Podcasts about Storytelling

A strange brew that's hard to resist, even for a modern day microbe. In the war on devilish microbes, our weapons are starting to fail us. The antibiotics we once wielded like miraculous flaming swords seem more like lukewarm butter knives. But in this episode, originally released in 2015, we follow an odd couple, of a sort, to a storied land of elves and dragons. There, they uncover a 1,000-year-old secret that makes us reconsider our most basic assumptions about human progress and wonder: what if the only way forward is backward? Special thanks to Steve Diggle, Professor Roberta Frank, Alexandra Reider and Justin Park (our Old English readers), Gene Murrow from Gotham Early Music Scene, Marcia Young for her performance on the medieval harp and Collin Monro of Tadcaster and the rest of the Barony of Iron Bog. Can't get enough of that sweet, sweet antibiotic resistance content? Then you'll be over the moon about next week's release. It's the podcast cut of our most recent installment of our live show series called Viscera. This one features executive editor Soren Wheeler and Avir Mitra, and it's all about how our millenia's-long war against bacteria came to a tipping point in this modern age. Subscribe or follow our show on your favorite streaming platform and you'll be the first to know when it drops. EPISODE CREDITS:  Reported by - Latif Nasser Produced by - Matt Kielty and Soren Wheeler EPISODE CITATIONS: Articles - Uncovering the multifaceted mechanism of action of a historical antimicrobial (https://zpr.io/mucw6Td6LBxT) by Harrison, F et al, 2026 bioRxv (PREPRINT). In this article Freya and her team describe the mechanisms under which Bald's Remedy actually works. Signup for our newsletter!! It includes short essays, recommendations, and details about other ways to interact with the show. Sign up (https://radiolab.org/newsletter)! Radiolab is supported by listeners like you. Support Radiolab by becoming a member of The Lab (https://members.radiolab.org/) today. Follow our show on Instagram, Twitter and Facebook @radiolab, and share your thoughts with us by emailing radiolab@wnyc.org.Leadership support for Radiolab's science programming is provided by the Simons Foundation and the John Templeton Foundation. Foundational support for Radiolab was provided by the Alfred P. Sloan Foundation.

If no one is around, is anyone watching? Lady of the Lake Georgia's Lake Lanier seems like the perfect spot to spend the Fourth of July. But beneath the calm blue waters… something's watching.  Thank you Alyse for sharing your story with Spooked! Produced by Erick Yáñez, original score by Yari Bundy, scouted by Evan Stern, artwork by Teo Ducot. Fluffy Guardians  Loral has always been a friend to the neighborhood cats. When danger lurks, will those kitties return the favor? Thanks Loral for telling us your story! Produced by Anne Ford, original score by Sandra Lawson-Ndu. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this fifty-third installment of fictional horror written and narrated by Dan Cummins, we return to Jonesberg, Idaho. Sammy Alvarez is wrestling with his response to what he saw in the underground chapel. Joey Sherman gets a surprise late night visitor. And Zander asks Tissie some long-awaited questions before having one seriously f*cked up dream... For Merch and everything else Bad Magic related, head to: https://www.badmagicproductions.com Subscribe to SiriusXM Podcasts+ to listen to new episodes of Scared to Death ad-free and a whole week early. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Welcome to Sketching Up! Today, we explore the latest in Spider-Man trailers, movie and TV show insights, and favorite story arcs. We also cover recent Oscar highlights, Star Wars updates, and fan-favorite villains, providing deep dives into character relationships and industry trends.Subscribe to @SketchingUpPodTry Audible today — head to http://www.audibletrial.com/SchnabelStudiosto start your 30-day free trial and get reading#nintendo #mario #supermario #mariomovie #mariotrailer #supermarioodyssey #yoshi #retrogaming #backyardbaseball #pablosanchez #gaming #nintendoswitch #podcastFollow Sketching Up:Instagram — https://www.instagram.com/sketchinguppod/Facebook — https://www.facebook.com/sketchinguppod/TikTok — https://www.tiktok.com/@sketchinguppodVideo edited by Chris SchnabelEpisode Produced by Chris Schnabel and Matt TornettaMusic by Kyle ScottSketching Up is a Schnabel Studios Production.Chapters00:00 - Introduction03:27 - Dune 3 Trailer Excitement09:10 - Oscars Recap and Highlights13:54 - Spider-Man Brand New Day Trailer Drop20:38 - Best Spider-Man Story Arcs Discussion25:13 - The Impact of Storytelling in Gaming27:43 - Exploring Spider-Man's Villains36:17 - Spider-Man's Relationships and Character Dynamics46:31 - Anticipating the Future of Spider-Man Films48:57 - EndResourcesSpider-Man Trailer - https://www.youtube.com/watch?v=8TZMtslA3UYSpider-Man Video Games (PS4) - https://www.playstation.com/en-us/games/spider-man/Star Wars Clone Wars Series - https://www.starwars.com/series/star-wars-the-clone-warsOscars Official Site - https://www.oscars.org/Dune Series Trailer - https://www.youtube.com/watch?v=exampleMarvel's Spider-Man (PS4 Game) - https://www.playstation.com/en-us/games/marvels-spider-man/

