author Accelerator. This is her first novel, and it's something else. As a longtime book coach, it's really hard for me to read for pleasure anymore, because it's so hard not to see the writer at work and the seams of the creation. But Slanting Towards the Sea—I saw none of that. I fell wholly into the story and became lost in it; the olive trees and the sea, the pain of these people and this love triangle, and also just the love that they had for life and each other. It's almost unbearably raw—the way life itself can feel sometimes. And yet, since I know Lidija and her story to becoming a writer, I also know how much work it took to create this feeling and emotion. I'm so excited to speak with Lidija today, and so excited for people to hear about her and her story. So welcome, Lidija. Thanks for coming onto the podcast.Lidija HiljeThank you so much for having me and for this incredible introduction. I'm so honored.Jennie NashWell, before we get started, I want to read the jacket copy for Slanting Towards the Sea, so that our listeners can hear the bones of the story that you wrote. Is that okay if I read it for our listeners?Lidija HiljeAbsolutely. Thank you so much.Jennie NashOkay.Ivona divorced the love of her life, Vlaho, a decade ago. They met as students at the turn of the millennium, when newly democratic Croatia was alive with hope and promise. But the challenges of living in a burgeoning country extinguished Ivona's dreams one after another—and a devastating secret forced her to set him free. Now Vlaho is remarried and a proud father of two, while Ivona's life has taken a downward turn. In her thirties, she has returned to her childhood home to care for her ailing father. Bewildered by life's disappointments, she finds solace in reconnecting with Vlaho and is welcomed into his family by his spirited wife, Marina. But when a new man enters Ivona's life, the carefully cultivated dynamic between the three is disrupted, forcing a reckoning for all involved. Set against the mesmerizing Croatian coastline, Slanting Towards the Sea is a cinematic, emotionally searing debut about the fragile nature of potential and the transcendence of love.That's it! What a—what a—what a summary, right? So I want to start by talking about the genre of this book, Lidija. As a book coach, you specialize in helping people write literary fiction. And you're extremely articulate about defining exactly what it is. And I'd like to just start there, by talking about how you see this novel, where it's positioned and, um, and your sense of it in, as a—in the genre, um, categories, if you will. Um, and I'll share with our listeners before you answer that English is not your first language—which is something we're going to talk about from a writing perspective, but just from a listening perspective, to give people some context for that. So let's talk about—let's talk about genre.Lidija HiljeYeah, well, genre is one of my favorite topics as a book coach, and so naturally it is something I love talking about. So the first book I ever wrote, which is now safely shelved in a drawer at the bottom of a drawer, was women's fiction. And the reason why it was women's fiction was that because I was learning how to write, I was learning how to weave a story together. And in doing so, I was trying to find some commonalities in stories—like how stories work, how you develop them, how you develop a character arc, how you wrap it up towards the end. And—but my intention always was to write literary. I was just not very good at doing it. And so I kind of—like all the feedback that I got throughout my—from developmental editors—it was like geared towards kind of channeling the book towards women's fiction. And this is something that really still strikes me as a book coach: how different it is to coach literary fiction as opposed to genre fiction, which is more formulaic. So basically, that first book is safely shelved. And when I started writing this book, I was working really hard at trying to make it not be formulaic. And actually, one of the book coaches from our community helped me. I had a conversation with Barbara Boyd where I outlined my story for her, and she said there was this moment where I kind of did something in my outline…what could basically be called a cop-out—so that… I killed a character, basically, so that the…you know, that the book would close neatly, right? And so she called me out on it and said—because I talked to her specifically because she coaches literary fiction but didn't like or coach women's fiction—and I thought that perspective was something I needed. And so she said, "Why are you killing that character?” And that was the wake-up moment for me, because that was the moment when I realized that in doing so, that was the typical moment where a writer kind of goes toward the genre. And where the interesting thing in the literary fiction genre lies is exploring, you know, what happens when you don't kill the character—when you don't take the easy way out. And so, genre-wise, what I, you know—I run a book club for writers, and we read a lot of literary fiction. And so, I was constantly trying to figure out, like, what is it about these books that, you know, define genre? And in studying these books, there are several things, and I could talk about this, I guess, for centuries, but I'll try to...Jennie NashI—I love it. Let's do it.Lidija HiljeSo basically, in literary fiction, there are many things that genre fiction also has. There are themes, there are character arcs—you know, a character might grow, though not necessarily. But basically, it's much less clear than in genre fiction. In genre fiction, for instance, you have—especially in women's fiction—you will have a woman who is shy and then she becomes confident toward the end. Or you have a horrible, you know, self-obsessed character who learns their lesson toward the end of the book. It's really clear-cut. The reader can latch on to what the problem is without thinking too much about it. And literary fiction does the opposite. It fans out a little bit. It touches on many different things that kind of seem unrelated, but they are related. And this is a problem in writing it, as well as coaching it, because as a coach or as a writer, you have to be aware of all these things. You have to beware of how these things tie together so that you have the idea of this through line that goes throughout the story, whereas the reader might not be catching on as fast but does have the confidence that you, as the writer, are going to get them there, if that makes sense.Jennie NashOh, it makes so much sense. So when you were working on—I actually remember reading some opening, maybe the opening chapters of the novel that has been shelved. When I read those pages, they struck me as if they had that feeling of literary fiction. Was that your intention with that novel as well?Lidija HiljeYes, it was. It was just that I was unable to... I came to writing late. I mean, I was always a writer in the sense that I was always writing something, but I came to writing fiction and specifically books very late. It was 2017 when I started writing that book in Croatian. And the first, you know, contact with any craft or writing happened in 2019 when I finished the draft and I translated that book into English, and I started looking for ways of pub... you know, publishing that book and realized that the first draft is not the last draft. Like that was the—like it was—sometimes it's so funny to think like how recently I didn't know anything about publishing or writing at all. So basically, I did want that book to be literary fiction. I always wanted to do, you know, to write the type of fiction that I wrote in Slanting [Slanting Towards the Sea], and obviously I hope to, you know, hone my craft in the future, but it wasn't—it wasn't on that level. And the first developmental editor that I worked with in 2019, she was giving me all the logical advice that you can give someone, which is... hone the character arc you are telling here, show, you know, all those things that we tell our clients when we work with them as book coaches. But what it did is it completely stripped the literary part from it, and it made me write in scene, which is not how literary fiction is written. You know, like, one of the differences between commercial fiction and literary fiction is that you don't necessarily write in scenes. You write in summaries, and you write in postcards, which is the type of a scene that goes deeper instead of forward, if that makes sense. So you're not kind of—nothing changes for the protagonist, the protagonist doesn't realize anything, they don't decide on a new course of action, nothing new happens, but the reader's understanding of the character happens. And this is also true when you're looking at the character arc on the, you know, scope of the whole novel. Like in literary fiction, it will often be that, you know, that the character doesn't change much in terms of, like what I said before—she was shy and she stopped being shy, right? It will just be that the reader's understanding of the character deepens. And so my first book was an attempt at literary fiction, but it was not an execution. You know, the execution didn't really match that, and I feel like the advice that I got from my early developmental editor was just kind of trying to put me in the confines of commercial fiction. Which is... you know... understandable. You know, and I'm great— I'm even, like, today—I'm grateful for it because you first have to learn how to walk and then you can run, right? So I did have to go through the process of learning how to write a good scene, of learning how not to tell, of learning how to hide the seams that you—that you were talking about—you need to hide your fingerprints as a writer. And that was my learning book. I learned a lot from writing it, but by the time I was done with it, it was not—it didn't—it was not a bad book, and I got a lot of full requests for it, but it was not—it did not end up being what I had hoped for it.Jennie NashSo, in 2017, when you started that book, you said you came to writing late. Do you mind sharing where you were in your life, if you want to share your age or what you were doing in your life, just to give us some context for what you mean by that—by coming to it late?Lidija HiljeSo yeah, so 2017 was one of the hardest years in my life, I think. I think it's just the moment where I was around 35, I think. I would have to do the math, but mid-30s. And I had just been fired for the second time after my second maternity leave. And, you know jobs in my profession, which is—I was an attorney—were scarce, and I opened my own law firm. And I sat there in my law office, you know, a woman working as an attorney in Zadar, Croatia. It was not, you know, I was not having like flocks of clients, you know, going through the door. And you had to sit there from 8am to 4pm, which is our work time. And I had, um, ii had um... I started writing basically to pass the time. And I was writing just the scenes that I was interested in that, you know, brought me joy and then I, you know, wrote the intermittent scene, and the book grew and grew. And by the time I had finished it, which was a year and a half later, you know, it became... It just became a thing that I was—it took over it took over my whole life. I could not, you know and financially it was a difficult time for us as well. We had reached—my husband and I, like I said mid 30's—and we had kind of peaked career wise here in Croatia. So basically, what people don't understand about Croatia is that even if you're a brain surgeon, or if you're a lawyer, or if you're a programmer—like my husband—the money you make is not much more than the average wage. And so, you know, we were at the top of our game professionally, but not earning enough to make ends meet. And so we had started thinking about moving to Ireland basically, which is the, you know, IT hub for the... in Europe. And in thinking about it, I was sitting in my law office and I was basically crying my eyes out thinking if I go there, I'm going to be stripped of my identity as an attorney. I had been working toward that for basically 15, 20 years. And in trying to get over that pain of working towards something that in Ireland, it's not going to mean anything because, you know, the legal system is so very different and my use of language was not, you know, it's still not really good. Like professional English is not the same as this spoken English, you know, everyday English. And so, in kind of trying to accept that we are going to move and I'm going to be stripped of that identity as a lawyer, I was, in a way, you know, to make it easier for myself, I started accepting all the things that I didn't want to look at, which is I hated my job.Jennie NashRight, right.Lidija HiljeI loved being in a courtroom, like that was a good part of it. But everything else, you know, the intellectual part of it, like thinking about law, applying law to a certain case was interesting to me. But everything else was horrible. And so, once I accepted that, and my husband got a job, you know, like working for... as a freelancer for an outside company, and we could stay in Croatia, I was like, "And what am I going to do now? I can't go back to being a lawyer." And so, because his wage was a little bit more than, you know, for the first time, he could afford for me to go, you know, to take a year off and to see what I could do. And so, for a while, I interned at a foreign literary agency—that didn't go anywhere. Then I wrote, you know, a copy for a startup that didn't end up, you know, paying me. So that was kind of like—I was at the end of my rope by the, you know, toward the end of that year. And then I encountered the Author Accelerator program for book coaches, and I had during that year I had connected with writers and I have realized that basically the legal knowledge really translates beautifully into book coaching. So it was kind of like, you know, working on a story, or if you're working on a case, or working on a book, it's kind of a similar thing, similar logic applies. And so it was a… you—you know, it was, I know I'm mixing a little bit the books coaching and legal and, you know, writing careers...Jennie NashNo, it's fascinating.Lidija HiljeBut they are so intertwined in my life, yeah.Jennie NashI mean, it's fascinating the way that you trained yourself on story, basically. And I remember the conversation when you approached Author Accelerator, because you were nervous about being able to meet the requirements of our program because of your language—that English is not your first language. But I, I mean, we have a system whereby it's you try it, you know, if—if you'd meet the requirements, you meet them and if you don't, you don't. And it struck me that your grasp of story was so profound. That I didn't know... you know, it was one conversation about your grasp of the written language. But, um, you were... you were very nervous about your ability to do the work of book coaching in another language. And it's just interesting from where we sit now, so I want to circle back to the book itself and the novel and what you accomplished in it, because it really does have the thing that so many writers are always trying to do, and they talk about it—it is so elusive. Which is this capturing this feeling, emotion, letting the reader sit in the mirror of what those characters are feeling, and you feel it your own self, and that it, you know, when it, when it works, it's, it's like a magic trick. And it strikes me that you came at that very deliberately. It was not accidental. Is that fair to say? Would you believe that?Lidija HiljeI think I always wanted to write about... I always wanted to write quiet stories. And for quiet stories to work, you have to make the quiet things loud in a way. And the loud things are the emotions. And so yes, yes, it was always my goal. I was not always good at it... in writing emotion. But yeah, like during that process of writing that first book, I struggled with it a lot. I struggled with what I guess happens a lot of the time when we are writing is that we're trying very hard for the reader to see things the way we are seeing them. And this counter-intuitively causes the very reverse effect. You know the reader—is the more you're trying to make them listen to you, the more you're trying to, you know, impose your view of things on them, the more they resist. So the trick is basically, and I'll make it sound very easy, it's not easy at all to execute, but the trick is to kind of, you know, to try to find a way and to deliver that emotion without judgment. Like, this is what I'm feeling, or this is what my character is feeling. And not trying to explain it, not trying to get compassion, not trying to get the reader to feel anything. Like, you're just putting things out in the ether, and you're allowing the reader to do their own math. And this is something you can do in literary fiction, which is more open-ended, right? And the readers of genre fiction, I do need more hand-holding in that sense that they will not maybe work as hard as the literary reader. So yeah, I did work very hard. And, you know, the first book, the “shelved” book, really got to a point where I couldn't do that work anymore. But when I started Slanting [Slanting Towards the Sea]… the literally... the first scene in Slanting [Slanting Towards the Sea], came out the way it did. Like that's…Jennie NashOh wow!Lidija HiljeIt didn't change. We had this meeting of writing friends and one of them said, let's exchange, like, let's read 500 new words and I was not working on anything. I had been focusing on book coaching at that moment—that was 2021. And I went to the moment in that room when she is thinking about her ex-husband, you know, when the protagonist is thinking about her ex-husband, and it just came out the way it is. I don't think I changed basically more than three words since that scene came out the way it is. And so...Jennie NashOh, that's amazing. I want to... I want to read some of the lines from that opening scene, if I can, to give the readers... I mean the listeners a sense of what we're talking about. So here's how Slanting Towards the Sea begins.I open his socials and sift through his photos. I know their sequence like I know the palm of my hand. Better even, because I can never memorize what my palm looks like, how the life line twirls into the love line, how it begins tight and uniform, but then turns ropey. It scares me to look at it, to trace the lines, to see where they might lead me in years to come. But I know Vlaho's photos by heart.And it goes on from there. It's, it's just, it's so haunting. And, and the whole, the whole novel is, is that, has that feel to it. So when did you, when did you know that with this story you had it? You knew with the other one that you couldn't get it back, or that it wasn't going to happen. When did you begin? Was it after the sharing of that scene where you thought, oh, I've got this?Lidija HiljeI knew that I could write a scene, but there's a difference, you know, a postcard. I would call this a postcard. This is the typical example of a postcard, a scene where nothing changes for the protagonist and she doesn't understand anything new, but it kind of deepens the reader's understanding of, you know, her situation. So I knew I could write it, which is something I struggled with, with the first book, but I—there's a long road from doing one good postcard and then, you know, writing an entire book, which in literary fiction you have this additional, you know, challenge. You do a ratio basically of normal scenes and summaries, and postcards, and you have to maintain that ratio throughout the book. So, um, yeah for the... relatively early in the book I had submitted that first scene for some competitions. And I got great feedback. It won a critique match, writing a competition in the literary fiction category. And it was long listed in the BPA Pitch Prize in the UK. So I knew that... you know... you know... that the opening of the book was working. So that was good. But from then on, it was such a struggle, because you read the book, and so you know, it has dual timelines; it spans 20 years. I was struggling so bad trying to figure out whether I should do, you know, the past in flashbacks? Whether I should alternate timelines? How do I set this massive story up, which has, you know, the past, and, you know, the present, which happens over a span of... I don't know... five or six months in the present timeline. So I struggled with it a lot. But the thing that I struggled with the most was accountability. So basically, for the first year and a half—for the first year—I wrote, I think, maybe 150 pages. They were not very well set up. I was unsure of them, and I would always push the book backwards to work on client stories. And so what really changed the game for me was when I—I have this program that I run in summertime and one of our book coaches was in that program, Nita Collins. And after the program ended, we partnered up. And so she was my accountability—you know partner, as well as…you know, feedback giver and cheerleader and all the things. And so, you know, I still struggled with how to set up all the things and how to build up the narrative, which I think is really hard for people to coach literary fiction, because you can basically only offer solutions that are kind of geared towards tropey, right? So the author really does have to do all the work, in that sense, but she was absolutely instrumental in terms of me getting the pages down and just seeing if the pages hit the mark or didn't, why they didn't, you know, talking to her, just voicing, talking about the book. And so this went on for a year and within one year I had a full first draft and from then on it was a quick revising process and within three months I had three agent offers. So it was a fast process from then on, from having the first draft, to getting an agent.Jennie NashWell, big shout out to Nita Collins and the Author Accelerator community. I love that a connection happened for you guys. It's really beautiful the way you describe it. So can you explain why you decided it was time to go out to agents? With the first book you decided... this is not going to go anywhere. I'm putting it aside. And with this one, very soon after you finished the first draft, you decided to pitch. What was that decision-making process like for you?Lidija HiljeSo I want to be completely honest. I didn't shelve the first project because I thought it was not, I could not get it to a level. I was convinced that it was on a level, and I had pitched it, but I had been rejected over 100 times. So basically the industry decided for me that it wasn't going to happen. And one of the things that was really hard for me in that first book is that I set it in the US, which I've never been to the US. So it made it very difficult, but I felt like if I set the book in Croatia, I would, like the cultural perspective would overpower the quiet narrative. And I thought that I couldn't do it. And so I, you know, in Slanting [Slanting Towards the Sea], this is the base of the book. Like, it's, you know, I've found a way to weave the cultural perspective as seamlessly as I could. But the pitching process—I basically... I had the first draft done when I had decided to pitch the book. It was a little bit—to be honest, I was a little bit hasty. I had applied for The Muse & the Marketplace conversation with agents. You could...Jennie NashLike the speed dating.Lidija HiljeYeah, like the speed dating. And so I purchased a few tickets for that. And this was done for two reasons. The first one was to, you know; give myself a goal to work towards—to kind of make it all go faster. And the second goal was to see how the industry looks at this. And if there are any issues that they have with the, you know, with the book or with how it's set up, I would rather know sooner than later. And so, because they were reading not just the pages—they were reading, like, 10 pages, a synopsis, and a query letter—which I would also wholeheartedly recommend writing during the writing phase. Preferably, you know, toward the end of the first draft, you would have to do the pitching materials, because they inform so much of... they make you really focus on what the book is about and kind of drawing out the themes and the plot and kind of parsing all those things out. So I told myself: if I go there, and if I get some, you know the best thing that could happen is I could get some full requests. The worst thing that could happen was they will tell me that I'm not there, that my writing is not there, and that the and/or that the book doesn't hold together. And so what happened is, I was... I had just finished my first draft, but I knew that the ending wasn't right. I had the wrong ending. So I knew I had to rewrite the last third of the book, at least. And I went on to that conference, and out of five agents I had talked to, four had requested a full manuscript—toward, like, when I had it. So it was a huge, you know, confidence builder, and that summer I really, really—I can't, it's really amazing what happened—I just, I was so energized, and I just, you know, I don't know, it's like a visit from the muse, even though it's just work. But it felt—I felt very inspired, and I completely rewrote the book, basically, and that gave it the ending that it needed to have, which was also one of the fights against the genre confinements which I had kind of put on myself. So yeah, so that was the decision that I should be doing that, and at the same time, I wanted to be, like, 100% sure that when I sent the manuscript out, it would be finished—that it would be the best that I can make it by myself, you know, and, you know, for Nita to read it, for a couple of beta readers that I've really trusted—and they have the same taste in books that I do—to read it. And only with that feedback was I really ready to send it out to agents.Jennie NashSo—the—we'll get to what happened with the agents in a minute. But I want to return to something that you said about the culture of Croatia and the role that it has in the story, and you called it foundational. And it really feels both the setting of the country, meaning the land, there's... there's a lot you write about, um, the sea, and the food that comes from the sea, and the winds that travel, um, both on the sea and on the land, and there's olive trees that play a large part in this story. So there is a lot about the country itself, and then there's, there is a lot about the, the culture and the, the changing bureaucracies and politics and things that are going on. And it's interesting that you spoke in your own life about contemplating leaving the country, because your characters at some key points, contemplate leaving as well. So there's—there was very much about the constraints of the world of this place, and that's part of what the, you know, it's interesting that you talk about it as your concern was that it would overwhelm the story, but it's part of, for me, what the container in which that emotion happened. It felt not separate from the story, but a really critical component of it. The way these characters lived on the land, and in this place, and what that allowed them to do,—or to be—or not be and how they bumped up against it. It was... It's really like you have a historian's grasp of that, your world, was that something you were conscious of while you were writing as well?Lidija HiljeYes. I was always worried about writing, you know, a Croatian perspective. Like that was always a big concern for me because I, you know, when you're looking at literature and what interests readers, it's either, you know, the book set in the UK and US, which is kind of the clear narrative, it doesn't, it's, it's a pervasive culture that we all understand when it kind of becomes invisible, or, you know, a background noise, it doesn't really affect the narrative. Whereas the other interesting things that readers, when they want to travel somewhere, they will want to go somewhere exotic, you know, whether it's Nigeria or, you know, Eastern Asia, Japan, China, you know? So it felt like Croatia is different, but not different enough, you know? And so it's, it's kind of like almost like it makes the reader constantly forget that they're in Croatia, while at the same time kind of jarring them when you remind them of the differences, and this was one of the, one of the, you know, key points of my work with Nita, was when she would just notice things like, what is, you know, what is the, why are there, there are no dividers in the hospital between the beds? And it's just like... and now I realize that I have to explain how our hospitals look like, and it's not like yours. Or the difference in the tides, which in America are, you know, over, over, I don't know how many feet, and in Croatia they're just, um, and we talked about it when you were here in Zadar as well. So it's just like, it's very similar to America, but not quite. And that was very frustrating at times to try to depict. But on the other hand, in writing Ivona, I wanted to, I feel, I have felt and still feel a lot of frustration with my country. I love it, but I have been planning, like there have been multiple, you know, periods in my life when I had hoped to leave, just because how frustrating it is to live here sometimes with the bureaucracy and just the way the mentality is here and everything. So basically in writing her story, I wanted to air out those grievances in a way. To give them voice, to examine them, to see what they are, and like everything, you know, it's not black or white, it's the way we are here, and it's also the way I am, you know. I notice this when I interact with people from other areas, and they say that us Croats and, you know, Balkan people are very, you know, always like, always complaining about something, which is true, we are. And so, yeah, so it's difficult. It's difficult because I wanted that to be a part of the story. And at the same time, you know, there, you know, there is the possibility of the American reader who doesn't see that it's a part of the culture here, basically. That they could look at Ivona, and say, you know, why does she just not snap out of it?Jennie NashHmm…Lidija HiljeAnd, you know, it's almost like saying to me to snap out of the issues that I had as I was like, trying, you know, like banging my head against the wall, trying to get my career going, and t's not working. Like whatever you're, you're trying—like it's easier for me to make it in the US, never having set a foot there, than in Croatia.Jennie NashRight.Lidija HiljeI mean, my book is being published in the US; it's still not being published in Croatia, just for the record. So it's really hard, and it's really hard to make that a part of the book, but not have it, like, weigh the book all the way down. So it was a process. It's like all the things you try and miss and, you know, sometimes you go overboard, and then you have to pull back, and you have to be careful not to go too deeply into your own experience and just feel that the character is separate from you, and obviously she has some different issues than I had and a different occupation, but a lot of her grievances are mine as well.Jennie NashWell, that yearning and, can… I guess confusion really does come across. The how will I, how will I live? How will I love? How will I spend my days? I mean, these are the questions of our life, and they're the questions of this character in—as she goes through what she's experiencing. That they're, they're both mundane questions and, and, you know, the most profound. And, and the way you capture it... I mean, that was just to circle back to my initial idea of talking about how to capture emotion on the page, you know, which is the work of a novel. That's what it's for. That's its point. And it's just so hard to do. And you just did it on so many levels in a language that's not your first. And it really is just extraordinary and moving. And in preparing to talk to you today, I read a lot of the early reviews—people who got advanced readers copies, 'cause the book comes out in July, 2025, and we're speaking a few months before that time. So it's not fully out in the world, but it's enough that, um, I can see that reaction rippling through the readers and, and certainly through the, um, professional, um, colleagues and, you know, who've blurbed the book. But this idea of it being—the word people kept using was “moving.” And there was a lot of words like “tender” and “haunting,” you know, people really felt what it sounds like you intended them to feel. So how, from where you sit now, how does that—how does it feel to have gotten that feedback from some of the writers you admire? And to know that it did… it works doing what you want it to do? How does that feel?Lidija HiljeOh, it's, it's impossible to talk about that because I guess I'm typically Croatian in the way that it's easier for me to sit in my failures than to sit in my successes. So it's absolutely incredible. I mean, when you get a blurb from Claire Lombardo, who is, you know, I absolutely adore her books and I think she's insanely talented, you know, and for her, you know, she used the words “humane,” and that really—I was so moved by that. So my… kind of my goal is for, for people to see the humanity in these, these characters. And so it's really, it's really amazing. It's, it's beyond, you know, some of the, you know, I got really great blurbs from authors I really, really deeply admire: Thao Thai, Nguyễn Phan Quế Mai, Amy Lin, and Madeline Lucas, and as well, you know, Claire Lombardo, whom I mentioned. It's really incredible. It's so life affirming for me, you know, to be able to do that. But like I said, it's always, you know, when I'm reading the reviews, which I probably shouldn't be doing, I'm always focusing on the few that are not—just not feeling it. And then I have to remind myself it's not—this is not a book for anyone, for just everyone. And it's, you know, it's a journey. It's still, like you said, early days. I'm learning to be an author, to grow an even thicker skin in that sense. But yeah, it did feel great to get those beautiful reviews. And I'm so grateful to them for reading and donating their time to me.Jennie NashI mean, it's so not fair what I want to say. It's so not fair. But I want to ask anyway. Quite a few of the reviews said they can't wait for your next book, which, you know, it's like you're not a machine. You've just done this one. But are you thinking about that? Are you… do you have thoughts about that?Lidija HiljeYeah, I am trying to work on my new book. But, you know, I'm admiring the writers who put out a book a year. That's definitely not going to be me. There's an insane amount of work in putting the book out. You know, there's invisible work that goes behind the screen, you know, that people don't see, but it's happening and it takes up a lot of time. And there's also this emotional, you know, it's, it's—it's difficult sitting in, like… you're trying to make this your career. You wrote your heart on the paper and you're offering it to the world. And now you're suspended in this period when you put it out and you're waiting to see how it's received, whether someone tramples on it or whether it's upheld. And so it's a difficult, emotionally difficult place to be in, and I'm one of those writers who struggle to create when I'm not, you know, when I'm feeling… when I'm feeling stressed. So work on my second novel is going slowly. I've gotten to page 100, but then I realized it needed, you know, I needed to make some changes, so I'm back to page 30. So it's a, you know, it's a—it's a process. I think, you know, writing literary fiction takes time. It takes self-examination; it takes a lot of reading of other people who have done it successfully—the type of novel that you're trying to execute. So, so yeah, I'm trying to work on it, but, um, but it may, it may be a while.Jennie NashAll right. I know—that's why it wasn't fair to even ask. Um, so back to… I just want to pick up the story back to—you got the three or the four, um, agent requests, and you, you finished the novel, and, um, and you pitched to them. Can you just share what all unfolded? Because… it was pretty extraordinary.Lidija HiljeSo, basically, what happened was I didn't pitch all the four agents that had requested the pages. I had the first querying experience, which is what I said—you know 100 rejections. I took a long, hard look at it and realized that many of the time I was querying the wrong agents, genre-wise, which, you know, I was not aware of at the time. So a lot of those rejections were basically because I was querying a women's fiction book to literary agents. And that was one thing. And the other thing is… I was pretty, you know, unselective with whom I was querying the first time around. And the second time around, I was really intentional with the type of agent and their reputation and the connections within the industry—you know, just much more aware, approaching it much more professionally in terms of, you know, just wanting a good fit that would actually be able to do something for me, you know, to sell the book. And so a friend who had, you know, she had given me a referral to her agent—that didn't pan out. I gave that agent a month, an exclusive. And when that didn't pan out, I basically sent the query to my now agent, Abby Walters, at CAA. And, you know, it was a form on the website. I didn't even write her an email. It was just a form. So I didn't think that anyone would read it, basically. And I got—quickly I got like five or six requests, right out of the gate, those maybe first 10 days. And by the end of the second week I had gotten an offer of representation from Abby. And I followed up with the rest of the agents. The total, uh, the total number of, uh, full requests ended up being, I think, maybe nine out of 20, 25 queries. And, uh, I got three offers of representation, um, from fantastic agents. And, uh, deciding was hell. I was—I was—it was horrible to be in a position where you had to say no to an agent that you admire and that you would genuinely love to work with, but you know, for some reasons I chose Abby and I'm really happy with working with her. She's fantastic. I—I, you know, love her to death. And yeah, so that was the story of getting an agent. It was—it was—it was pretty quick and painless, I have to say, the second time around.Jennie NashRight, from 100 rejections with the first one to—to nine full requests and three offers on—on this one, that's an extraordinary swing, for sure. And I love the—the way that you approached it the second time with that intention. It just says everything about the kind of person and writer you are, and the book landed with Simon & Schuster and will be coming out soon, and I can't wait to share it with our listeners. It's a beautiful, beautiful novel. I just—I cherished reading every page, and we had the really great good fortune of my taking a vacation to Croatia and coming to your town and meeting you and walking through the town with you, and I treasure that for so many reasons. But having read the book, I felt like I could taste it and see it in a really special way, having had a tour of your city with you. So that, for me, was just a special—a special part of it too.Lidija HiljeThank you so much, Jennie. But actually, you kind of were a part of that, because when I thought about the places where Ivona would take a seer to, you know, to see, I had our tour in my—you know, on my mind, because I was thinking, like, what would she show someone who's from another place? Like, where would she take him? And it wouldn't be the things I showed you. I mean, I showed you some of the big things that you have to see when you're here. But I took you to the places that are more intimate to me, like more personally important to me.Jennie NashYeah.Lidija HiljeAnd so this is—this is what's behind the scene where she shows him her school. And, you know, so, yeah… you know, real life.Jennie NashOh, that's amazing. That's amazing. Well, yeah, I did get to see where you went to school and where the law office was. And—and one of the things that's really stayed with me was we went to a bookstore and it… Um, and it—just knowing what your life in books has been, Lidija, and how you've studied them and how you've worked to become a writer of the caliber that you are. And that bookstore was so small, and it had mostly books in Croatian, and it was not anything like the kind of bookstore that one would think would spark a major literary career. And it… that just has stuck with me, because you—you made your own bookstore, right? You found your own literary community. You found your own career and way, and it's just been a joy to watch and to cheer you on. And thank you for coming and talking with us today.Lidija HiljeThank you so much for having me, and all the encouragement over the years. I'm really grateful for that as well.Jennie NashAll right, well, until next time, for our listeners—keep your butt in the chair and your head in the game. Jess LaheyThe Hashtag AmWriting podcast is produced by Andrew Perella. Our intro music, aptly titled Unemployed Monday was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output, because everyone deserves to be paid for their work. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