Welcome to The DMF — Discovering Meaning in Film and Acting. I'm Justin Younts, and in this episode I continue my conversation with filmmaker, producer, and author Brent Lindstrom as we dive into the realities of writing, editing, and building a career as an author.Brent shares his journey through writing what he calls “trunk novels” — early works that helped him develop his voice and understand the craft of storytelling. Through this process, he realized just how much there is to learn when it comes to structure, character development, and refining a story.We explore the two primary writing approaches — outlining vs. pantsing — and why Brent believes outlining can help writers avoid writer's block and create a more efficient storytelling process.In this episode we discuss:• Common writing and editing mistakes authors make• How to edit your book effectively• Outlining vs pantsing in storytelling• Developing characters and narrative structure• The financial realities of being an author• Marketing your book and building an audienceBrent also shares lessons from writing his novel “Swing Low, Hangman of the Woods,” including the challenges he faced and how those experiences shaped his growth as a storyteller.This episode highlights the importance of patience, persistence, and continuous learning — whether you're writing your first book or refining your craft as a creative professional.Join us as we explore the writing process, editing strategies, and what it really takes to succeed as an author.

Two enterprising people from our past, each with a goal of bridging the past and the future with curious deeds in the present. Order the official Cabinet of Curiosities book by clicking here today, and get ready to enjoy some curious reading! Join our Patreon for ad-free episodes!: https://www.patreon.com/grimandmildSee omnystudio.com/listener for privacy information.

In this week's episode, we start with a conversation on race-day disappointment: how to separate race outcomes from alignment with your race plan, reframe uncontrollable conditions (like heat), and stay grounded in what you can control. We then transition into a powerful conversation with writer and ultrarunner Katie Arnold on flow state, intrinsic motivation, and the connection between movement, creativity, and mental resilience. Katie shares how running can be both a creative practice and a tool for healing, how to shift from outcome-focused thinking to “receive mode” on race day, and why the stories we tell ourselves shape what's possible in both sport and life. We also explore balancing ambition with non-attachment, using simple practices like journaling to build self-trust, and how endurance sport teaches us to sit with uncertainty and discomfort. We loved this conversation and we think you will too - check it out!To learn more about Katie Arnold and her writing and flow camps, visit: https://katiearnold.net/ To view extended show notes for this episode, visit: theendurancedrive.com/podcast To share feedback or ask questions to be featured on a future episode, please use ⁠this form⁠ or email: Katie@TheEnduranceDrive.com.