Can doing good in the world be quantified like ROI? Peter Winick sits down with Nick Cooney, founder and managing partner of Lever VC, to explore how a venture capitalist measures moral return alongside financial return. Nick's not your typical VC—he's also the author of "What We Don't Do: Inaction in the Face of Suffering and the Drive to Do More", a book that fuses analytical thinking with a deep commitment to reducing suffering. Nick reveals how dictating thoughts during a long car ride led to a full-fledged book deal with Simon & Schuster. But this isn't just a passion project—it's a strategic move. Nick shares how writing the book expands his credibility with mission-driven founders and impact-minded investors. You'll hear how he uses the “Brady Rule”—a nod to NFL legend Tom Brady—to challenge philanthropists to pursue giving with the same intensity as professional athletes pursue greatness. And how the overlap between financial rigor and moral responsibility creates a powerful (and rare) kind of leader. Peter and Nick dive into the strategic value of thought leadership for VCs: from deal flow to LP trust, to long-game positioning. Plus, Nick shares what he's learned from marketing the book, why the publishing timeline misses the mark, and what feedback surprised him most. This is a conversation for anyone looking to align meaning with metrics—and use content to drive serious business outcomes. Three Key Takeaways: • Thought Leadership Can Power Business Strategy Nick's book isn't just a personal project—it's a tool to build credibility, drive deal flow, and attract like-minded investors and founders. A well-positioned book can serve as your most powerful business card. • Impact and Analytics Aren't Mutually Exclusive Nick bridges the gap between rigorous financial thinking and doing good. He argues that applying ROI-based decision-making to philanthropy and impact can dramatically increase the effectiveness of our efforts to reduce suffering. • You Can—and Should—Train for Good Like an Athlete One standout idea from Nick's book is the “Brady Rule”—a call for people to approach doing good in the world with the same intensity, discipline, and optimization mindset as elite athletes do their sport. If Nick Cooney's episode got you thinking about how doing good can be measured, optimized, and scaled—then you'll want to dive into our conversation with Dr. Moshe Engelberg. Like Nick, Moshe challenges traditional business thinking by bringing purpose and values into the spotlight. In his episode, we explore how love—yes, love—can be a strategic business advantage, driving both culture and performance. Both Nick and Moshe offer bold frameworks for leaders who want to align their success with meaningful impact. If you're rethinking ROI to include humanity, ethics, and long-term value, this is the perfect next listen: Love from Thought Leadership with Moshe Engelberg

“I like the dark. It's friendly.” – Cat People (1942) This week, we turn the lights low with special guest Rebecca Rozenberg, Publicity Manager at Simon & Schuster, who brings insight honed from working with bestselling authors and deep industry experience. Together, we dive into Jacques Tourneur and Val Lewton's Cat People, a landmark psychological horror film that uses suggestion, shadow, and sound to terrify far more than it shows. Rebecca helps us unpack how this low-budget classic redefined horror through restraint, atmosphere, and subtext, and why its themes of transformation, identity, and repression still echo today. Cat People continues to loom large over genre filmmaking and remains revered for its chilling economy. Episode Notes:Cat People (1942) directed by Jacques Tourneur and produced by Val LewtonStarring: Simone Simon, Kent Smith, and Tom ConwayNotable for:Introducing the famous “Lewton Bus” jump scare techniqueMasterful use of lighting and sound to build suspense and psychological dreadThemes of sexuality, isolation, and metamorphosis explored with subtletyDiscussion points include:How Cat People shaped modern psychological horror and inspired filmmakersThe importance of suggestion over explicit imagery in genre storytellingSimone Simon's haunting performance and the film's layered subtextThe collaborative vision of Val Lewton and Tourneur in creating minimalist horrorFeaturing special guest: Rebecca Rozenberg, Publicity Manager at Simon & Schuster Follow the Show:TwitterInstagramWebsite Music by Mike Natale

Susan Page, USA Today Washington bureau chief and the author of several books, including The Rulebreaker: The Life and Times of Barbara Walters (Simon & Schuster, 2024), talks about the latest national political news including reactions from both sides of the aisle to Zohran Mamdani's win in the New York City Democratic mayoral primary, funding for ICE in the budget bill in light of news of the 'Alligator Alcatraz' detention facility in Florida, environmental funding cuts in the wake of floods in Texas, and more. 

Nicole Conn has been a pioneering filmmaker for over 30 years, best known for her Cult Classic, Claire of the Moon, and her best-selling features, Elena Undone, A Perfect Ending, little man and More Beautiful for Having Been Broken. Conn has achieved worldwide industry recognition with her lesbian-themed films and is perhaps the best-known Writer/Director of women's films in the world. In another pioneering effort, Conn created Coming Out For Love, the first ever LGBTQ+ Dating Competition Show (ala the Bachelor). In her earlier career she was published by Simon Schuster with Angel Wings, Passion's Shadow and She Walks in Beauty. She's written novelizations for Elena Undone and Claire of the Moon.

While at Alaska Comic Camp, Dave Kellett had the opportunity to speak with cartoonist Lucy Knisley, a critically acclaimed and award-winning comic creator. She specializes in personal, confessional graphic novels and travelogues.LUCY'S BOOKSLucy has published more than a dozen books, with several fantastic publishers. These have included: Simon & Schuster, First Second Books, Fantagraphics, Chronicle, Random House Graphics, Knopf and Rocky Pond. She has also contributed to many collections and anthologies at various publishers and made work for many periodicals and publications. Here are a few...Ride Beside MeWoa: A Housecat's Story of DespairFrench MilkRelish: My Life in the KitchenStepping StonesApple CrushSugar Shack, the third in the Peapod Farm series, comes out August 2025!You can reach out to Lucy via her Patreon page  You get great rewards when you join the ComicLab Community on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.If you'd like a one-on-one consultation about your comic, book it now!Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. Dave Kellett is the creator of Sheldon and Drive.