Social media rewards authenticity, yet many creator-entrepreneurs still hide behind polished perfection. In today's crowded digital space, audiences trust and connect with real, relatable people far more than curated personas. In this episode of the YAPCreator Series Replay, Hala Taha shares social media and personal branding strategies along with insights from GaryVee, Kat Norton, Rudy Mawer, and more, to help entrepreneurs build trust, grow their brand, and turn casual followers into loyal fans. In this episode, Hala will discuss:  (00:00) Introduction (00:57) Rory Vaden's 3Es for Building Online Trust (05:06) Video Marketing as a Trust Accelerator (09:09) Creating an Authentic Brand as a Content Creator (13:38) Branding Consistency for Instant Recognition (19:39) GaryVee's Guide to Niche Targeting (24:27) Jasmine Star on Building Loyal Communities (27:06) Monetizing Your Audience Authentically Hala Taha is the host of Young and Profiting, a top 10 business and entrepreneurship podcast on Apple and Spotify. She's the founder and CEO of YAP Media, an award-winning social media and podcast production agency, as well as the YAP Media Network, where she helps renowned podcasters like Russell Brunson, Jenna Kutcher, and Neil Patel grow and monetize their shows. Through her work, Hala has become one of the most influential creator entrepreneurs in podcasting. Sponsored By: Indeed - Get a $75 sponsored job credit to boost your job's visibility at Indeed.com/profiting Shopify - Start your $1/month trial at Shopify.com/profiting. Spectrum Business - Keep your business connected seamlessly with fast, reliable Internet, Phone, TV, and Mobile services. Visit https://spectrum.com/Business to learn more. Northwest Registered Agent - Build your brand and get your complete business identity in just 10 clicks and 10 minutes at northwestregisteredagent.com/paidyap Framer - Publish beautiful and production-ready websites. Go to Framer.com/profiting and get 30% off their Framer Pro annual plan. Quo - Run your business communications the smart way. Try Quo for free, plus get 20% off your first 6 months when you go to quo.com/profiting Experian - Manage and cancel your unwanted subscriptions and reduce your bills. Get started now with the Experian App and let your Big Financial Friend do the work for you. See experian.com for details. Bitdefender - Start protecting your business today with Bitdefender Ultimate Small Business Security. Get 30% off your plan at bitdefender.com/profiting  Intuit - Start paying bills the smart way, not the hard way. Learn more at QuickBooks.com/billpay   Resources Mentioned: YAP E274 with Rory Vaden: youngandprofiting.co/3PbOns6  YAP E278 with Sean Cannell: youngandprofiting.co/4sTTg7T  YAP E279 with Sean Cannell: youngandprofiting.co/40zkF2M  YAP E316 with Kat Norton: youngandprofiting.co/4sejYYP  YAP E318 with Rudy Mawer: youngandprofiting.co/3PaS41e  YAP E291 with GaryVee: youngandprofiting.co/4dncWw6  YAP E130 with Jasmine Star: youngandprofiting.co/4sMkYTR  YAP E252 with Harley Finkelstein: youngandprofiting.co/4dp0nR0  YAPCreator Replay E1: youngandprofiting.co/4sMFe7E  Active Deals - youngandprofiting.com/deals  Key YAP Links Reviews - ratethispodcast.com/yap YouTube - youtube.com/c/YoungandProfiting Newsletter - youngandprofiting.co/newsletter  LinkedIn - linkedin.com/in/htaha/ Instagram - instagram.com/yapwithhala/ Social + Podcast Services: yapmedia.com Transcripts - youngandprofiting.com/episodes-new  Entrepreneurship, Entrepreneurship Podcast, Business, Business Podcast, Self Improvement, Self-Improvement, Personal Development, Starting a Business, Strategy, Investing, Sales, Selling, Psychology, Productivity, Entrepreneurs, AI, Artificial Intelligence, Technology, Marketing, Negotiation, Money, Finance, Side Hustle, Startup, Mental Health, Career, Leadership, Mindset, Health, Growth Mindset, SEO, E-commerce, LinkedIn, Instagram, Digital Marketing, Storytelling, Advertising