Advertising on Google, Facebook, Instagram, and various social media sites can be exceptional exposure for your books and possibly lead to more sales, but which platforms are better for garnering sales as compared to visibility, and what types of images and copy work best for each site? Also, how long is the ideal time to run an ad? Ingram Content Group's Senior Manager, Consumer Products & Services Development Erin Cox visits “Inside Independent Publishing (with IBPA)” to answer these questions and more!PARTICIPANTSErin Cox has almost two decades of marketing and development experience, primarily in the book industry. She previously worked with Simon & Schuster and Macmillan, was the director of development for World Book Night U.S., and has a master's degree in publishing from New York University. When Erin relocated to Nashville a few years ago, she experienced the other end of the marketing process while working at Parnassus Books. Since then, she's joined Ingram Content Group to help launch a consumer marketing services program for publishers.Independent Book Publishers Association is the largest trade association for independent publishers in the United States. As the IBPA Director of Membership & Member Services, Christopher Locke assists the 3,900 members as they travel along their publishing journeys. Major projects include managing the member benefits to curate the most advantageous services for independent publishers and author publishers; managing the Innovative Voices Program that supports publishers from marginalized communities; and hosting the IBPA podcast, “Inside Independent Publishing (with IBPA).” He's also passionate about indie publishing, because he's an author publisher himself, having published two novels so far in his YA trilogy, The Enlightenment Adventures.LINKSLearn more about the many benefits of becoming a member of Independent Book Publishers Association (IBPA) here: https://www.ibpa-online.org/Learn more about how to get a discount on Google, Facebook, and Instagram advertising through the Ingram ID IBPA member benefit at https://www.ibpa-online.org/page/ingramidFollow IBPA on:Facebook – https://www.facebook.com/IBPAonlineX – https://twitter.com/ibpaInstagram - https://www.instagram.com/ibpalovesindies/

This is the how-to book you need right now, the one with “am I ready to query” and “what does my platform need to look like” and “what if no one buys my book” and “what happens if someone buys my book”. We have a great episode, talking about creating this book, writing this book and living this book—because Kate McKean is not only a very experienced agent, she has also lived the answer to all those questions and that's part of what makes it special. Follow: Kate McKean Agents and Books Also find her at agentsandbooks.com And buy this book! Write Through It: An Insider's Guide to Publishing and the Creative Life#AmReadingKate: Madeleine Roux, A Girl Walks into the Forest (Dark, feminist and rage-y)KJ: Francesca Segal, Welcome to Glorious Tuga (not any of those above things) Alison Espach, Notes on Your Sudden Disappearance (somewhere in between)Writers and readers! KJ, here. If you love #AmWriting—and I know you do—and especially if you love the regular segment at the end of most episodes where we talk about what we've been reading, you will also love my weekly #AmReading— find it at kjdellantonia.com or kjda.substack.com or by clicking on my name on Substack, if you do that kind of thing. Your #tbr won't be sorry.Transcript below!EPISODE 453 - TRANSCRIPTKJ Dell'AntoniaWriters and readers, KJ here, if you love Hashtag AmWriting, and I know you do, and especially if you love the regular segment at the end of most episodes where we talk about what we've been reading, you will also love my weekly Hashtag AmReading email. Is it about what I've been reading and loving? It is. And if you like what I write, you'll like what I read. But it is also about everything else I've been hashtag am doing, sleeping, buying clothes and returning them, launching a spelling bee habit, reading other people's weekly emails. Let's just say it's kind of the email about not getting the work done, which I mean that's important too, right? We can't work all the time. It's also free, and I think you'll really like it. So you can find it at kjdellantonia.com or kjda.substack.com or by clicking on my name on Substack, if you do that kind of thing. Or, of course, in the show notes for this podcast, come hang out with me. You won't be sorry.Multiple Speakers:Is it recording? Now it's recording. Yay! Go ahead. This is the part where I stare blankly at the microphone. Try to remember what I'm supposed to be doing. All right, let's start over. Awkward pause. I'm going to rustle some papers. Okay. Now, one, two, three.KJ Dell'AntoniaHey, I'm KJ Dell'Antonia, and this is Hashtag AmWriting the weekly podcast about writing all the things, short things, long things, pitches, proposals. This is the podcast about sitting down and getting your work done. And I interviewed someone last week, who told me that they did not realize I did the introduction live, to which I was like, "Wait, does it sound the same to you every time?" Because I don't know, in my mind, I go off on a tangent every single time. So I am KJ Dell'Antonia, as you probably know, author of three novels and a couple of nonfiction books, and former editor at the New York Times, and, gosh, I have, I have done a bunch of things, but I'm not going to tell you about them right now, because I am really excited about my guest today, who is Kate McKean, and she is the creator of Agents and Books, which is a Substack slash, an email newsletter. For those of you that are not Substack users, you don't have to know what that is to get this, but I'm telling you fundamentally that if you're listening to my words right now, you should be signed up for that, and you're probably going to need the book that we're talking about, which is called Write Through It: An Insider's Guide to Publishing and the Creative Life. It is excellent. It is all the books that I relied on deeply when I got into this industry, rolled up in one book, which doesn't mean you won't buy all the others, because we're writers, and that's what we do. We buy books about writing. We're supposed to right? But I feel like sometimes that's what we do, we buy books about writing, anyway. All right, I'm done introducing, Kate I'm so glad you're here. Thank you for coming.Kate McKeanI'm really happy to be here. I'm excited to chat.KJ Dell'AntoniaYeah, this is going to be good. So this is, this is the book that anyone who is considering traditional publishing needs as both an encouraging guide to how hard it is going to be to get to all the points that you need to get to be ready to even try to traditionally publishing, and then to the process of traditionally publishing. This is how do you know when you're finished? This is how do you know when to pitch? This is how do you pitch. This is how do you deal with the inevitable rejections when you are pitched, this is what happens next. This is the good news and the bad news and the other news and all the news. And the blurb on the front is that it is a wildly generous guide. It is from Sarah Knight, who I adore, and it is! That is, that is most accurate...Kate McKeanThank you.KJ Dell'AntoniaBlurb that I have ever read, I think, or...Kate McKeanSarah was so kind to read. I know she reads the newsletter too, and we know each other from way back when she was an editor at Simon Schuster. And I could not be more grateful that she said the kind words she did.KJ Dell'AntoniaShe's amazing, and they are and you this is a generous book. So I do have questions, but first I just have to gush for a while. So...Kate McKeanI'll take it.KJ Dell'AntoniaI have kind of an unspoken policy of being very judicious in taking writing advice of any kind from someone who has not published. And there are 100% exceptions to that. I have an amazing freelance editor who she reads and she edits and wow. But there are also people who write books about writing from a place of having written things, and that's about it. And. And you know that truly, I mean, first of all, you're, you're an agent, you've, you know, you've been in this industry, you've got masses of experience. And secondly, although this is your first published book, it is not your first finished book, it is not...Kate McKeanNot at all.KJ Dell'AntoniaEven your first pitched book. It's not the book that got you an agent. And you are so generous in sharing those experiences with people, and they're going to help.Kate McKeanI hope so. I mean, it's not lost on me that the first published book I have about writing and publishing books, and I even say it in the book. You know, I've tried to sell several picture books and several novels, and maybe I'm just not a great fiction writer. You know, it's very possible that is true. We'll find out. I don't know. I do have a picture book coming out in 2026, so one of them did eventually work. It's coming out with Sourcebooks, and I'm very excited. It's, you know, I know that people probably think, Oh, well, you're just, you're an agent. You could just, like, walk into a publisher and get a book deal like my friend. I am sorry that it's not true. If it had been true, I would have written 50,000 books by now, because I actually really, I mean, it's my job, but I also like doing it myself, but I'm not. I'm not special, you know, like I'm special and privileged because I know all the ins and outs, but I'm not. Nobody's just like rolling out the red carpet and handing me 1000's, billions of dollars to write a book.KJ Dell'AntoniaYeah, what I have said about about my fiction writing experience was, and I feel quite certain it was true for you as well. The thing that I had, and I will own it, is that I knew the people that I was sending my query to would look at it, because they knew who I was. That actually just meant it had to be awfully good, because it also means they're going to remember who you are. And if it sucks, they'll remember that next time. Whereas, if you don't have that particular thing and you send out a query that that sucks, the agent is not going to remember your name. So the next time you roll around and you send a better query, it's going to be fine, but the next time that writer rolls around and sends a better query. People are going to be like, well, yeah, I don't know.Kate McKeanYikes!KJ Dell'AntoniaThis was not so great.Kate McKeanYep!KJ Dell'AntoniaYikes! I got to do this again. I got to send another tactful rejection to this person that I so they're coming into it with... So it's good...Kate McKeanYeah.KJ Dell'AntoniaBecause you know, people read it and it's not the slush pile and yay. And it's bad because people read it.Kate McKeanPeople, people really do think that it's who you know and publishing, and of course, that helps, like you just said.KJ Dell'AntoniaYeah.Kate McKeanBut also, you don't want to send your books to your best friends. Like, Jim McCarthy at Dystel, Goderich & Bourret, who my agent is—Michael Bourret at Dystel Goderich & Bourret. Jim is one of my best friends in the entire world, in my life. Like, I do not want Jim to be my agent, even though he's fantastic, because I prefer Jim as my friend. Michael and I have been friends for more than 20 years. Jim and I are much closer. And it's not like, oh, I could just throw away my friendship with Michael, but we just know each other in a way that would lend us to be able to work together really well. And I... KJ Dell'AntoniaMy agent is my friend...Kate McKeanYeah.KJ Dell'AntoniaBecause she's my friend, but she was my agent first. But I have a friend, a really good friend, that I have dinner with regularly, that's an agent we ditch about, dish about, and we just have, you know, and I don't want her to be my agent, because then we couldn't talk so much smack about…Kate McKeanYeah.KJ Dell'AntoniaYou know, among other things, and yeah. So yeah. I mean, I do like to to start. I like to remind people that it is actually not who you know in this it's faster to get people to read something if you have a way in, we cannot deny that. But people are actually out there looking for great things. You just have to write a great thing, which you know that's hard.Kate McKeanImpossible sometimes.KJ Dell'AntoniaOr impossible sometimes. All right, so how did you decide to do... write through it? Did it seem like kind of the obvious thing? Or did you feel like, oh, that's been done. Like, how, how did you come to this one?Kate McKeanI, I definitely started the newsletter with the idea in the back of my head that maybe this could turn into a book. Because I had, I had turned newsletters and Twitter feeds and Instagrams and all kinds of things like that into books for 20 years. So obviously that was in the back of my head. But I also knew that there are, as you said, tons of other books about writing and publishing out there, and who am I? And what different thing could I bring to the table? And so I started Agents and Books with just a clear goal of, like, writing posts that were like the nuts and bolts of publishing, so that people could have them in this one little place, you know? And it's not the only place in the world you can learn about publishing. But I was like, I want a little place where, you know, if you can click through and find out about option clauses and query letters and, you know, all the little commission rates and royalties and what's earning out and all these things that you could kind of go to one place and click around and see if you could find it, and that was the goal. And then I also ended up talking a lot about the feelings of writing, because they go hand in hand. You know, it's like you're going to write a bad query letter if you are terrified of writing a query letter, and you're going to put agents on these pedestal if you are terrified of agents that you know, like there were these magical beings that can, like, take our magic wands and bestow the power of publishing on you, like we can't... we're just people who like books like, so I wanted to demystify things. I wanted to like, share the nuts and bolts, but, and I wanted to let everybody know that everybody feels this way, like everybody is terrified, everybody hates it. You know, no one is alone and that that felt like the right tack to take in a book, because I guess I hadn't seen that before, or what hadn't, you know, come right out and said it, you know, like, here's how to write query letter, and here's how not to lose your mind while you do it.KJ Dell'AntoniaYeah.Kate McKeanYou know, because the same, that's the same thing, and I thought about it for a long time, you know, to try the right pitch, honestly, for the book.KJ Dell'AntoniaYeah, no, I can. I mean, one glorious thing that this has going for us at the moment, even besides that, is that it is very timely and immediate. Because I can give you some things about writing query letters that are probably somewhat out. I mean, they're good, but they date quickly. So it has that. But also, you are right. I've not seen that combination of both. Here's how and here's how not to be so terrified that you screw up, and here's how to feel when they start coming back. Or, you know, here's how you're going to feel, because you really don't need me to tell you how to feel. But here's some thoughts on like how to deal with that, and the fact that it has happened to everyone, and also the fact that it has happened to you. Um, I'm that's terrible. I wish you had every single success, but also, since you didn't, I am so grateful that you put that in here.Kate McKean:I mean, my—you know—my beloved book of my heart, literary adult novel, didn't sell. And okay, it did. It didn't. I don't... I can't... I can't magically make it a book. It might be flawed. I don't know. I haven't read it in, like, four years, and I'm fine with that. Um, but I'm going to—I'll just—I'm going to... I'm going to write another one, you know? Because what are the options? Like, I really—I had a moment when my adult novel didn't sell, and I was like, I might—what if I never publish a book? Like, this was my dream. Like, since I was eight years old, I wanted to be a published author. I wanted to see my book on a shelf with my name on it, and what if I don't? Like, what if that just will never happen to me? And it kind of—you know—punched me in the stomach, and... This is telling in so many ways, of the assumptions I was making and the privilege I had and all of these things. But you know that punch in the gut could have made me stop and just be like, "Well, I'm not willing to face that, so let me decide..." Or, if I really want it that bad, I got to go do it again. And just—I'm choosing to do it again. And I cannot control if I publish any more books, except by writing them.KJ Dell'AntoniaYeah.Kate McKeanAnd then that's all I can do. And then I have to hand it over to the other forces in the world to see if anybody likes it. And then, you know—I mean, people got to buy this book, like... but not—I mean, it's not going to be great if nobody buys this book, which, you know... I—it... I can only control so much of that too. But I hope people do.KJ Dell'AntoniaAt least ten people need to be sitting down and clicking right now. It's Write Through It: An Insider's Guide to Publishing and the Creative Life, Kate McKean— is it Kian or Keen?Kate McKeanKeen.KJ Dell'AntoniaKeen. Kate McKean.Kate McKeanYeah.KJ Dell'AntoniaM-C-K... you know, what if you just start with "writer"... I mean, honestly...Kate McKeanThere's only two Kate McKean's in the world on the internet. So I'm one of them.KJ Dell'AntoniaAnd I feel like, if you just sort of go "agents," "books," "book," "K," you're going to come up with this. Because...Kate McKeanYep.KJ Dell'Antonia:Yeah. That's what's going to help. And the other thing that I really like about this book is the honesty about all the time that you spent not writing, and I mean, you've already said it, but, and it is true. My number one favorite, well, one of my favorite writing books, which nobody else, as far as I know, has ever read, is it's called something like “87 reasons your book won't sell” [78 Reasons Why Your Book May Never Be Published and 14 Reasons Why It Just Might]. It's, you know, and it's in its 80… and 15 why it might and the number one reason, the first reason, chapter one, is because you haven't written it yet. You can't sell that. But, I mean, yeah, proposals, fine. That's but, and that's in here if you're writing nonfiction, it's in here to talk about how to do a proposal. But even that, if you haven't written your way to a good proposal, that's not going to sell either. So...Kate McKeanAnd the fear of being late or too late, or you hang missed the bus is so tied up into that, because I'm going to be 46 this weekend, and I my first ever book will be coming out after I have turned 46 and if you had told me at 26 I would have, like, lied down on the floor and cried. That I had 20 more years to wait to get published, because I thought it was going to happen. You're not, you know, all of the bravado and the ego is you have when you're in your 20s and who's, you know, patted on the head for their whole life and told they were a good writer by every English teacher, you know, bully for me. But like the I didn't write any books, you know, like, I didn't write any books to get published until I was in my 30s, and I couldn't have spent any more time doing that because I was trying to build my career as a literary agent. And that wasn't, that wasn't on purpose. I just had to pay the rent too. So, you know, it was I didn't. I dragged my feet for many, many years, as I write about in the book, and then I had a kid, and then you get... you have so little time that you have to choose so deliberately what you do that it can sometimes make you more productive. And so when I had all the time in the world in my 20s as a single person in New York City, living the life of putting everything on credit cards and being in massive debt and not making any money in publishing, but still having buckets of time. I didn't do any meaningful work, and I didn't write a book in my MFA program. I did write a book's worth of stories and essays, but not anything that could have been published as is, and nothing that I used as a springboard for a longer piece, and that's just what happened. That's fine too.KJ Dell'Antonia:Yeah.Kate McKeanBut I'm not late. This is, this is, I needed to be this person to write this book, and then we'll see what happens next.KJ Dell'AntoniaYeah. I mean, you know, you can't start any sooner than today if you're starting and but I did. I just I appreciated that this book kind of starts with, go ahead, read this book, but also finish your book. Write what you're writing, like, read it. Get ready, daydream, hope for the best, but also find a time, sit down, get some work done, which is, of course, what we say every week on the podcast, because if you don't do the work, yeah, there's nothing. There's nothing anyone can do for you. Well, I mean, I suppose you could become a famous person and then hire someone else, but that is presumably not anyone trajectory, yeah, that's, that's, that's different. That's, that's not the same thing, all right, so what? What was the hardest bit of writing this? This has got a chapter on pretty much anything anybody could imagine. How to read a book deal, how to query, how to you know, how the editors work, how books are sold, all those things. What was the toughest bit?Kate McKeanThe tough bit, honestly, was the what happens after the book sells. And because I realized that I had, I had a view of it for my seat as a literary agent, and every publisher does it a little bit differently and but I've only seen it through the eyes of the books I have sold. So I had to go and ask a lot of editors. I was like, Okay, this is what I think happens. Is this what happens like, when do you get first pass pages? And, you know, do I get? When does the index gain? You know, like, there were just questions I had. I had to make sure I had a consensus answer instead of the this is what happened to me answer, you know?KJ Dell'AntoniaRight.Kate McKeanOr this is my what I think answer. And so it just was, I had to make sure. I had to do more research about that than I anticipated, because I didn't want to make I wanted to make sure I wasn't wrong. You know? Hey, I had to make sure. But it wasn't a hard the writing process at all wasn't what I would call hard. I I'm a fastidious outliner, and I love an outline. Outline is my roadmap, like I know where I'm going in the morning I makes me happy. I'm happy to change it, if I have to, but I love it. I'm an outliner, not a pantser, and when I get going, I can go, but then there's just every other million things to do with a book, you know, like the nine times I've read, and then I recorded the audio last week, and which was so fun, but hard, very, very hard. But maybe it's a little bit like, you know, like you kind of forget the hard part after a while, but I don't have any, like, real pain points with the creation of this book. It was definitely hard. It is a lot of labor. It is a lot of time. There were many times where I was like, if I read this paragraph one more time, I will scream, but yeah, I'd do it again.KJ Dell'AntoniaSo it sounded as I as I read through it like, like, finding your structure was maybe a little more challenging than you expected it to be, because it seems like it would be pretty obvious, but then it sounds like there were things where you're like, well, maybe this goes here, or maybe it goes here. Did it surprise you how much you had to play with the structure in the editing?Kate McKeanYes, it because everything made sense when it came out of my brain.KJ Dell'AntoniaOf course.Kate McKeanYou know, like I could, it makes sense to me that this linked to that and then get... you have an editor. My editor, Stephanie Hitchcock, was wonderful. She was like, oh, yeah, this part does not make any sense. And I was like, Oh, totally. If you step out of it and look at it through somebody else's eyes, you're like, Yeah, I didn't explain anything about, you know, royalty statements or whatever, right?KJ Dell'AntoniaYeah, the rule is if somebody else says it doesn't make sense, you have to listen. You don't have to do what they say to do to fix it, but you do have to, you have to... Yeah, because you can't hold the reader by the hand. Say, oh, no, no, no. See what I meant...Kate McKeanYeah, yeah, yeah. And a lot of times the way I wrote the outline was kind of the way it came out of my head and it made sense, but, you know, I'm in a vacuum.KJ Dell'AntoniaSo I'm torn between talking about the writing of Write Through It and talking about, of course, the contents, which are exactly what our listeners are going to be interested in. So tell me what in here to you, sort of answers the most questions that you get as somebody who gets a lot of emailed questions about this process, because you invite them by having, having an email or having, not by having an email address, which is not an invitation to send people questions. People questions, but by having the agents and plus and books email you, you've put yourself out there as a guide for people and there, I mean, I can name only a few agents in the business that do that, and a couple of publicists, and that makes you like, you know, it gives you a certain profile, and people ask questions. So what in here answers the most questions to you?Kate McKeanI think, I personally, I would say the stuff about a platform, about the marketing stuff and platform. Everybody's worried about their platform. Everybody thinks they have to have 1000 followers on Instagram. Everybody was so worried about this. They and it's, it's shifting all the time. I mean, I hope, I hope we don't get 16 new social media platforms in the next month so that this isn't completely out of date, like things are going to change. I mean, Twitter completely changed while I was writing this book, but I but there's a lot about social media in there, yes, but there are so many other things that are your platform that people don't realize and they think that you have to have these numbers before you're allowed to write a book. And that's not how it is. That's not the rule. There isn't this, like, okay, where you get so many on this platform and so many on that add them together, it equals a book deal. Like, no, but it... the reason you need a platform is because you are going to do this marketing for your book, and that is also okay, because you are going to do it better than the publisher. A lot of you know angst about publishers don't market anything anymore, and nothing ever happens. And like they actually do, could they do more? Yes. I wish every book had a billion dollar marketing budget and 17 people to work on it, but that is not the industry we have. So...KJ Dell'AntoniaThere's not really anywhere to do this stuff anymore.Kate McKeanYeah, yeah, there's nowhere to do it.KJ Dell'AntoniaI mean the world... the world has changed.Kate McKeanYeah, there's, yeah, there's no news coverage for books, hardly anymore, you know? And algorithms are horrible, all these things. So, so if you have a way for readers to talk to you directly and get news from you directly, that's your primary marketing outlet. And so that's why you need it, not because the number equals book deal or validation or proof. It's because that's how you sell books. And it's not the only way, and it's not even a great way, but it is a way that readers need, even, I mean nonfiction 100%, it's like one of the most important things when you're writing nonfiction, and it's getting to be more important for fiction. It's just also more it's useful when you're writing fiction, but it's just not as like, don't, don't even try until you've started a TikTok or whatever.KJ Dell'AntoniaYeah, I just, I just finished a novel that I completely enjoyed, Welcome to Glorious Tuga by — I think her name is Francesca. It's either Sega or Segal [Francesca Segal]. And after I finished it, I thought to myself, you know, I wonder, because, because I'm a writer, readers don't do this, but Is this her first book? You know, does she? Is she somewhere where I can follow her? Because I'm kind of interested in how she did this, I'd like to, and I went to look her up. And fundamentally, this is a person with very little platform that I can see. They turned out to be British. So that is, I think, a little bit different. But there wasn't an email that I could sign up for. There wasn't... I was willing to do all those things. I was kind of jealous.Kate McKeanDefinitely, oh, definitely.KJ Dell'AntoniaYeah.Kate McKeanMy wonderful assistant isn't on social media. And I'm like, Wow, what a life, that's amazing.KJ Dell'AntoniaYeah, so, I mean, so I there was very little point to that other than that, it's not, apparently required, and yet it's probably required of you. Sorry.Kate McKeanRight, you're not the except…, like, if you don't want to be on a specific platform, then don't do it, because you'll make bad posts.KJ Dell'AntoniaYes!Kate McKeanHate it.KJ Dell'AntoniaYes.Kate McKeanFair game, and also, if your market isn't on there, then don't go on there, or you don't prioritize that.KJ Dell'AntoniaYeah. But you can still find me on TikTok, and if you would like an example of how to not do something like that. That would be it. Yeah, there's about six things that are pitiful and sad, and I regret them, and I should go take them down, but that would involve looking at them again, and that would be really embarrassing for me. So I'm not going to do it.Kate McKeanI mean, I'm not on TikTok. I do Instagram reels. They're horrible. Reels are like bad Tiktok's from three weeks ago, but doesn't whatever. It's what I have chosen to do. But if, but to the writers out there, if you hate something like you can kind of maybe opt out a specific thing, but that doesn't make you the exception to every rule, right? Like, just because it's hard doesn't mean you get to bail out because everything's hard and you got to do hard things all the time. That's life. Sorry. So yeah. And also, I want to say too, if you are unsafe on a platform. Don't be there, no, but don't that's not a question. No publisher would be like; you should really be on Twitter. And you're like, I'm a trans person. I'm not going to go on Twitter. It is not safe for me. And they'd be like...they're like, yes, cool, cool, yeah, no problem.KJ Dell'AntoniaYeah…definitely not. Yeah. So okay, that that doesn't surprise me. I thought you were going to say query letters, but...Kate McKeanI was going to say query letters, but every it's, it's so much, there's always so much query letters.KJ Dell'AntoniaYeah and there's others, there's, there's more of an answer to that, like...Kate McKeanYeah, yeah.KJ Dell'AntoniaYou know, there is a way to do that. There's an accessible, checklist-able, figure out, able, learnable process for that, I would argue that there is not that for social media and platform.Kate McKean100%.KJ Dell'AntoniaThat is a really is a it's constantly changing, and it's different for everyone which query letters really, they do change, but they are not different from everyone. Do not make your quality query letter different from everyone else's. That's a bad idea.Kate McKeanNo. It's so annoying. It's, it's, no one is going to be wowed by the inventiveness of your query letter, and it's like sending a singing telegram to apply for a job. You're like, No, don't. Don't do that. No one wants to hire you, if that's what you're going to do.KJ Dell'AntoniaWhat is… can you... can you give us an example of someone getting creative with a query letter, just for fun that is not going to out the person?Kate McKeanYou know, I would say that. Now, everyone is much more educated about query letters, and so the random stuff doesn't happen as often. The memorable things are people doing. And these are the general examples you'll get too. It's like writing the query letter in the voice of your character, which is like, okay, but I'm not signing your character up. I'm signing you up. I would like to talk to them please, you know? And then there's the inexplicably, inexplicably short ones that are like, here's my book. Thanks. You're like, I need context. Like, even when you go to the store to buy a book, you have context for what you're shopping for you know what section you're in. You know if it's a hardcover, paperback, whatever you have context. And if you do not give me context for a query letter, I don't know what you're talking about. And then the ones that really get me too are the ones that are like, you're probably going to hate this. I'm like, okay, cool. You just made the decision for me. Thank you. I have to make 400 decisions today, and now it's 399 Cool. Thank you.KJ Dell'AntoniaYeah, yeah. Okay, so get that one right. But social media, there is no recipe, but at least there is some advice in, in Write Through It. And yeah, I can't, I can't say enough about how much I suspect most of our listeners would really benefit from and love this book. If you have not, yourself, been in the industry for 20 years, and even if you have, you're going to get stuff out of this. What I got out of it, and what I desperately needed was somewhere, I think, towards the end, you talk about how, you know, 20% of the way into a draft, you're going to hate it, and then with 20,000 words to go, you're going to hate it. And I was like, yeah, yeah, I'm there. I'm hating it. We joke around the podcast that we need to create, like, a, like a book growth chart, sort of like for babies, like, oh, you hate your book. You're right on target. Feed it some solid foods next.Kate McKeanYeah, exactly.KJ Dell'AntoniaYeah.Kate McKeanAnd I get a lot of when you go to write another book, you you're like, wow, yeah. And that's what did I forget. Did I ha, but I did it before. You don't know, you don't know how to write this book. You wrote that book, and it's different every time. And that's like a learning curve that you don't get to until you write your first one, whether it's published or not. But like everybody feels this way, my clients, who are graphic novelists, feel this way. My novelist, my, you know, picture book writers, like every single writer I talked to has been like, oh, how do you do this again? Whoops, I forgot.KJ Dell'AntoniaYeah, yeah. I like you, and I'm a fan of the outline or the blueprint, or, you know, how, however you do it. And I have just hit a point where I need to go back and redo that and that's hard. I would really much rather just chug along the path that I have set for myself. But sometimes you can't do that.Kate McKeanThat's writing too. It's like, the word count doesn't go up, and that's the metric we all want to use about our productivity. But then you have to stop for a week and do your stupid outline or whatever, and you're like, but I didn't get any work done, but you did, because then the next two weeks you can just write a billion words. And yeah, you know, you built a fire, so...KJ Dell'AntoniaAnd yet, the process is hard and slow, and also hard and slow, and even when it's fast, it's still slow, and even when it feels easy, it'll be hard later. Yeah, and I liked that. That was that that's all in here, but not in a bad way, in a Hello, this is what you have signed up for.Kate McKeanYep.KJ Dell'AntoniaIn a “Welcome” kind of way.Kate McKeanYeah, it's you're in the club. Yeah? Everybody hating writing and not being able to stop.KJ Dell'AntoniaYeah, yeah.Kate McKeanIt's the thing we love to hate the most.KJ Dell'AntoniaI don't hate it when it's going well, I don't, I don't hate it, but, man, it'd be nice if it were easier and faster and more like, I don't know, walk in the park, okay. But it's not. All right, well, so the book is Write Through this, I'm sorry, Write Through It, and it's wonderful, and I've said that about 56 times. So anything else that people should know about why they should go right out, I would recommend getting it in paper, because I think you're going to want to scribble on it, and I also think you're going to want to go back to it a lot. But you know, y'all do you. It's available in all the formats; apparently it was read out loud, too.Kate McKeanOut loud by me.KJ Dell'AntoniaYeah!Kate McKeanI think that it's useful to have as in print. And I did write it thinking that you'd go back and forth and be like, Okay, well, today I'm writing my query letter, I've got to go to chapter three or whatever. And the other thing, the other reason I wrote this book, is that if you are a writer, and the people in your life know it, or if you're an editor or freelancer whatever, and they want to ask you questions about publishing, you can just give them the book like I literally wrote it as like a favor to my friends who are writers and editors, whose uncle corners them at the family reunion and says, ‘So I want to write a kid's book.' And you're like, ‘Okay, I would like to go talk to my cousins, but here, I — here's the book for you.' You know? KJ Dell'AntoniaYeah.Kate McKeanIt is the service I am providing through this book. And so if you want to avoid having people email you to say, can I pick your brain. Be like, oh goodness, I'm just so busy. But you know what? You should have Kate's book, and just send them a link.KJ Dell'AntoniaI love this. I love this. For all of us, it is absolutely going to fill that need. So maybe you want to have three so you can go and hand one…Kate McKeanI mean, I think good plan, it's a great idea. Just buy a case, stick it in your house.KJ Dell'AntoniaYeah, maybe put it in the back of your car. You never know when you're going to need this.Kate McKeanNo, I think it's a it makes a great gift for all occasions, even if they're not writers.KJ Dell'AntoniaProbably they'd like to be... everybody. Like, there's some statistic about how many people want to write a book. So, yeah, you could just do it.Kate McKeanWhat the saying? That grads, dads, and there's another one...KJ Dell'AntoniaDads, grads, and...Kate McKeanSomething like...KJ Dell'AntoniaMom! Its Moms, Dads and Grads. I know that doesn't wrap run, but that's the Book Riot podcast that, um, that I will yeah and...Kate McKeanYeah, this is a big book buying season. Is like, Mother's Day, Father's Day, graduation. So you know what? I think everyone...KJ Dell'AntoniaFor your graduate and your mother and your father who want to write books, I love it, all right. Well, this was fantastic. You can obviously follow Kate on Instagram. We'll throw that in the show notes, but also have multiple links to her agent's, and books, email, slash Substack, depending on how you like to consume these things you should be getting it. Yeah, that's, that's, that's that. Now, the one thing we always like to end a podcast with is asking people what they've been reading and loving lately. So I hope that's not throwing you under the bus because you can't think of anything because you've been doing this, but I bet I am wrong. So it'd be lovely if it's something people can get either now or soon, because I can see you playing out...Kate McKeanI just, I pulled… I just re-read my clients, Madeleine Roux's [inaudible] hard novel called A Girl Walks into the Forest. It is out on the same day that mine go out.KJ Dell'AntoniaOh wow!Kate McKeanI know it's very exciting. And Maddie Roux has written like 25 books. We have been together a long time, and this book is amazing, and it is dark and it is full of feminist rage, and it is has, like, a Baba Yaga character in it.KJ Dell'AntoniaAwesome.Kate McKeanAnd it's just; it's kind of the book we need right now to, like, kind of burn stuff down. So I highly recommend pre ordering it. I loved reading it again all in one place, like I read your earlier draft, but now I can see it again, and, like, I just re- read it as I also wanted to, you know, keep up with my clients work, but I wanted to read it because it was good. Like, it's just good.KJ Dell'AntoniaGreat, amazing.Kate McKeanI'm like, hugging the book right now.KJ Dell'AntoniaYou are. Yeah, no one will see, yeah I know I've been waving your book around this entire time, and no one sees any of it, but it increases our the enthusiasm level in our voice, or something. So that's fantastic. Well, I mentioned Welcome to Glorious Tuga, which is a saga about it's like a bunch of people. I don't even know how to sell it, other than it's kind of like all creatures great and small set on a tiny island where people can only get off and on for half of the year with, you know, lots of animals and lots of fam…, of people interaction and but also one protagonist who sort of brings you through. And I gosh, if I can't come up with, and I love this book, and I have, I'm having trouble coming up with a great way to sell it, but I hope somebody, I hope somebody does it, because it's super fun. So there was that, but I mentioned that in my last podcast. So I also want to add Notes on Your Sudden Disappearance by Alison Espach. That was her book before The Wedding People. It is vastly different. It is a single POV, first person narrative of a girl who loses her sister in a car accident at I think, the age of 13, and her ongoing and continual relationship with her sister's boyfriend who was driving at the time, which sounds really awful. But it's not sad. It's weirdly honest. It's a fantastic exploration of not just grief, but like people, and how we think and how we aren't who we think we are should be. But it is not The Wedding People. It's really different, which I found super interesting. So since y'all are writers listening to this, you might find it interesting, too. All right.Kate McKeanExcellent. That sounds great.KJ Dell'AntoniaThank you so much for talking to me and everyone out there who is listening, buy Write through it. And also keep your butt in the chair and your head in the game.Jess LaheyThe Hashtag AmWriting podcast is produced by Andrew Perilla. Our intro music, aptly titled Unemployed Monday was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output, because everyone deserves to be paid for their work. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

Can you pay off $300,000 in debt and become a millionaire in your thirties? Bernadette Joy did, and she's here to tell you how. In this episode of Mitlin Money Mindset®, Larry Sprung sits down with Bernadette Joy, CEO of Crush Your Money Goals®, to discuss her journey from corporate employee to self-made millionaire and bestselling author.  She shares the personal motivations behind her financial transformation, her unique approach to coaching others, and the hard truths about entrepreneurship, debt, and building true wealth. Bernadette also opens up about the importance of financial conversations, especially with parents, and advocating for wealth equity. Bernadette discusses: How her background and family experiences shaped her mission to help others achieve financial control and independence The turning point that led her from corporate HR to entrepreneurship, and eventually launching Crush Your Money Goals® Her candid view on the cost and value of education, and how her MBA debt impacted her perspective on money The critical need for early and honest financial conversations within families, especially around aging parents and retirement Her commitment to closing the wealth gap for women and empowering others, especially women, to confidently self-promote and lead their financial lives And more! Resources: Mitlin Financial   The JOY and Productivity Journal by Lawrence Sprung  Download Your Free Copy of the Couple's JOYful Money Guide CRUSH Your Money Goals: 25 Smart Money Habits to Save, Invest, and Fast-Track Your Financial Freedom by Bernadette Joy Connect with Larry Sprung:  LinkedIn: Larry Sprung Instagram: Larry Sprung Facebook: Larry Sprung X (Twitter): Larry Sprung Connect with Bernadette Joy:  LinkedIn: Bernadette Joy Instagram: Bernadette Joy Website: Crush Your Money Goals® YouTube: @bernadebtjoy About our Guest: As the eighth child in her father's brood of nine and a first-gen Filipina-American, Bernadette Joy understands those who feel like they missed the money memo. Sure, she boasts two bachelor's and a master's, and a decade of Fortune 100 and startup experience. But her real street cred? Paying off a jaw-dropping $300,000 of debt in three years and investing her first $1 million in her 30s!  She's also the CEO of Crush Your Money Goals®, a personal finance training company serving up education with a side of pizzazz. A top journalist featured in Forbes, CNBC, and CNET and has appeared on more than 50 podcasts, national radio shows, and TV segments. In the past year, Bernadette has spoken on some of the biggest stages, including South by Southwest, Nasdaq, FinCon, and TEDxHouston, following in the footsteps of her hero, Brené Brown. Her debut book, Crush Your Money Goals®, published by Simon & Schuster, is available now and was named one of Oprah Daily's top 10 books for personal growth in 2025! Today, she coaches hundreds nationwide, sharing her 5-step secret recipe for ditching debt, mastering savings, and investing for financial peace.  When she's not speaking, she's practicing early retirement: K-Pop, yoga, karaoke, and spoiling her nieces and nephews as their traveling rich auntie. Disclosure: Guests on the Mitlin Money Mindset are not affiliated with CWM, LLC, and opinions expressed herein may not be representative of CWM, LLC. CWM, LLC is not responsible for the guest's content linked on this site.