Listen and subscribe to Money Making Conversations on iHeartRadio, Apple Podcasts, Spotify, www.moneymakingconversations.com/subscribe/ or wherever you listen to podcasts. New Money Making Conversations episodes drop daily. I want to alert you, so you don’t miss out on expert analysis and insider perspectives from my guests who provide tips that can help you uplift the community, improve your financial planning, motivation, or advice on how to be a successful entrepreneur. Keep winning! Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Kelsey Nicole Nelson—award‑winning sports media personality, and entrepreneur. She joins Rushion McDonald to discuss her journey in sports journalism, entrepreneurship, branding, and building a successful multi‑hyphenate career. She details how she built her media presence from the DMV area, launched her branding and digital communications company, navigated a male‑dominated industry, and leveraged authenticity, work ethic, and strategic networking to grow both her journalism and business ventures.

Listen and subscribe to Money Making Conversations on iHeartRadio, Apple Podcasts, Spotify, www.moneymakingconversations.com/subscribe/ or wherever you listen to podcasts. New Money Making Conversations episodes drop daily. I want to alert you, so you don’t miss out on expert analysis and insider perspectives from my guests who provide tips that can help you uplift the community, improve your financial planning, motivation, or advice on how to be a successful entrepreneur. Keep winning! Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Kelsey Nicole Nelson—award‑winning sports media personality, and entrepreneur. She joins Rushion McDonald to discuss her journey in sports journalism, entrepreneurship, branding, and building a successful multi‑hyphenate career. She details how she built her media presence from the DMV area, launched her branding and digital communications company, navigated a male‑dominated industry, and leveraged authenticity, work ethic, and strategic networking to grow both her journalism and business ventures.

Listen and subscribe to Money Making Conversations on iHeartRadio, Apple Podcasts, Spotify, www.moneymakingconversations.com/subscribe/ or wherever you listen to podcasts. New Money Making Conversations episodes drop daily. I want to alert you, so you don’t miss out on expert analysis and insider perspectives from my guests who provide tips that can help you uplift the community, improve your financial planning, motivation, or advice on how to be a successful entrepreneur. Keep winning! Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Kelsey Nicole Nelson—award‑winning sports media personality, and entrepreneur. She joins Rushion McDonald to discuss her journey in sports journalism, entrepreneurship, branding, and building a successful multi‑hyphenate career. She details how she built her media presence from the DMV area, launched her branding and digital communications company, navigated a male‑dominated industry, and leveraged authenticity, work ethic, and strategic networking to grow both her journalism and business ventures.

Storytelling is one of the most powerful tools we have to connect, inspire, and create change. Long before social media and digital platforms existed, stories were how ideas spread, communities formed, and movements gained momentum. They allow us to share not just information, but lived experiences that others can see themselves in. When we tell our stories, we give people permission to reflect on their own – and sometimes even find the courage to share them. In this episode of The Inside Story Podcast, I'm reflecting on the importance of storytelling as we celebrate both Women's History Month and World Storytelling Day. I'm sharing why women's voices matter more than ever and offering a few simple ways you can start sharing your story—no matter where you are on your journey. Join me today as I share with you: Why stories create connection faster than facts or information ever could The surprising reason many women still hesitate to share their stories How even small, everyday story shares can create meaningful impact A simple storytelling framework anyone can use to start sharing today Why speaking up in rooms where decisions are made matters more than you think The power of sharing your struggles—not just your successes How your lived experiences can encourage someone who is walking a similar path Your story doesn't have to be perfect, polished, or extraordinary to make a difference. The truth is, the experiences you've lived and the lessons you've learned could be exactly what someone else needs to hear right now. So I encourage you to think about one story you've been holding onto. Something that taught you a lesson, shaped your perspective, or helped you grow. If that story could help someone else feel less alone, maybe today is the day you share it. When you share your story, you shine a light – and that's exactly how you become a Lightbeamer in the world. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Claudia Salazar, an award-winning Peruvian Writer, literary critic, and scholar, joins us on BG Ideas. She has a PhD in Latin American Literature from New York University and is recognized internationally for her contributions both as a novelist and as a cultural critic. In this episode, we discuss how emotion can provoke a different way of understanding, conversations surrounding gender and sexuality in Peru and Latin America, and the process of navigating a novel through different translations. She wanted to find languages that addressed the violence of the war in Peru during the 1980s without reproducing violence and to center the experience of women during this time. Listen as Claudia Salazar reminds us of the many ways readers can understand a text, showing how meaning is constantly being formed, shaped, and contested. If you are interested in learning about Claudia Salazar's book Blood of the Dawn, click here and follow her on Instagram @clausalazarjimenez. A transcript for this episode can be found here.