Yahdon Israel is a senior editor at Simon Schuster and founder of Literaryswag, a cultural movement that intersects literature and fashion to make books accessible. He brings an entrepreneurial spirit to these pursuits as the founder of a popular book club, host of a literary podcast, creative writing teacher, event producer, as well as his work in support of several prestigious literary awards.

We have an anniversary to celebrate: one hundred episodes of the This IS Research podcast. We mark the occasion by answering questions we received from our audience: Which bear is the best, who likes a hug more... and what advice would we give about starting as an assistant professor, pivoting your research, and what books to read. All this and much more in part one of our “ask us anything” episode. Episode reading list Fort, T. (2003). The Book of Eels. HarperCollins. Nazar, S. (1999). A Beautiful Mind. Simon & Schuster. Frankl, V. E. (1946). Man's Search for Meaning. Beacon Press. Ashby, W. R. (1956). An Introduction to Cybernetics. Chapman & Hall. Card, O. S. (1985). Ender's Game. Tor Books. Beer, S. (1974). Designing Freedom. CBC Learning Systems. Simon, H. A. (1947). Administrative Behavior: a Study of Decision-Making Processes in Administrative Organization. Macmillan. Newell, A., & Simon, H. A. (1972). Human Problem Solving. Prentice-Hall. March, J. G., & Simon, H. A. (1958). Organizations. John Wiley & Sons. Urquhart, C., Berente, N., Recker, J. (2021). Naughty Grounded Theory. . Zwass, V., Berente, N., Recker, J. (2023). Never create a journal unless it is JMIS. . Berente, N., Recker, J. (2022). Why we love what we do. .  

As children, Eamon Dolan and his siblings were regularly beaten and subjected to emotional abuse by their mother. As an adult, Dolan tried to maintain ties with his mum, but she remained a destructive presence. So, 12 years ago, he cut ties and never spoke to his mother again for the rest of her life. Dolan is now the Vice President & Executive Editor at Simon & Schuster publishing. He's helped bring some of the most important literary voices to the page. Now he's using his own voice to challenge the idea that family is always sacred and that forgiveness and reconciliation are the only ways forward. His new book is called The Power of Parting: Finding Peace and Freedom Through Family Estrangement. Jesse spoke to Eamon Dolan.

In this episode of the No Broke Months Podcast, Dan Rochon breaks down the three core levers of sales success—frequency, audience, and messaging—and explains why most agents fail by ignoring the only one they can fully control. Dan shares a behind-the-scenes look at his personal outreach strategy for his upcoming Simon & Schuster book launch and challenges listeners to rethink their habits, hiring practices, and how they show up in business and life.What you'll learn on this episodeThe 3 things that determine sales results—and which one you're fully in control ofWhy rejection is your best friend in salesThe difference between input-driven vs. outcome-driven sales performanceHow Dan plans to reach 50 top podcasts (and what that means for your business)How knowing your personal values, beliefs, and standards will make you a better recruiter, leader, and humanHow to stop letting rejection feel personal and start letting it fuel your growth.How to tell if a potential hire is aligned (or if you're setting yourself up for future friction).Resources mentioned in this episodeCPI Facebook Mastermind Group: Free community accessTeach to Sell (Preorder Page): Dan Rochon's upcoming book on influence without sellingNLP-based Teach to Sell Scripts: Coming soon to CPI on-demand library To find out more about Dan Rochon and the CPI Community, you can check these links:Website: No Broke MonthsPodcast: No Broke Months for Salespeople PodcastInstagram: @donrochonxFacebook: Dan RochonLinkedIn: Dan Rochon

Hello Interactors,This week, I've been reflecting on the themes of my last few essays — along with a pile of research that's been oddly in sync. Transit planning. Neuroscience. Happiness studies. Complexity theory. Strange mix, but it keeps pointing to the same thing: cities aren't just struggling with transportation or housing. They're struggling with connection. With meaning. With the simple question: what kind of happiness should a city make possible? And why don't we ask that more often?STRANGERS SHUNNED, SYSTEMS SIMULATEDThe urban century was supposed to bring us together. Denser cities, faster mobility, more connected lives — these were the promises of global urbanization. Yet in the shadow of those promises, a different kind of city has emerged in America with growing undertones elsewhere: one that increasingly seeks to eliminate the stranger, bypass friction, and privatize interaction.Whether through algorithmically optimized ride-sharing, private tunnels built to evade street life, or digital maps simulating place without presence for autonomous vehicles, a growing set of design logics work to render other people — especially unknown others — invisible, irrelevant, or avoidable.I admit, I too can get seduced by this comfort, technology, and efficiency. But cities aren't just systems of movement — they're systems of meaning. Space is never neutral; it's shaped by power and shapes behavior in return. This isn't new. Ancient cities like Teotihuacan (tay-oh-tee-wah-KAHN) in central Mexico, once one of the largest cities in the world, aligned their streets and pyramids with the stars. Chang'an (chahng-AHN), the capital of Tang Dynasty China, used strict cardinal grids and walled compounds to reflect Confucian ideals of order and hierarchy. And Uruk (OO-rook), in ancient Mesopotamia, organized civic life around temple complexes that stood at the spiritual and administrative heart of the city.These weren't just settlements — they were spatial arguments about how people should live together, and who should lead. Even Middle Eastern souks and hammams were more than markets or baths; they were civic infrastructure. Whether through temples or bus stops, the question is the same: What kind of social behavior is this space asking of us?Neuroscience points to answers. As Shane O'Mara argues, walking is not just transport — it's neurocognitive infrastructure. The hippocampus, which governs memory, orientation, and mood, activates when we move through physical space. Walking among others, perceiving spontaneous interactions, and attending to environmental cues strengthens our cognitive maps and emotional regulation.This makes city oriented around ‘stranger danger' not just unjust — but indeed dangerous. Because to eliminate friction is to undermine emergence — not only in the social sense, but in the economic and cultural ones too. Cities thrive on weak ties, on happenstance, on proximity without intention. Mark Granovetter's landmark paper, The Strength of Weak Ties, showed that it's those looser, peripheral relationships — not our inner circles — that drive opportunity, creativity, and mobility. Karl Polanyi called it embeddedness: the idea that markets don't float in space, they're grounded in the social fabric around them.You see it too in scale theory — in the work of Geoffrey West and Luís Bettencourt — where the productive and innovative energy of cities scales with density, interaction, and diversity. When you flatten all that into private tunnels and algorithmic efficiency, you don't just lose the texture — you lose the conditions for invention.As David Roberts, a climate and policy journalist known for his systems thinking and sharp urban critiques, puts it: this is “the anti-social dream of elite urbanism” — a vision where you never have to share space with anyone not like you. In conversation with him, Jarrett Walker, a transit planner and theorist who's spent decades helping cities design equitable bus networks, also pushes back against this logic. He warns that when cities build transit around avoidance — individualized rides, privatized tunnels, algorithmic sorting — they aren't just solving inefficiencies. They're hollowing out the very thing that makes transit (and cities) valuable and also public: the shared experience of strangers moving together.The question isn't just whether cities are efficient — but what kind of social beings they help us become. If we build cities to avoid each other, we shouldn't be surprised when they crumble as we all forget how to live together.COVERAGE, CARE, AND CIVIC CALMIf you follow urban and transit planning debates long enough, you'll hear the same argument come up again and again: Should we focus on ridership or coverage? High-frequency routes where lots of people travel, or wide access for people who live farther out — even if fewer use the service? For transit nerds, it's a policy question. For everyone else, it's about dignity.As Walker puts it, coverage isn't about efficiency — it's about “a sense of fairness.” It's about living in a place where your city hasn't written you off because you're not profitable to serve. Walker's point is that coverage isn't charity. It's a public good, one that tells people: You belong here.That same logic shows up in more surprising places — like the World Happiness Report. Year after year, Finland lands at the top. But as writer Molly Young found during her visit to Helsinki, Finnish “happiness” isn't about joy or euphoria. It's about something steadier: trust, safety, and institutional calm. What the report measures is evaluative happiness — how satisfied people are with their lives over time — not affective happiness, which is more about momentary joy or emotional highs.There's a Finnish word that captures this. It the feeling you get after a sauna: saunanjälkeinen raukeus (SOW-nahn-yell-kay-nen ROW-keh-oos) — the softened, slowed state of the body and mind. That's what cities like Helsinki seem to deliver: not bliss, but a stable, low-friction kind of contentment. And while that may lack sparkle, it makes people feel held.And infrastructure plays a big role. In Helsinki, the signs in the library don't say “Be Quiet.” They say, “Please let others work in peace.” It's a small thing, but it speaks volumes — less about control, more about shared responsibility. There are saunas in government buildings. Parents leave their babies sleeping in strollers outside cafés. Transit is clean, quiet, and frequent. As Young puts it, these aren't luxuries — they're part of a “bone-deep sense of trust” the city builds and reinforces. Not enforced from above, but sustained by expectation, habit, and care.My family once joined an organized walking tour of Copenhagen. The guide, who was from Spain, pointed to a clock in a town square and said, almost in passing, “The government has always made sure this clock runs on time — even during war.” It wasn't just about punctuality. It was about trust. About the quiet promise that the public realm would still hold, even when everything else felt uncertain. This, our guide noted from his Spanish perspective, is what what make Scandinavians so-called ‘happy'. They feel held.Studies show that most of what boosts long-term happiness isn't about dopamine hits — it's about relational trust. Feeling safe. Feeling seen. Knowing you won't be stranded if you don't have a car or a credit card. Knowing the city works, even if you don't make it work for you.In this way, transit frequency and subtle signs in Helsinki are doing the same thing. They're shaping behavior and reinforcing social norms. They're saying: we share space here. Don't be loud. Don't cut in line. Don't treat public space like it's only for you.That kind of city can't be built on metrics alone. It needs moral imagination — the kind that sees coverage, access, and slowness as features, not bugs. That's not some socialist's idea of utopia. It's just thoughtful. Built into the culture, yes, but also the design.But sometimes we're just stuck with whatever design is already in place. Even if it's not so thoughtful. Economists and social theorists have long used the concept of path dependence to explain why some systems — cities, institutions, even technologies — get stuck. The idea dates back to work in economics and political science in the 1980s, where it was used to show how early decisions, even small ones, can lock in patterns that are hard to reverse.Once you've laid train tracks, built freeways, zoned for single-family homes — you've shaped what comes next. Changing course isn't impossible, but it's costly, slow, and politically messy. The QWERTY keyboard is a textbook example: not the most efficient layout, but one that stuck because switching systems later would be harder than just adapting to what we've got.Urban scholars Michael Storper and Allen Scott brought this thinking into city studies. They've shown how economic geography and institutional inertia shape urban outcomes — how past planning decisions, labor markets, and infrastructure investments limit the options cities have today. If your city bet on car-centric growth decades ago, you're probably still paying for that decision, even if pivoting is palatable to the public.CONNECTIONS, COMPLEXITY, CITIES THAT CAREThere's a quote often attributed to Stephen Hawking that's made the rounds in complexity science circles: “The 21st century will be the century of complexity.” No one's entirely sure where he said it — it shows up in systems theory blogs, talks, and books — but it sticks. Probably because it feels true.If the last century was about physics — closed systems, force, motion, precision — then this one is about what happens when the pieces won't stay still. When the rules change mid-game. When causes ripple back as consequences. In other words: cities.Planners have tried to tame that complexity in all kinds of ways. Grids. Zoning codes. Dashboards. There's long been a kind of “physics envy” in both planning and economics — a belief that if we just had the right model, the right inputs, we could predict and control the city like a closed system. As a result, for much of the 20th century, cities were designed like machines — optimized for flow, separation, and predictability.But even the pushback followed a logic of control — cul-de-sacs and suburban pastoralism — wasn't a turn toward organic life or spontaneity. It was just a softer kind of order: winding roads and whispered rules meant to keep things calm, clean, and contained…and mostly white and moderately wealthy.If you think of cities like machines, it makes sense to want control. More data, tighter optimization, fewer surprises. That's how you'd tune an engine or write software. But cities aren't machines. They're messy, layered, and full of people doing unpredictable things. They're more like ecosystems — or weather patterns — than they are a carburetor. And that's where complexity science becomes useful.People like Paul Cilliers and Brian Castellani have argued for a more critical kind of complexity science — one that sees cities not just as networks or algorithms, but as places shaped by values, power, and conflict. Cilliers emphasized that complex systems, like cities, are open and dynamic: they don't have fixed boundaries, they adapt constantly, and they respond to feedback in ways no planner can fully predict. Castellani extends this by insisting that complexity isn't just technical — it's ethical. It demands we ask: Who benefits from a system's design? Who has room to adapt, and who gets constrained? In this view, small interventions — a zoning tweak, a route change — can set off ripple effects that reshape how people move, connect, and belong. A new path dependence.This is why certainty is dangerous in urban design. It breeds overconfidence. Humility is a better place to start. As Jarrett Walker puts it, “there are all kinds of ways to fake your way through this.” Agencies often adopt feel-good mission statements like “compete with the automobile by providing access for all” — which, he notes, is like “telling your taxi driver to turn left and right at the same time.” You can't do both. Not on a fixed budget.Walker pushes agencies to be honest: if you want to prioritize ridership, say so. If you want to prioritize broad geographic coverage, that's also valid — but know it will mean lower ridership. The key is not pretending you can have both at full strength. He says, “What I want is for board members… to make this decision consciously and not be surprised by the consequences”.These decisions matter. A budget cut can push riders off buses, which then leads to reduced service, which leads to more riders leaving — a feedback loop. On the flip side, small improvements — like better lighting, a public bench, a frequent bus — can set off positive loops too. Change emerges, often sideways.That means thinking about transit not just as a system of movement, but as a relational space. Same with libraries, parks, and sidewalks. These aren't neutral containers. They're environments that either support or suppress human connection. If you design a city to eliminate friction, you eliminate chance encounters — the stuff social trust is made of.I'm an introvert. I like quiet. I recharge alone. But I also live in a city — and I've learned that even for people like me, being around others still matters. Not in the chatty, get-to-know-your-neighbors way. But in the background hum of life around you. Sitting on a bus. Browsing in a bookstore. Walking down a street full of strangers, knowing you don't have to engage — but you're not invisible either.There's a name for this. Psychologists call it public solitude or sometimes energized privacy — the comfort of being alone among others. Not isolated, not exposed. Just held, lightly, in the weave of the crowd. And the research backs it up: introverts often seek out public spaces like cafés, libraries, or parks not to interact, but to feel present — connected without pressure.In the longest-running happiness study ever done, 80 years, Harvard psychologist Robert Waldinger found that strong relationships — not income, not status — were the best predictor of long-term well-being. More recently, studies have shown that even brief interactions with strangers — on a bus, in a coffee shop — can lift mood and reduce loneliness. But here's the catch: cities have to make those interactions possible.Or they don't.And that's the real test of infrastructure. We've spent decades designing systems to move people through. Fast. Clean. Efficient. But we've neglected the quiet spaces that let people just be. Sidewalks you're not rushed off of. Streets where kids can safely bike or play…or simply cross the street.Even pools — maybe especially pools. My wife runs a nonprofit called SplashForward that's working to build more public pools. Not just for fitness, but because pools are public space. You float next to people you may never talk to. And still, you're sharing something. Space. Water. Time.You see this clearly in places like Finland and Iceland, where pools and saunas are built into the rhythms of public life. They're not luxuries — they're civic necessities. People show up quietly, day after day, not to socialize loudly, but to be alone together. As one Finnish local told journalist Molly Young, “During this time, we don't have... colors.” It was about the long gray winter, sure — but also something deeper: a culture that values calm over spectacle. Stability over spark. A kind of contentment that doesn't perform.But cities don't have to choose between quiet and joy. We don't have to model every system on Helsinki in February. There's something beautiful in the American kind of happiness too — the loud, weird, spontaneous moments that erupt in public. The band on the subway. The dance party in the park. The loud kid at the pool. That kind of energy can be a nuisance, but it can also be joyful.Even Jarrett Walker, who's clear-eyed about transit, doesn't pretend it solves everything. Transit isn't always the answer. Sometimes a car is the right tool. What matters is whether everyone has a real choice — not just those with money or proximity or privilege. And he's quick to admit every city with effective transit has its local grievances.So no, I'm not arguing for perfection, or even socialism. I'm arguing for a city that knows how to hold difference. Fast and slow. Dense and quiet. A city that lets you step into the crowd, or sit at its edge, and still feel like you belong. A place to comfortably sit with the uncertainty of this great transformation emerging around us. Alone and together.REFERENCESCastellani, B. (2014). Complexity theory and the social sciences: The state of the art. Routledge.Cilliers, P. (1998). Complexity and postmodernism: Understanding complex systems. Routledge.David, P. A. (1985). Clio and the economics of QWERTY. The American Economic Review.Granovetter, M. (1973). The strength of weak ties. American Journal of Sociology.Hawking, S. (n.d.). The 21st century will be the century of complexity. [Attributed quote; primary source unavailable].O'Mara, S. (2019). In praise of walking: A new scientific exploration. W. W. Norton & Company.Roberts, D. (Host). (2025). Jarrett Walker on what makes good transit [Audio podcast episode]. In Volts.Storper, M., & Scott, A. J. (2016). Current debates in urban theory: A critical assessment. Urban Studies.Waldinger, R., & Schulz, M. (2023). The good life: Lessons from the world's longest scientific study of happiness. Simon & Schuster.Walker, J. (2011). Human transit: How clearer thinking about public transit can enrich our communities and our lives. Island Press.West, G., & Bettencourt, L. M. A. (2010). A unified theory of urban living. Nature.Young, M. (2025). My miserable week in the ‘happiest country on earth'. The New York Times Magazine. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit interplace.io

J.D. Barker: White Russian (2 ounces vodka, 1 ounce Kahlua, 1 ounce heavy cream)J.D. talks about how he stalked and then connected with Stephen King, how his partnership with James Patterson has changed his writing method, the way he has turned his Asperger Syndrome into his secret weapon for writing novels, the landmark publishing imprint of his own within Simon & Schuster and how he worked with CEO Jonathan Karp and the private equity firm KKR to establish the business model for it, the pros and cons of independent publishing and traditional publishing, the remote island that is the setting for his latest ‘Chiller' novel as well as is the setting for his real life.

Have you ever been caught in a lie? Maybe just a small one. Borne out of a misunderstanding. Never intended to be told. But one lie leads to another. “It's easier to go along with it than to explain the whole truth,” you tell yourself. That's exactly where the protagonist of Dominic Amerena's debut novel, I Want Everything, finds himself. Dom is a masterful storyteller. We talked about truth and lies, wild years abroad, plot twists, and just what lengths someone will go to when they're desperate, ambitious, and out of options. I Want Everything, which has been praised as "the funniest novel of 2025" is available for pre-order here now, releasing on April 30 by Simon & Schuster. – Shop Latest Discover Bespoke This episode was live-recorded on Wurundjeri country. Cleopatra's Bling Podcast was produced by Zoltan Fecso and the CB team. Original music by Cameron Alva. 

Nick Cooney is one of the most prolific investors in food and ag tech. As the founder of Lever VC, he's helped deploy nearly $80 million from his first fund and has now closed more than $50 million toward his second $100 million fund. He's backed companies across the spectrum of sustainable protein—plant-based meat, cultivated meat, fermentation-derived proteins (including, in full disclosure, my own company, The Better Meat Co.), and more. But despite his deep roots in venture capital, Nick's latest project is about something very different: giving money away with no expectation of any financial return. In his new book, What We Don't Do: Inaction in the Face of Suffering and the Drive to Do More, from Simon & Schuster and Regalo Press, Nick challenges the reader with a bold moral argument: it's not enough to simply avoid doing harm—we have a responsibility to proactively reduce suffering where we can, including suffering we didn't cause. That includes using our time, our talents, and yes, our money, to help others—especially those we'll never meet. So how much should we be giving? While philosopher Peter Singer proposes 10% of your income as a moral benchmark, and Jesus went even further, telling his followers to sell everything and give to the poor, Nick stakes out a middle ground somewhere between Singer and Jesus of Nazareth: give until you feel it. Not until it hurts, necessarily—but enough that it makes a noticeable impact on your life. Because that impact could be life-changing—or even life-saving—for someone else. In this episode, Nick and I dive into the ideas behind What We Don't Do, and why our inactions—what we don't do—may be among the biggest sources of preventable suffering in the world. We explore the psychology behind why it feels easier to forgive inaction than harmful action, and how we can train ourselves to think differently. We also discuss the current state of the alt-protein industry, Nick's analysis of why venture capital has cooled off on the space in recent years, and what it'll take to bring investors back to the table. It's a rich and rewarding conversation with one of the most influential thinkers in the future of food. I found What We Don't Do to be both thought-provoking and motivating, and I think you'll feel the same. Whether you're a founder, a funder, or just someone who wants to do a little—or a lot—more good in the world, this episode is for you.

In the gripping conclusion of The True Tale of Lizzie Borden, we turn to the defense's side of the story. What arguments did Lizzie's lawyers make to counter the damning evidence? What did the jury ultimately decide—and why? Join me as we uncover the final chapter of this notorious case, from the courtroom verdict to the lasting legacy Lizzie Borden left behind. Don't miss the dramatic end to one of America's most enduring true crime mysteries. Catch Up: Missed Part 1 or 2? Be sure to listen to the previous episode to hear about the Borden family, the murders, and the investigation that led to Lizzie's arrest. Sources: The Trial of Lizzie Borden, Cara Robertson, Simon & Schuster, 2019  https://www.grunge.com/69553/untold-truth-lizzie-borden/  https://www.wickedlocal.com/story/archive/2013/08/02/timeline-lives-lizzie-emma-abby/38186480007/  https://famous-trials.com/lizzieborden/1449-bowentestimony  https://www.encyclopedia.com/law/law-magazines/lizzie-borden-trial-1893  https://www.smithsonianmag.com/history/how-lizzie-borden-got-away-with-murder-180972707/ https://www.biography.com/crime/lizzie-borden-life-after-murder-trial https://lizzie-borden.com/ Sponsors:  Zealthy - To see if you qualify for GLP-1 medications and get started, text ONCE to 200-300. Thrive Market - Go to ThriveMarket.com/onceuponacrime for 30% off your first order PLUS a FREE $60 gift!  Kikoff - Get your first month FREE at GetKikoff.com/once  To advertise on this podcast please email: ad-sales@libsyn.com    Or go to: https://advertising.libsyn.com/onceuponacrime  Links:  Patreon - www.patreon.com/onceuponacrime  Our Website -  www.truecrimepodcast.com  YouTube - https://www.youtube.com/@OnceUponACrimePodcast  

In Part 2 of The True Tale of Lizzie Borden, we step into the courtroom for one of America's earliest media frenzies—the infamous trial of Lizzie Borden. After the shocking 1892 axe murders of Andrew and Abby Borden, suspicion turned toward Andrew's 32-year-old daughter, Lizzie. The brutal nature of the crime and the unexpected suspect captivated the nation. In Part 1, we explored the tense dynamics within the Borden household and followed the investigation that led to Lizzie's arrest. Now, in this episode, we dive into the high-profile trial that gripped the country. Reporters packed the courthouse, headlines blared every development, and the public couldn't get enough. And at the center of it all stood Lizzie Borden—facing a charge of capital murder and fighting for her life. Join me as we unpack the courtroom drama, the legal strategies, and the surprising twists in one of the most sensational murder trials in American history. What You'll Hear in This Episode: Inside the packed courtroom during Lizzie Borden's murder trial How the press and public helped shape the case The prosecution's case against Lizzie  Key testimony and courtroom drama  Catch Up: Missed Part 1? Be sure to listen to the previous episode to hear about the Borden family, the murders, and the investigation that led to Lizzie's arrest. Sources: The Trial of Lizzie Borden, Cara Robertson, Simon & Schuster, 2019  https://www.grunge.com/69553/untold-truth-lizzie-borden/  https://www.wickedlocal.com/story/archive/2013/08/02/timeline-lives-lizzie-emma-abby/38186480007/  https://famous-trials.com/lizzieborden/1449-bowentestimony  https://www.encyclopedia.com/law/law-magazines/lizzie-borden-trial-1893  Sponsors:  Zealthy - To see if you qualify for GLP-1 medications and get started, text ONCE to 200-300. Greenlight - Start your risk-free Greenlight trial today at Greenlight.com/once. To advertise on this podcast please email: ad-sales@libsyn.com    Or go to: https://advertising.libsyn.com/onceuponacrime  Links:  Patreon - www.patreon.com/onceuponacrime  Our Website -  www.truecrimepodcast.com  YouTube - https://www.youtube.com/@OnceUponACrimePodcast  

This week on ‘The Write Question,' host Lauren Korn speaks with journalist Amy Gamerman, author of ‘The Crazies: The Cattleman, the Wind Prospector, and a War Out West' (Simon & Schuster). This is the second part of a two-part conversation.

This week on ‘The Write Question,' host Lauren Korn speaks with journalist Amy Gamerman, author of ‘The Crazies: The Cattleman, the Wind Prospector, and a War Out West' (Simon & Schuster). This is the second part of a two-part conversation.

Author and radio personality John Fugelsang joins The God Pod to discuss how the right continues to twist the Bible and Jesus with sickening levels of hypocrisy. Buckle up, this is a PERFECT 36-minute episode. Letters from God is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. 1. This Week on The God Pod: John Fugelsang John Fugelsang is a Drama League nominated actor, comedian & broadcaster who hosts the acclaimed "Tell Me Everything" series on SiriusXM Progress #127. His first book, "Separation of Church and Hate: A Sane Person's Guide to Taking Back The Bible from Fundamentalists, Fascists, and Flock-Fleecing Frauds" will be published this August by Simon & Schuster's Avid Reader Press. John, the child of an ex-nun and an ex-Franciscan brother (yes, really), has a lifetime of perspective on faith, religion, and the way it's been hijacked by fascists and frauds. He's thrilled to speak directly with God and Jesus so he can finally say what's been on his mind: stop spinning the Bible to justify cruelty. We also put John on the spot: What would you say to Elon Musk if you spoke to him directly? As you might expect, he nails it.

This week on ‘The Write Question,' host Lauren Korn speaks with journalist Amy Gamerman, author of ‘The Crazies: The Cattleman, the Wind Prospector, and a War Out West' (Simon & Schuster). This is the first part of a two-part conversation.

This week on ‘The Write Question,' host Lauren Korn speaks with journalist Amy Gamerman, author of ‘The Crazies: The Cattleman, the Wind Prospector, and a War Out West' (Simon & Schuster). This is the first part of a two-part conversation.

On this episode, we welcome back to the program, journalist and author, Joshua Hammer who was our guest back on episode 112 in September 2016.  Joshua's career has included serving as Newsweek Bureau Chief in, Nairobi, Buenos Aires, LA, Berlin, Jerusalem and Cape Town.  His work has appeared in the New York Review of Books, The New Yorker, National Geographic and the Smithsonian just to name a few publications. He is a New York Times bestselling author of six books, including The Falcon Thief and The Bad-Ass Librarians of Timbuktu (which we talked about in our last conversation). Joshua's just released and latest book is: The Mesopotamian Riddle: An Archaeologist, a Soldier, a Clergyman, and the Race to Decipher the World's Oldest Writing, published by Simon & Schuster. In the course of the conversation we dive deep into this fascinating book – everything from the Royal Asiatic Society's 1857 Great Cuneiform Challenge and the gentlemen who took part in it, to the difficulty of the digs in the Near East, to the “Assyrian Fever” (as Joshua calls it) that swept London in 1851- 1852, to the origins of the British Museum, to the topic of cultural appropriation of a country or people's national patrimony, and more. In keeping with the theme of the show, should he take a one way ticket back in time, Joshua shared what he would tell scholars and archeologists in the mid 19th century about how their work resonates today.   As for Joshua's own one way ticket destination, it's still to Manhattan in 1967. Do check out Joshua's other books: Chosen by God: A Brother's Journey; A Season in Bethlehem: Unholy War in a Sacred Place; and Yokohama Burning: The Deadly 1923 Earthquake and Fire that Helped Forge the Path to World War II. 

The writer Daniel Oppenheimer and his wife, Jessica, have been going to marriage therapy for many years. But, as he confessed in a recent New York Times magazine piece, he had to go to a superstar councillor to finally recognize that the biggest problem with his marriage was himself. Oppenheimer explains how renowned therapist Terry Real helped them, particularly by teaching him about healthy expressions of power. As with yesterday's show with William Deresiewicz, our conversation expands to broader societal themes about modern masculinity, with Oppenheimer suggesting many men are now struggling with emotional maturity in relationships.Five KEEN ON AMERICA Takeaways with Daniel Oppenheimer* Self-awareness in relationships is crucial - Oppenheimer's confessional essay acknowledges his own reactive behaviors (anger, walking out, saying "f**k you") as primary problems in his marriage.* Men often struggle with emotional maturity - The conversation highlights how many men, including Oppenheimer, have difficulty processing emotions in healthy ways within relationships.* Power dynamics matter in relationships - Therapist Terry Real introduced the concept of "power with" versus "power over," suggesting passive men aren't effective in relationships, but dominating men aren't either.* Cultural representations shape expectations - Oppenheimer discusses how media portrayals of relationships (romantic comedies vs. train wrecks) create unrealistic relationship models without showing the healthy middle ground.* Good relationships require hard work - Despite 18 years of ups and downs, Oppenheimer and his wife chose to stay together, work through their problems, and find a path forward, suggesting commitment and effort are central to lasting relationships.Daniel Oppenheimer is a writer whose features and reviews have been featured in the Washington Post, Texas Monthly, Boston Globe, Slate.com, The Point, Washington Monthly, Guernica, The New Republic, Tablet Magazine, and Salon.com. He received his BA in religious studies from Yale University and an MFA in nonfiction writing from Columbia University. He lives in Austin, Texas, with his wife Jessica and his kids Jolie, Asa, and Gideon.Exit Right, which was published in February 2016 by Simon & Schuster, was his first book. His other book, Far From Respectable: Dave Hickey and His Art, was published in June 2021 by The University of Texas Press. It was reviewed in a variety of places, but the best review (ie the one that said the nice things most persuasively) was this one by Blake Smith.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting the daily KEEN ON show, he is the host of the long-running How To Fix Democracy interview series. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

On August 4, 1892, the quiet town of Fall River, Massachusetts, was rocked by a gruesome double murder. Andrew Borden and his wife, Abby, were found brutally hacked to death in their own home. But the most shocking twist? The prime suspect was none other than Andrew's own daughter, 32-year-old Lizzie Borden. The crime and trial became one of the most infamous cases in American history, sparking a media frenzy that still captivates true crime fans today. But was Lizzie truly guilty, or was she wrongfully accused? In this episode, we set the stage for our deep dive into the Lizzie Borden case. We'll explore the crime scene, the initial investigation, and the immediate fallout that left a community in shock. Over the next few episodes, we'll uncover who Lizzie Borden really was, what happened inside that house on that fateful day, and whether she got away with murder.   Tune in and join us as we unravel one of history's most chilling true crime mysteries.

How can unique language and consistent messaging help brands stand out in a competitive market? Barry LaBov, founder of Labov Marketing Communications and Training, is a visionary leader in the realm of business differentiation. His accolades, including being a two-time Ernst and Young Entrepreneur of the Year and an Entrepreneur Hall of Fame inductee, reflect his mastery in crafting distinctive strategies that help businesses stand out in competitive markets. LaBov's perspective on differentiation is rooted in the belief that a unique value proposition, aligned with market and brand, is crucial for resonating with clients and achieving success. Through his comprehensive five-step process, as detailed in his book "The Power of Differentiation," he guides companies in discovering and celebrating their unique traits, emphasizing the importance of strategic storytelling and maintaining quality to avoid commoditization and secure long-term profitability. Key Takeaways: Creating a unique value proposition is crucial for business differentiation. Employees believing in their work can enhance performance and customer satisfaction. Using unique language and consistent messaging helps brands stand out in a competitive market. Brand experience should align with the brand's image and values to maintain loyalty. Strategic differentiation is essential for success in competitive markets. Focusing on sustainability can drive profitability and distinguish a brand. Training employees to convey a distinct brand message can prevent commoditization and preserve brand integrity. More from Barry LaBov Barry LaBov is the founder and CEO of LABOV Marketing Communications and Training, a renowned agency dedicated to brand differentiation and transformation. A two-time Ernst & Young Entrepreneur of the Year recipient and inductee into the Entrepreneur of the Year Hall of Fame, Barry has also been honored with the Better Business Bureau Torch Award for Ethics. Under his leadership, LABOV has earned numerous accolades, including six Indiana Growth 100 Awards, Small Business of the Year, and recognition as one of Indiana's Best Places to Work. The agency's client work has garnered nearly 100 national and regional awards, reflecting Barry's commitment to excellence and innovation. Beyond LABOV, Barry has diversified his entrepreneurial ventures with L2 Global Investments, co-managed with his daughter Laura Leamon, and Plow Digital, a full-service digital development and gaming firm. An accomplished author, Barry has written or co-authored over a dozen business books, including his forthcoming The Power of Differentiation, published by Indigo River and distributed through Simon & Schuster. In it, Barry offers actionable strategies to help leaders unlock their brands' unique potential and overcome the pitfalls of a commodity mindset. Drawing from decades of experience, Barry's expertise spans brand re-engineering, customer loyalty, employee engagement, and dealer/distributor network performance, with his insights featured on CNBC, Fox Business, and various podcasts. Outside the business world, Barry is a former musician whose Billboard-charting song was featured on American Bandstand. Today, he channels the lessons from his musical past—like collaboration and improvisation—into LABOV's core values. Alongside his wife Carol, Barry also leads a charitable foundation that supports causes like Make-A-Wish, Big Brothers Big Sisters, and Habitat for Humanity, embodying a legacy of innovation, creativity, and philanthropy. Every day at LABOV is an opportunity for us to do the best work of our lives. Surrounded by inspiring clients and creative, fun-loving co-workers, the greatest reward is working together to help our clients, and our employees succeed.   Website: https://www.labov.com/our-team/ LinkedIn: https://www.linkedin.com/in/barry-labov-6965241/ Amazon: https://a.co/d/fNXO2n7   If you are an experienced CEO looking to grow your company, visit https://www.TheCEOProject.com   You can also reach Jim by email: Jim@TheCEOProject.com   LinkedIn: @theceoproject Instagram: @the_ceoproject Twitter/X: @the_CEO_Project Facebook:  @IncCEOproject

In the first episode of season 2, we speak with Jack Smyth – a freelance designer and illustrator from Ireland. His clients include Penguin Random House, Faber & Faber, Harpercollins, Granta, Daunt Books, Simon & Schuster, The New York Times, The New Yorker, Politico and The Atlantic. He has previously worked inhouse at 4th Estate, Simon & Schuster, Little, Brown and Tower Records and holds an MA in Graphic Design from Kingston University. In 2024, he was named the designer of the year at the British Book Awards. He has received 9 ABCD awards, a BBDPA award and has been featured in Creative Review, It's Nice That, Communication Arts and the 100 Archive. He lives in Dublin with his wife and cat. Cover Meeting was hosted by Steve Leard and produced by James Ede of beheard.org.uk.