The stories that come to us from deep in the past might be a bit dusty and incomplete, but they also have a tendancy to be incredibly curious. Order the official Cabinet of Curiosities book by clicking here today, and get ready to enjoy some curious reading! Join our Patreon for ad-free episodes!: https://www.patreon.com/grimandmildSee omnystudio.com/listener for privacy information.

It's not surprising that Martha Beck, best-selling author and columnist for O, The Oprah Magazine, grew up as a high achiever. Attending Harvard University for both undergraduate and doctoral degrees, Martha spends years fighting to be the smartest person in the room and contending with serious anxiety. It's only after a revelatory trip to Japan that Martha learns to put her rigid pursuit of intellect aside and find true happiness in the peaceful empty spaces between all things.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Ever wondered if your business idea is viable? If there's a market for your product? If you can succeed in this chaotic climate? Dusty Droz of Dux Somnium Games joins Jake Parker and Samantha Cotterill to share how you can create a thriving business from the most niche ideas in 2026 and beyond. 3 Point Perspective Podcast is sponsored by SVSLearn.com, the place where becoming a great illustrator starts!Click here for this episode's links and show notes.

In this episode, I'm joined by Joe Hamrahi — CPA, founder of FinStrat CFO, and seasoned executive leader — for a powerful conversation about business growth, resilience, and relationships. Joe shares his journey from accounting to executive finance to launching his own fractional CFO firm — and why he finally made the leap in his 50s. We discuss: Why accounting is about telling the story behind the numbers The difference between compliance and strategic finance How to ask better business questions: What happened? Why? Where do we go now? Why genuine relationships outperform transactional networking The courage it takes to step outside your comfort zone How mentorship, therapy, and coaching accelerate growth Joe also explains why “slow and steady like a manatee” can be better than chasing explosive growth — and why understanding your goals matters more than chasing arbitrary metrics. If you're a founder, CEO, or entrepreneur seeking clarity in your financial story and business direction, this episode delivers grounded wisdom and practical insight.