Want to support the podcast? Join our Patreon or buy us a coffee. As an independent podcast, Shakespeare Anyone? is supported by listeners like you. Have you ever wondered where those colorful Folger paperback editions of Shakespeare plays got their name? Or how the Folger Shakespeare Library came to have the largest collection of First Folios in the world? Or if there was any relation to the coffee brand?  In today's episode, we are going to be exploring the life of Henry Folger, his wife Emily Jordan Folger, their quest for copies of the First Folio, and how their collection forever changed our modern understanding of Shakespeare and the early modern period.  Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. For updates: join our email list, follow us on Instagram at @shakespeareanyonepod or visit our website at shakespeareanyone.com You can support the podcast by becoming a patron at patreon.com/shakespeareanyone, sending us a virtual tip via our tipjar, or by shopping our bookshelves at bookshop.org/shop/shakespeareanyonepod. Find additional links mentioned in the episode in our Linktree. Works referenced: Grant, Stephen H. Collecting Shakespeare: The Story of Henry and Emily Folger. Baltimore: Johns Hopkins University Press, 2014 Mays, Andrea E. The Millionaire and the Bard: Henry Folger's Obsessive Hunt for Shakespeare's First Folio. Simon & Schuster, 2016.  "Purchasing Power Today of a US Dollar Transaction in the Past," MeasuringWorth, 2025. Staff, Folger Shakesepeare Library. “Andrea Mays on the Millionaire and the Bard.” Folger Shakespeare Library, 18 Nov. 2015, www.folger.edu/podcasts/shakespeare-unlimited/shakespeare-unlimited-episode-36/. Staff, NPR. “A Fortune in Folios: One Man's Hunt for Shakespeare's First Editions.” NPR, NPR, 14 May 2015, www.npr.org/2015/05/14/406470976/a-fortune-in-folios-one-man-s-hunt-for-shakespeare-s-first-editions. Witmore, Michael. "Henry Clay Folger." Encyclopedia Britannica, 14 Jun. 2024, https://www.britannica.com/money/Henry-Clay-Folger. Accessed 5 March 2025.

A Black American living in Korea writes a letter to a restaurant worker, reckoning with race and the meaning of home. This essay was edited by Aube Rey Lescure and originally appeared in Off Assignment. Kat Lewis' debut novel, GOOD PEOPLE, is forthcoming from Simon & Schuster in 2026.

From early 2024- Simon Schuster discusses his book "The Showman: Inside the Invasion that Shook the World and Made a Leader." Schuster has covered Zelensky since 2019 and was granted unprecedented access to him even during the chaotic days following Russia's invasion of Ukraine.

Hey ho, Jess here. This week, all four of us discuss some of the happenings out there in the publishing world. First up: Super Bowl Sunday is apparently a great reading day. Sarina sent us a screenshot of her sales (she was tipped off by another author) and found out what many people are reading during the game:So that's fun. Next up, Sean Manning of Simon & Schuster announced no more blurbs (yay!)…unless you want to (boo!) in Publisher's Weekly and everyone had a lot to say about it. The New York Times, LitHub, lots of others. We add some perspective to the conversation as both blurbees and blurbers. Here's that wonderful AJ Jacobs NYT piece about not blurbing. And Rebecca Makkai's piece on not blurbing anymore in her Substack. PEN AmericaThe Authors Guild. Please join. Authors Against Book Bans. Please join. Is Sarina Bowen going to jail? We sure hope not.Here's OK SB593, the legislation we discussed by the dude in Oklahoma. Make sure to check out the language on pages 10-11. Don't take our word for it, read it yourself. Here's an example of the work The Authors Guild is doing to stop book banning, in this case in Idaho. I mentioned author and illustrator Katherine Roy in passing, so here's her episode and her website, and the book I mentioned, Making More: How Life Begins. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

Joel Creasey is one of Australia's most-popular, acclaimed, and charmingly controversial stand-up comedians, television and radio presenters as well as an actor and writer. Embarking on his stand-up career at just 15-years-old, Joel harnessed his outrageous wit, sass and unrivalled storytelling abilities to cement himself as Australia's undisputed ‘Crown Prince of Comedy' and one of the most sought-after and hottest comedians in the world. Every year Joel's live show audiences grow, as punters in-the-know flock for an hour of no-holds-barred belly laughs. Joel has cemented his reputation for slicing, dicing and smashing through pop culture – and himself – with unflinching candour and brutal home truths. He cuts through celebrity spin to tell you how it is with charm, irreverence and the ultimate payoff of epic laughs.  Stand-up Joel embarked on his first solo tour aged 19, earning himself a Best Newcomer nomination at the Melbourne International Comedy Festival. He has since sold out tours of Australia, the UK, Asia and the USA. In 2013 Joel was hand-picked to support Joan Rivers on her US tour, the legendary rivers Joan going on to say: “He is a f*cking star!”. Recent tours include Poser (2017), Blonde Bombshell (2018), Drink, Slay, Repeat (2019) and Messy Bitch (2020-22).  He is currently touring his new show around Australia ‘THANKS FOR BEING HERE'. A hilariously unfiltered hour of unflinching candour and brutal home truths. Tickets on sale now! (links below). Streaming  Joel's Netflix's Comedians of the World stand-up special ‘Thirsty' was launched globally to rave reviews, and a second broadcast stand-up special, ‘Fame Whore,' filmed at the iconic Sydney Opera House, airs on Amazon Prime worldwide. Joel joined some of Australia's top comedians on Amazon's Prime, outrageous social experiment hosted by Rebel Wilson, ‘LOL: Last One Laughing' Radio Joel made the huge leap into radio in 2020, joining Australia's number one national drive show on Nova. ‘Kate, Tim & Joel' airs weekdays across the country from 3.00pm-6.00pm.  TV Joel's list of TV credits is vast and varied, from his coveted role as co-host of SBS's ‘Eurovision Song Contest' alongside Myf Warhurst, to the raw and highly acclaimed comedy ABC documentary, Gaycrashers, via dating show Take Me Out, and hosting roles on SBS' coverage of Sydney Mardi Gras and the Royal Wedding in 2018. He is a familiar face on The Project, The Great Debate, Comedy Up Late, 20 to 1, Have You Been Paying Attention, Talkin' About Your Generation, Spicks and Specks, The Big Music Quiz, Studio Ten, A League of Their Own, Dirty Laundry, How Not to Behave and It's a Date, and many more. Acting In 2017, Joel made his acting debut in Channel 10's new Comedy Drama ‘Sisters' alongside a stellar cast including Magda Szubanski, Lucy Durack and Catherine McClements, and in 2018 he made his soap debut on Neighbours. Joel entered the world of theatre in 2020, performing the role of George in ‘The Boy, George,' a hilarious one-man play he co-wrote and co-produced with Richard Carroll.  Writing Joel penned his first memoir, Simon & Schuster-published ‘THIRSTY: Confessions of a Fame Whore', which he dedicated to the late Joan Rivers. Like Joel, Thirsty is acerbically funny, and full of his most personal, hilarious, joyous, heartbreaking, outrageous, ridiculous and scandalous stories.  Awards A self-described shameless ‘fame whore', Joel is an Australian entertainment staple, Joel won GQ Comedian of the Year in 2016, Best Presenter at the 2017 LGBTI Awards, and was selected as one of Cosmopolitan's top 50 influential LGBTQI voices in their inaugural Rainbow List. Good stuff Joel won a legion of fans when he appeared in the first Australian season of I'm a Celebrity…Get Me Out of here, raising funds for his charity Juvenile Diabetes Research Foundation in 2015. In 2017, Joel was selected as ambassador for Skyy Vodka's #CheerstoEquality campaign. We chat about his love of aviation, ‘my weird obsession', anxiety, new shows across Australia, ambition, drive & saying yes, authenticity and being yourself, fame, moving to radio, comparing + plenty more!   Check Joel out on: Instagram: https://www.instagram.com/joelcreasey Tour dates / Australian shows: https://www.livenation.com.au/joel-creasey-tickets-adp1111513 Facebook: https://www.facebook.com/joelcreasey/ Tiktok: https://www.tiktok.com/@joelcreasey   Twitter / X : https://x.com/joelcreasey ------------------------------------------- Follow @Funny in Failure on Instagram and Facebook https://www.instagram.com/funnyinfailure/ https://www.facebook.com/funnyinfailure/ and @Michael_Kahan on Insta & Twitter to keep up to date with the latest info. https://www.instagram.com/michael_kahan/ https://twitter.com/Michael_Kahan

This week, we'll be talking with Bennett Parten, author of Somewhere Toward Freedom: Sherman's March and the Story of America's Largest Emancipation (2025, Simon & Schuster).In Somewhere Toward Freedom, Ben reframes this seminal episode in Civil War history. He not only helps us understand how Sherman's March impacted the war, and what it meant to the enslaved, but also reveals how it laid the foundation for the fledging efforts of Reconstruction.Sherman's March has remained controversial to this day. Ben Parten helps us understand not just how the March affected the outcome of the Civil War, but also what it meant to the enslaved—and he reveals how the March laid the foundation for the fledging efforts of Reconstruction.

Welcome to Episode 227, featuring an author spotlight with Megan Marshall discussing her new collection of essays, After Lives: On Biography and the Mysteries of the Human Heart. Megan is a Pulitzer Prize-winning biographer who turns her writerly gaze and historical imagination on her own life, her family and friends, and the “after lives” of her biographical subjects. After Lives publishes the day this episode drops–purchase your copy post-haste or request it at your library. We have been enjoying a “real” New England winter this season, which has kept us hunkered down and reading on our respective couches. The books in our Just Read segment are: A New Home, Who Will Follow? by Caroline Kirkland The Grey Wolf by Louise Penny Fortune Favors the Dead by Stephen Spottswood How We Learn to Be Brave: Decisive Moments in Life and Faith by Mariann Edgar Budde My Life in France by Julia Child and Alex Prud'homme Finlay Donovan Digs Her Own Grave by Elle Cosimano (release date 3/4/25) The Vanishing Kind by Alice Henderson (release date 3/4/25) I'll Be Right Here by Amy Bloom (release date 6/24/25) In short stories, we discuss “The Old Nurse's Story” by Elizabeth Gaskell, the first story in The Penguin Book of Ghost Stories: From Elizabeth Gaskell to Ambrose Bierce, which we will be reading throughout 2025 for our year of reading Ghost Stories. Chris also read the ghost story The Inn by Guy De Maupassant. We did get out and about for a Biblio Adventure to the New York Society Library to see a reading of Lord Byron's Manfred by The New Relic Theatre. While there we also watched a virtual event via the Yale Program for the Study of Antisemitism featuring Ruth Franklin in conversation about her new book The Many Lives of Anne Frank. And we had two couch biblio adventures. Emily watched the film The Boy, The Mole, The Fox, and The Horse based on the book by Charlie Mackesy, and Chris participated in the Women's Prize Book Club with Sarah Waters in conversation with Simon Savidge about her novel Fingersmith. Of course, we also talk about what we're currently reading, hope to read, upcoming jaunts, Simon & Schuster's news about book blurbs, and more. There's a whole lot of yuck in the world now, and we are grateful for good books and bookish friends. Thank you, friends, for listening and connecting with us on social media, email, or Zoom. We wish you lots of Happy Reading! https://www.bookcougars.com/blog-1/2025/episode227

Stand Up is a daily podcast that I book,host,edit, post and promote new episodes with brilliant guests every day. Please subscribe now for as little as 5$ and gain access to a community of over 700 awesome, curious, kind, funny, brilliant, generous souls Check out StandUpwithPete.com to learn more GET TICKETS TO PODJAM II In Vegas March 27-30 Confirmed Guests! Professor Eric Segall, Dr Aaron Carroll, Maura Quint, Tim Wise, JL Cauvin, Ophira Eisenberg, Christian Finnegan and More! 31 minutes Ezra Levin is the co-founder and co-executive director of Indivisible. Prior to founding Indivisible, Ezra served as Associate Director of Federal Policy for Prosperity Now, a national anti-poverty nonprofit. Previously, he was the Deputy Policy Director for Congressman Lloyd Doggett (D-TX), Field Director for Doggett's 2010 reelection campaign, and an AmeriCorps VISTA in the Homeless Services Division of the San Jose Housing Department.   Along with his co-founder and spouse Leah Greenberg, Ezra has been featured as one of TIME 100's Most Influential People of 2019, included on GQ's 50 Most Powerful People in Trump's Washington, and ranked #2 on the Politico 50 list of top thinkers, doers and visionaries transforming American politics. He has appeared as a commentator on and/or been interviewed by MSNBC, CNN, NPR, Pod Save America, the New York Times, the Washington Post, Politico, TIME Magazine, the New Yorker, the Nation, Slate, and Rolling Stone, among others. He is the co-author of We Are Indivisible: A Blueprint for Democracy After Trump, published by Simon & Schuster's One Signal Publishers in 2019.  He holds a Bachelor of Arts from Carleton College and a Master in Public Affairs from the Princeton School of Public and International Affairs. 1 hour 2 mins Ophira Eisenberg is a Canadian-born standup comedian, writer, and host. She hosted NPR's comedy trivia show Ask Me Another for 9-years, where she interviewed and played silly games with hundreds of celebrities including Sir Patrick Stewart, Awkwafina, Rosie Perez, Yo-Yo Ma, Bob The Drag Queen, Nick Kroll, Chelsea Handler, Jim Gaffigan, Michael C. Hall, and so many others. As a comic and a parent to a 6-year-old, Ophira is the host of the new comedy podcast Parenting Is A Joke co-produced by iHeart Radio and Pretty Good Friends Productions. The show launches on October 18th. She can be seen live, regularly headlining across the United States, Canada, and Europe delivering her unique blend of standup and storytelling to a loyal fan base of smart, irreverent comedy lovers. She has appeared at Montreal's Just for Laughs Festival, The New Yorker Festival, The New York Comedy Festival, Moontower Comedy Festival, Bumbershoot, The Nantucket Film Festival, Women in Comedy Festival and more. Her new comedy album at special Plant-Based Jokes is available on iTunes and is streaming now on YouTube. Lauded as “hilarious, high risk, and an inspiration,” Ophira filmed her comedy special Inside Joke, when she was 8½ months pregnant. The show's material revolves around how she told everyone that she was never going to have kids, and then unexpectedly found herself expecting at “an advanced maternal age.” Her other comedy albums, Bangs! and As Is She has appeared on Comedy Central, This Week at The Comedy Cellar, Kevin Hart's LOL Network, HBO's Girls, Gotham Live, The Late Late Show, The Today Show, and VH-1. The New York Times called her a skilled comedian and storyteller with “bleakly stylish” humor. She was also selected as one of New York Magazine's “Top 10 Comics that Funny People Find Funny,” and hailed by Forbes.com as one of the most engaging comics working today.  Ophira is a regular host and teller with The Moth and her stories have been featured on The Moth Radio Hour and in two of The Moth's best-selling collections, including the most recent New York Times Bestseller: How To Tell A Story: The Essential Guide to Memorable Storytelling from The Moth.  Ophira's first book, Screw Everyone: Sleeping My Way to Monogamy (Seal Press), is a comedic memoir about her experiments in the field as a single woman, traveling from futon to futon and flask-to-flask, gathering data, hoping to put it all together and build her own perfect Frankenmate. It was optioned for a feature film.  She is also sought after as a brilliant interviewer and moderator, and has interviewed dozens of celebrities, writers, and actors including Neil Gaiman at New York's Town Hall; Jane Curtain, Anne Beatts, Heather Gardner, Sudi Green, Alysia Reiner, Jeanne Tripplehorn, David Crane, Jeffrey Klerik at The Nantucket Film Festival; Eugene Levy, Catherine O'Hara, Daniel Levy and Annie Murphy at the 92nd Street Y; and Nell Scovell and Sloane Crosley at The Mark Twain House.  Originally from Calgary, Alberta, Canada, Ophira graduated with a Cultural Anthropology and Theater degree from McGill University. She now lives in Brooklyn, NY where she is a fixture at New York City's comedy clubs including the Comedy Cellar, Gotham Comedy Club, New York Comedy Club and Carolines, as well as Brooklyn's famed performance venues The Bell House, Union Hall, and Littlefield. She resides with her husband and son where she can regularly be seen drinking a ton of coffee. Pete on Blue Sky Pete on Threads Pete on Tik Tok Pete on YouTube  Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page All things Jon Carroll  Follow and Support Pete Coe Buy Ava's Art  Hire DJ Monzyk to build your website or help you with Marketing Gift a Subscription https://www.patreon.com/PeteDominick/gift

Astrology is more than just predictions. Join Kino and Gahl for a conversation about spirituality, past lives, and how astrology can help guide us along our journey Gahl Sasson makes Kabbalah, astrology and psychology engaging, illuminating, and fun. His book, A Wish Can Change Your Life, (published by Simon & Schuster and co-written with Steve Weinstein), blends wisdom and metaphors from cultures across history and the entire world into an innovative blueprint for personal transformation and material enrichment. His second work, Cosmic Navigator, is the essential reference guide to understanding your astrological makeup. He recently published a book on the astrology of 2018, 2019, and 2020. Thousands have enthusiastically embraced his fresh and stimulating approach to spirituality in lectures and workshops in the United States, UK, Argentina, France, Germany, Switzerland, Spain, Singapore, Hong Kong, Moscow, Mexico, Bulgaria, Turkey, and Israel. He is a contributor to the Huffington Post, and Astrology.com, and has been named “Los Angeles' Best Astrologer” by W Magazine. He is a guest lecturer at USC, Tel Aviv University, and teaches at Esalen, Omega Institute, University of Judaism, and the Open Center in NYC. He has appeared on CNN, ABC News, KTLA-TV Los Angeles to name a few. In 2017 his academic article, Symbolic Meaning of Names in the Bible was published by the Journal of Storytelling, Self, & Society. He currently resides in Los Angeles.   Practice LIVE with me exclusively on Omstars! Start your journey today with a 7-day free trial at omstars.com. Limited time Offer: Sign up for an Omstars+ membership and Get my FREE course: Ashtanga Mechanics. Sign up Here! Stay connected with us on social @omstarsofficial and @kinoyoga Practice with me in person for workshops, classes, retreats, trainings and Mysore seasons. Find out more about where I'm teaching at kinoyoga.com and sign up for our Mysore season in Miami at www.miamilifecenter.com    