What if the most important thing you teach your child has nothing to do with curriculum? In this episode of the Everyday Educator podcast, host Emma Bortins sits down with her mother-in-law and Classical Conversations founder Leigh Bortins to discuss the ideas behind her new book, The Habits: Practicing the Art of Grammar. Together they explore how naming, attending, memorizing, expressing, and storytelling build the foundational habits that help children — and homeschool families — truly flourish. If you're a homeschool mom looking for a classical Christian approach to raising lifelong learners, this conversation is for you. Leigh opens by sharing how it took her twelve years of homeschooling to truly understand what her husband had been telling her all along — that what children need most is consistency. It wasn't until she had a second set of young boys while her older sons were teenagers that the power of habits became undeniable. The routines she had built into Robert and John made it possible to keep the family functioning; without them, the whole thing would have fallen apart. From that personal foundation, the conversation moves into the heart of the book: a framework of five habits — naming, attending, memorizing, expressing, and storytelling — that Leigh calls the building blocks of a grammar education. These aren't abstract academic concepts. They're what every good mother already does instinctively: naming the dog, teaching a toddler not to touch the stove, helping a child memorize where mom will be in Walmart. The point is to recognize these habits, name them, and practice them with intention. The episode takes a fascinating turn when Emma asks about AI and technology. Leigh's position is clear: children under 12 don't need screens at all. Not because technology is inherently evil, but because children who never learn to entertain themselves, sit still, or be alone with their thoughts will struggle with self-control for the rest of their lives — with or without technology. The habits of self-governance have to come first. The episode closes with Leigh's single most important piece of advice for new homeschoolers: find a mentor. Not a curriculum. Not a method. A person who seems to be doing it well and is willing to let you watch.  What You'll Learn - What the art of grammar actually means — and why it's about far more than memorization - The five core habits of the grammar stage: naming, attending, memorizing, expressing, and storytelling - Why Leigh says attending is the one habit she'd tell every family to start practicing today - How habits shape not just academic ability but character, self-control, and spiritual formation - Why parents need to self-assess their own habits before they can effectively pass them on - What Leigh thinks about AI and technology — and her recommendation for families with children under 12 - Why feeling inadequate to homeschool is universal — and why it's not actually the obstacle you think it is - How the habits formed in the grammar years show up years later in college anatomy and chemistry courses - Where to find Leigh online and which books to read alongside The Habits   This episode of Everyday Educator is sponsored by: Summit Ministries Do you want your child to have conversations that challenge, encouragement that endure, and friends and faith for life? Summit's Student Conferences equip young Christians with the hope, clarity, and confidence they need to follow Jesus boldly in today's world. It's not just about getting apologetics answers. Students learn how to live winsomely and bravely in today's world. Visit summit.org/cc before March 31, 2026, and lock in the early bird rate. Save an additional $250 when you use the code CC26. Want your child to have conversations that challenge, encouragement that endures, and friends and faith for life? Grab their spot now at summit.org/cc   Timestamps 00:00 — Welcome and Introduction 02:22 — Leigh's Reaction to Being Interviewed by Her Daughter-in-Law 03:10 — What Took So Long to Understand: The Role of Habits in Homeschooling 04:13 — How a Second Set of Young Boys Changed Everything 05:14 — What Her Husband Was Saying All Along — and When She Finally Heard It 06:40 — What Is the Art of Grammar? Beyond Memorization 07:33 — The Five Habits: Naming, Attending, Memorizing, Expressing, Storytelling 09:33 — Expressing and Storytelling in Everyday Family Life 10:19 — What Happens in Families Without Habits 12:04 — Emma's Daughter and the "Tell Stories, Dance" Moment 13:49 — It's Not Just What Students Know — It's How They Learn 15:45 — The One Habit That Distinguishes Flourishing Students: Self-Control 17:08 — Parents Must Self-Assess First: More Is Caught Than Taught 18:47 — Sitting on Daddy's Lap: Three Very Different Experiences 19:50 — Slowing Down in a World That Moves Too Fast 20:15 — AI, Technology, and Homeschooling with Humans 21:19 — Leigh's Recommendation: No Screens for Children Under 12 23:14 — Having the Conversation with Your Kids About Why 24:15 — How Habits Shape Character, Not Just the Mind 25:23 — You're Not Being Raised for Yourself — You're Being Raised to Serve 26:06 — The Story of Jonah's Timeout and What It Revealed About Siblings 27:15 — The Connection Between Intellectual Habits and Spiritual Formation 29:09 — How to Cultivate Spiritual Habits at Home: Find a Mentor 31:27 — There's No Single Answer — Fit the Liturgy to Your Family's Schedule 31:58 — Encouragement for Parents Who Feel Inadequate to Homeschool 33:55 — What Second-Generation Homeschoolers Bring to the Table 37:03 — If You Could Only Start One Habit: Attending 38:09 — Situational Awareness and Why It Matters for Everything 40:35 — How Early Habits Prepare Students for Logic, Rhetoric, and College 41:47 — What CC Students Say When They Call Home from College 42:32 — Thank You, Closing Thoughts, and Where to Find Leigh