Jes and Sarah are talking about loving your library during this month's episode of Beyond the Shelves! After talking about unique library services and the best ways you can support your library, they talk about some of their favorite books that feature libraries. Then they dig into a busy Book Bulletin segment (starts at 42:51), full of interesting news. Next month, Jes and Sarah are hosting their first ever Beyond the Shelves Book Club episode! They're reading Harlem Rhapsody by Victoria Christopher Murray. That episode is scheduled to be up on Tuesday, March 11. We encourage you to read the book so you can follow along with their discussion next month!   Show Notes Show Up for Your Library - ALA Advocacy One of the best ways to support the library is using your library!   What We're Reading The Long Way to a Small Angry Planet, by Becky Chambers Y2K: How the 2000s Became Everything, by Colette Shade House of Earth and Blood, by Sarah J. Maas Onyx Storm, by Rebecca Yarros A Bad Day for Sunshine, by Darynda Jones The Age of Magical Overthinking, by Amanda Montell Keep Me, by Sara Cate To Be Read Sula, by Toni Morrison Voice Like a Hyacinth, by Mallory Pearson Water Moon, by Samantha Sotto Yambao Ana Maria and the Fox, by Liana De la Rosa Deep End, by Ali Hazelwood Books About Libraries The Library at Mount Char, by Scott Hawkins The Book that Wouldn't Burn, by Mark Lawrence The Parliament, by Aimee Pokwatka The Starless Sea, by Erin Morgenstern The Cartographers, by Peng Shepherd Upright Women Wanted, by Sarah Gailey Library Services Book Club Sets TONS of eMagazines on Libby Comics Plus Community Fridges Book Bulletin Children of Blood and Bone Cast Reveal Bookshop.org now sells eBooks Department of Education is ending book ban investigations Simon & Schuster is no longer requiring book blurbs Philadelphia Eagles player AJ Brown helps a book become a bestseller after being spotted reading it on the sidelines during a playoff game Onyx Storm reaction (the headlines - they're bad and misunderstand the book!) Lady Whistlethreads book drama newsletter

Renee Fountain is president of Gandolfo Helin & Fountain Lit Mgmt. She's been in the publishing industry for more than 30 years. She's worked at Harcourt and Simon & Schuster with some of the best writers and illustrators in publishing, has managed iconic classics like Raggedy Ann and Nancy Drew, and brokered film and television options. Renee also spent five years with the CW Television Network as a book scout and story analyst for scripted television. Renèe represents fiction and non-fiction, from YA to adult but doesn't represent picture books, middle grade, or previously published work. She attends writers' conferences where she provides manuscript critiques, fields author pitches, and teaches masterclasses. She offers free resources for writers at Reneefountain.com/podcastjumpstart and on her Substack page. In addition to agenting, Renèe helps writers hone their craft and books with developmental editing and coaching through her company Gryphon Quill and as a faculty member of The Manuscript Academy. Renee joins Barbara DeMarco-Barrett to talk about what she wishes a writer would send her, how she finds her clients, how the words on the page are more important than MFAs and a writer's age, query letters, what to do about your bio if you have no writing credits, comps, the state of the publishing biz, social media, and so much more. For more information on Writers on Writing and to become a supporter, visit our Patreon page. For a one-time donation, visit Ko-fi. You can find hundreds upon hundreds of past interviews on our website. If you'd like to support the show and indie bookstores, consider buying books at our bookstore on bookshop.org. We've stocked it with titles from our guests, as well as some of our personal favorites. And on Spotify, you'll find to an album's worth of typewriter music like what you hear on the show. Look for the artist, Just My Type. Email the show at writersonwritingpodcast@gmail.com. We love to hear from our listeners! (Recorded on January 31, 2025) Host: Barbara DeMarco-Barrett Host: Marrie Stone Music: Travis Barrett (Stream his music on Spotify, Apple Music, Etc.)

Giuseppe Castellano talks to Leslie Mechanic, art director at Simon & Schuster, about what catches her eye in an illustrator's portfolio; why saying “it's a competitive market” isn't the most accurate take on the illustration industry; what all illustrators should know about the art director/illustrator relationship; and more.To learn more about Leslie, visit lesliemechanic.com. If you find value in this podcast, consider supporting it via Substack or Patreon. Among other benefits, you will gain access to bonus episodes we call “Extra Credit”. | Visit illustrationdept.com for offerings like mentorships and portfolio reviews, testimonials, our alumni showcase, our best-selling Substack, and more. | Music for the podcast was created by Oatmello.

Since we heard America was “being made great again” or something, we decided it was time for Strange Country to return. This time, cohosts Beth and Kelly tackle the story of David Starr Jordan, noted ichthyologist and first president of Stanford University, who definitely was a eugenicst but not certain a murderer. He did cover up Jane Stanford's murder by poison so there's that. That's not good, right? We don't know because it seems laws are meaningless now. Yay, America!?! Theme music: Big White Lie by A Cast of Thousands. Cite your sources, or not, who cares nothing has meaning Flores, Gilbert. “Did Philanthropy Kill Jane Stanford?” Lilly Family School of Philanthropy, 31 October 2022, https://blog.philanthropy.indianapolis.iu.edu/2022/10/31/did-philanthropy-kill-jane-stanford/. Accessed 18 January 2025.   “A History of Stanford – Stanford University.” Stanford University, https://www.stanford.edu/about/history/. Accessed 2 January 2025.   Miller, Lulu. Why Fish Don't Exist: A Story of Loss, Love, and the Hidden Order of Life. Simon & Schuster, 2020.   Peacock, Chris. “Stanford will rename campus spaces named for David Starr Jordan and relocate statue depicting Louis Agassiz.” Stanford Report, 7 October 2020, https://news.stanford.edu/stories/2020/10/jordan-agassiz.   White, Richard. Who Killed Jane Stanford? A Gilded-Age Tale of Murder, Deceit, Spirits and the Birth of a University. WW Norton, 2022.   Wolfe, Susan. “Who Killed Jane Stanford?” STANFORD magazine, September/October 2003, https://stanfordmag.org/contents/who-killed-jane-stanford. Accessed 2 January 2025.

Created by Humans is a new service for AI right licensing that has partnered with Author's Guild. Simon & Schuster launched a new audio imprint for indie authors. And, Substack launched a new live streaming feature. All that and more in the self-publishing news. Subscribe to The Self-Publishing Hub - https://TheSelfPublishingHub.com Subscribe to my email newsletter - https://DaleLinks.com/SignUp Join Channel Memberships - https://DaleLinks.com/Memberships Join Me on Discord - https://DaleLinks.com/Discord Check out my main YouTube channel - https://www.youtube.com/@DaleLRoberts My Books - https://DaleLinks.com/MyBooks  Sources:  The Hidden Value of Regional Book Awards: Why Indie Authors Should Think Local - https://selfpublishingadvice.org/regional-book-awards/ Created by Humans AI Rights Platform Launches for Authors - https://www.publishersweekly.com/pw/by-topic/digital/content-and-e-books/article/96846-created-by-humans-launches-ai-rights-platform-for-authors.html Created by Humans - https://www.createdbyhumans.ai/ S&S Launches Audio Imprint Simon Maverick, Helmed by Jason Pinter - https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/96813-s-s-launches-audio-imprint-simon-maverick-helmed-by-jason-pinter.html GetCovers: 2025 Self-publishing Trends To Be Aware Of - https://getcovers.com/blog/self-publishing-trends-in-2025/ Miblart: 72 Content Ideas for Authors for an Entire Year - https://drive.google.com/file/d/1ub-4uC-ZxzbGbqKtJdW7hVCbpMxaiCGa/view  Substack Opens Access to Livestreaming - https://rossbrand.substack.com/p/substack-opens-access-to-livestreaming Authentic Book Reviews - https://getauthenticbookreviews.com/ What's in store for ALLi in 2025? - https://selfpubconnect.mn.co/events/whats-in-store-for-alli-in-2025 Self-Publishing Success: From Manuscript to Marketing | Dibbly Create Webinar - https://www.youtube.com/live/kk4kVt73KmY?si=ycL95W3xoNc5oYt5  Where noted, some outbound links financially benefit the channel through affiliate programs. I only endorse programs, products, or services I use and can stand confidently behind. These links do not affect your purchase price and greatly helps to building and growing this channel. Thanks in advance for understanding! - Dale L. Roberts

What if manifestation wasn't just a trending buzzword but a practical tool for redesigning your life? In this episode of The Reinvention Room, Allison Hare sits down with Jen Mazer, affectionately known as the “Queen of Manifestation.” Together, they unravel the myths around manifestation, dive into its science, and explore how intuition and action play a pivotal role in achieving your highest potential.Jen shares her personal journey, from living rent-free in NYC for 10 years to starting a green school in Africa, offering inspiring stories and actionable tips to manifest your desires. Whether you're a skeptic or a believer, this episode will leave you with practical tools to shift your mindset, embrace obstacles, and create a life that feels expansive and intentional.What You'll Learn:Why mainstream manifestation myths miss the markThe surprising role of obstacles in the manifestation processHow to focus on feelings over specific outcomesTools to harness intuition and co-create your lifeHow to shift from “victim” to “participant” in your journeyNotable Timestamps:[03:15] – The pitfalls of starting the year strong but losing momentum when obstacles arise.[06:30] – Why vision boards are the "preschool" of manifestation—and what works better.[11:45] – Jen's story of living rent-free in NYC for 10 years and how it shaped her manifestation journey.[16:20] – The science behind manifestation: how your imagination taps into intuition.[21:10] – Overcoming skepticism: the difference between intuition and wishful thinking.[28:50] – The importance of focusing on feelings, not specifics, to shift your vibration.[33:35] – How obstacles are an essential part of the manifestation process—and why they often signal you're close.[41:00] – Practical tools to elevate your mindset and intuition starting today.[46:15] – Manifestation myths debunked: Why “fake it till you make it” is misunderstood.[52:40] – How Jen turned a simple book idea into a Simon & Schuster deal—and what it taught her about co-creation.Resources Mentioned:Jen Mazer's Website: http://www.queenofmanifestation.com/Create a Life of Pure Magic GuideManifest 2025 WorkbookJen's book: Manifesting Made EasyThe board game SparkedJen's Manifestation Masters Program and Club Free guide: Create a Life of Pure MagicLinks:Connect with Jen: Queen of ManifestationJoin Allison's brainstorming session: Book a Call hereShare this episode with a friend who needs a mindset refresh! Be sure to rate, review, and follow this podcast on your player and also, connect with me IRL for more goodness and life-changing stuff.Sign up for the free Reinvention Roadmap weekly emailAllisonHare.comFollow me on Instagram, LinkedIn, Facebook, and YouTube.Schedule a FREE breakthrough call with me Want to take these ideas and apply them to your life? Let's do it!DOWNLOAD the free PDF - 40 Simple Ways to Add Energy To Your Day- get a quick burst of energy right now and KEEP IT!Reb3l Dance Fitness - Try it at home! Free month with this link.Personal Brand - need help building yours? Schedule a call with me here and let's discuss.Feedback and Contact:: allison@allisonhare.com

Aly Cohen, MD, FACR, joins Integrative Practitioner Content Specialist Avery St. Onge to discuss simple, realistic ways to reduce exposure to environmental toxins and improve mental health. This episode is brought to you by the Integrative Healthcare Symposium. Register for the Symposium and receive 15% off with promo code IP2025PODCAST: https://xpressreg.net/register/ihsy0225/landing.php?sc=IP2025PODCAST Learn more about the event by visiting the Symposium website: www.ihsymposium.com Contact the Integrative Healthcare Symposium team: info@ihsymposium.com Find us at integrativepractitioner.com or e-mail us at IPEditor@divcom.com. Theme music: "Upbeat Party" by Scott Holmes via freemusicarchive.org, "Carefree" by Kevin Mcleod via incompetech.com, and “Relaxing Light Background” by AudioCoffee. About the Expert Aly Cohen, MD, FACR, is the co-author of the, bestselling, consumer guidebook, Non-Toxic: Guide to Living Healthy in a Chemical World, published by Oxford University Press, and part of the Dr. Weil Healthy Living Guides. Her new book to be, DETOXIFY: The Everyday Toxins Harming Your Immune System and How to Defend Against Them, published by Simon & Schuster, connects the dots between everyday chemicals and the epidemic rise in immune disorders and autoimmune disease...and what we CAN all do about it! DETOXIFY is available now on Amazon for preorder. Dr. Aly Cohen is triple board-certified in rheumatology, internal medicine, and integrative medicine, as well as an environmental health expert in Princeton, New Jersey. She studied at the University of Pennsylvania, where she focused her studies on medical anthropology and human evolution - topics that have greatly influenced her work. She is on faculty of the Academy of Integrative Health and Medicine (AIHM), Southern California University of Health Sciences (SCU), and the Integrative and Functional Medicine Fellowship of the Susan Samueli Integrative Health Institute (SSIHI) at the University of California, Irvine, where she created and manages the environmental medicine and integrative rheumatology curriculum for medical colleagues. Dr. Cohen has collaborated with the Environmental Working Group, Cancer Schmancer, and other disease- prevention organizations, and is coeditor of the textbook, Integrative Environmental Medicine, part of the Oxford University Press/Weil Integrative Medicine, Academic Series. In 2015, she created TheSmartHuman.com to share environ­mental health, disease prevention, and wellness information with the public. She lectures nationally on environmental health topics for el­ementary/ high schools, colleges/ universities, medical schools, and physician- training programs, and she is a regular expert guest for tele­vision, print, and podcasts. She is a legal medical expert for toxic tort environmental exposure cases.

Hello, Protagonists!My guest today is Heather Demetrios, a critically acclaimed novelist and writing coach who specializes in guiding writers in finding their voice, bringing their ideas to their full written potential, mindfulness, mental health in creative practices, and more.Today, we talk about:* the differences between a writing coach and a freelance editor* mental health practices that support your writing* how to balance writing what's true to your heart and “stories that sell”* tips for getting over fear or self-doubt at the start of a project* and so much more.I hope you enjoy the show!

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comMary is a political consultant and former TV and radio host. She served under Presidents Reagan, HW Bush, and W Bush. She also co-founded Threshold Editions, a conservative publishing imprint at Simon & Schuster. She's married to Democratic consultant and Dishcast guest, James Carville, whom she wrote two books with: All's Fair and Love & War. She also wrote Letters to My Daughters. We got to know each other decades ago, but lost touch. After her husband Carville's pod, I asked her. She lives on a farm now — and is as fun and sharp as ever.We had no specific topic at hand so the convo is a bit sprawling, like two old friends reconnecting in the Christmas break. Or something like that. For two clips of our convo — on finding yourself through suffering, and the last days of Lee Atwater — pop over to our YouTube page.Other topics: growing up in south Chicago around steel mills; being the only white woman at beauty school; dropping out of college many times; worked her way through law school; the “explosion of ideas” under Reagan; converting to Catholicism; Vatican II undermining the liturgy; leaving the Dem Party over identity politics; black people against “Defund”; the Catholic view of the individual; why flaws are the most interesting parts of people; Mary's close friendship with Donna Brazile; hairdressers as priests; Augustine; Pascal; the epistemological humility of Socrates; Stoicism; my mother's mental illness; the crucifixion of Jesus; Mel Gibson's version of the Passion; Willie Horton; Bernie one of the few pols championing class; the redistribution of wealth during Covid; the lockdowns; Boris and Partygate; George Floyd and BLM groupthink; Kyle Rittenhouse; Jussie Smollett; the narrative of structural racism; MLK envy and “the right side of history”; the Ferguson effect; innovative police work in NOLA; Mary fighting sex trafficking in NOLA; Tony Blair cementing the legacy of Margaret Thatcher; the lack of accountability from political consultants; the profundity of Winnie the Pooh; and which great Americans we should emulate today.Browse the Dishcast archive for an episode you might enjoy (the first 102 are free in their entirety — subscribe to get everything else). Coming up: Adam Kirsch on his book On Settler Colonialism, John Gray on the state of liberal democracy, Jon Rauch on his new book on “Christianity's Broken Bargain with Democracy,” Nick Denton on the evolution of new media, and Ross Douthat on how everyone should be religious. Please send any guest recs, dissents, and other comments to dish@andrewsullivan.com.

Here's what to expect on the podcast:Understanding what it means to be bold.What are some common fears people face when trying to be bold, and how can they overcome them?Leigh's introduction to her book Be Bold Today.Overcoming comparison and believing in oneself.The importance of community and connection when making bold moves.And much more! About Leigh:Leigh Burgess is a thought leader, game-changer and powerhouse connector determined to ignite and support the bold journeys of others. After over twenty years in healthcare, she founded Bold Industries Group, a platform for uniting, inspiring, and empowering women that brings together a unique global network via her Bold events, the Bold Leaders Collective membership, The Bold Lounge podcast, and through her dynamic speaking, coaching, and consulting engagements. With a focus on the intersection of mindset, strategy, and wellness, her Believe-Own-Learn-Design (B.O.L.D.) Framework is your map to the bold life. Leigh's forthcoming book, Be Bold Today: Unleash Your Potential, Master Your Mindset, and Achieve Success, which is all about how to apply the framework to your own life, will be distributed by Simon & Schuster in fall 2024. Connect with Leigh Burgess!Website: https://leighburgess.com/LinkedIn: https://www.linkedin.com/in/leighburgess23/Instagram: https://www.instagram.com/theleighaburgess/YouTube: https://www.youtube.com/@boldindustriesgroupBook: Be BOLD Today https://www.simonandschuster.com/books/Be-BOLD-Today/Leigh-Burgess/9781685552435 Connect with Candice Snyder!Website: https://hairhealthvitality.com/passion-purpose-and-possibilities/Facebook: https://www.facebook.com/candice.snyderInstagram: https://www.instagram.com/candicesny17/LinkedIn: https://www.linkedin.com/in/candicesnyder/ICAN Institute: https://vl729.isrefer.com/go/mindandbody/PassionPurpose22/Shop For A Cause With Gifts That Give Back to Nonprofits: https://thekindnesscause.com/

The actor-director-producer Stanley Tucci is also, famously, an avid eater, who has explored his enthusiasm for food through his travel show “Searching for Italy” and through two books: “Taste,” in 2021, and now a food diary, “What I Ate in One Year." In this week's episode, Tucci discusses his new book with host Gilbert Cruz and talks about bad meals, his food idol and his path to tracking a year's worth of eating.“The people at Simon & Schuster wanted me to write another book after ‘Taste,' and I really didn't know what to write,” Tucci says. “My wife said, Just write what you eat. So I did, because I do everything she says. And it actually ended up being such a pleasure to write. It just flowed very easily. As you start to write about the mundane, you start to mine all this stuff that you didn't know you were thinking about, or that was happening. And that's what the book is. It's, in essence, the passage of time through the prism of food.”Also on this week's episode, Gilbert chats with Joumana Khatib about the National Book Award finalists in fiction and nonfiction. Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.