Can AI really help you communicate better with patients? What if you could audit your own consultations and discover which words, pauses, and stories increase treatment acceptance? Dr. David Amador joins Jaz for a fascinating episode exploring how AI can transform the way we interact with patients. From auditing conversations to radiographic interpretation, they break down practical applications that improve both communication and patient care. They also discuss how storytelling, patient trust, and ethical use of AI all come together to boost treatment acceptance — showing that AI isn't here to replace us, but to make us better. https://youtu.be/L38Hhu855Ro Watch IC069 on YouTube Key Takeaways AI is transforming the way dental practices operate. Storytelling is crucial for effective patient communication. Building a strong team culture enhances practice success. Data security is paramount when using AI tools. Continuous training is essential for team development. Patient engagement strategies can improve treatment acceptance. AI tools can streamline administrative tasks and improve efficiency. Understanding patient needs leads to better care outcomes. Effective marketing requires a solid online presence and SEO. Networking with other professionals can provide valuable insights. Highlight of the episode 00:00 Teaser 00:34 Intro 02:23 Dr. Amador’s Background and Practice 08:14 Using AI for Decision Support 10:26 Leveraging AI for Communication and Training 15:57 Using AI for Patient Care and Diagnosis 21:37 Midroll 1 24:58 Using AI for Patient Care and Diagnosis 26:11 Leveraging AI for Dental Practice Efficiency 27:35 Midroll 2 30:20 Leveraging AI for Dental Practice Efficiency 32:44 Training and Scaling with AI Tools 33:45 Creating SOPs and Playbooks 36:53 Enhancing Patient Communication with Personalized Videos 40:36 Training and Data-Driven Growth 44:52 Outro AI isn't the future — it's your next teammate. Imagine: while you focus on patient care, AI records your consults, summarizes them, audits your communication, and helps interpret radiographs. Plaud.ai makes note-taking automatic. Overjet makes diagnostics and patient communication crystal clear. Check out Midtown Dental Studio — where cutting-edge technology meets genuine care.  If you found this episode valuable, don't miss PS015: Communicating Fees, Treatment Plans, and More #InterferenceCast #CareerDevelopment #Communication This episode is eligible for 0.75 CE credit via the quiz on Protrusive Guidance.  This episode meets GDC Outcomes A and B AGD Subject Code: 550 – Practice Management and Human Relations Aim: To explore how artificial intelligence (AI) can be used to audit communication, enhance storytelling, and improve patient conversion while maintaining patient-centered care. Dentists will be able to – Explain how AI tools can support communication, diagnosis, and patient understanding in dentistry. Demonstrate how storytelling and patient-centered communication influence treatment acceptance. Evaluate the ethical, professional, and practical considerations of integrating AI into dental practice.

Join me and Ted Atchley as we dive into one of my favorite topics: video games as storytelling devices.My first gaming system was an Atari. After that came the NES, then the Super Nintendo, and from there the long march of consoles and PCs that many of us grew up with. Back in those early days, games weren't really about storytelling. They were about chasing high scores, beating the next level, or figuring out the pattern that finally let you defeat the boss that had been destroying you for the last hour.We chat about the games that made us think, made us care about the characters, and sometimes even hit a little harder emotionally than we expected.We'll be swapping memories, comparing favorites, and probably going down a few nostalgic rabbit holes along the way. Because if you've been gaming long enough, there are always a few titles that left a permanent mark—games that proved storytelling in games can be just as powerful as anything in books or film.So if you're into games, storytelling, or just enjoy listening to a couple of geeky dads talk about the things they love, come hang out with us

Kids & Family - Michael McGee - Creative Storytelling & Fun Stories for Kids

Welcome to The DMF — Discovering Meaning in Film and Acting. I'm Justin Younts, and in this episode I continue my conversation with filmmaker, producer, and author Brent Lindstrom as we explore the intersection of filmmaking, technology, and creative storytelling.We dive into the real challenges filmmakers face during the editing process. Brent shares his experience spending hours editing every second of his short film while dealing with an unreliable computer that constantly crashed. After struggling through that process, he eventually built a powerful editing machine that transformed the way he works and dramatically improved his workflow.Our conversation also explores the growing role of artificial intelligence in filmmaking. While AI tools can streamline certain tasks and assist with production, Brent emphasizes that technology should enhance creativity — not replace it. The craft of storytelling, directing actors, and building meaningful narratives still depends on human insight and artistic vision.In this episode we discuss:• The realities of film editing and post-production• How technology is changing filmmaking workflows• The benefits and risks of AI in film production• Maintaining creativity in an age of automation• Writing and developing complex characters• The importance of feedback when refining storiesBrent also discusses his book “One for the Money, Two for the Soul,” which explores powerful themes through storytelling and examines how creative work can balance artistic purpose with financial realities.Whether you're an actor, filmmaker, writer, or creative professional, this episode offers insight into navigating new technologies while protecting the core principles of storytelling.Join us as we explore the future of filmmaking and how creators can use new tools without losing the heart of their craft.Visit Brent's website:https://lightmindedarts.comCheck out Brent Lindstrom's book One for the Money, Two for the Soul:

Watch or listen to episode 317 of the Digital and Social Media Sports podcast in which Neil chatted with Jaelyn Arndt, Associate Director of Communications – Social Media for the NCAA. Jaelyn discusses the NCAA’s social media strategy and how she and her team are building and evolving the brand across platforms. She breaks down … Continue reading Episode 317: Jaelyn Arndt on the NCAA’s Social Strategy, Storytelling Across Divisions, the Proud Auntie Voice, March Madness, and More

It's episode 228 and time for us to talk about Computers and Computer Science books! We discuss technology, digital humanities, coding, and more! You can download the podcast directly, find it on Libsyn, or get it through Apple Podcasts or your favourite podcast delivery system. In this episode Anna Ferri | Meghan Whyte | Matthew Murray

What makes a character so compelling that readers will forgive almost anything about the plot? How do you move beyond vague flaws and generic descriptions to create people who feel pulled from real life? In this solo episode, I share 15 actionable tips for writing deep characters, curated from past interviews on the podcast. In the intro, thoughts from London Book Fair [Instagram reel @jfpennauthor; Publishing Perspectives; Audible; Spotify]; Insights from a 7-figure author business [BookBub]. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn This episode has been created from previous episodes of The Creative Penn Podcast, curated by Joanna Penn, as well as chapters from How to Write a Novel: From Idea to Book. Links to the individual episodes are included in the transcript below. In this episode: Master the ‘Believe, Care, Invest' trifecta, how to hook readers on the very first page Define the Dramatic Question: Who is your character when the chips are down? Absolute specificity. Why “she's controlling” isn't good enough Understand the Heroine's Journey, strength through connection, not solo action Use ‘Metaphor Families' to anchor dialogue and give every character a distinctive voice Find the Diagnostic Detail, the moments that prove a character is real Writing pain onto the page without writing memoir Write diverse characters as real people, not stereotypes or plot devices Give your protagonist a morally neutral ‘hero' status. Compelling beats likeable. Build vibrant side characters for series longevity and spin-off potential Use voice as a rhythmic tool Link character and plot until they're inseparable Why discovery writers can write out of order and still build deep character Find the sensory details that make characters live and breathe More help with how to write fiction here, or in my book, How to Write a Novel. Writing Characters: 15 Tips for Writing Deep Character in Your Fiction In today's episode, I'm sharing fifteen tips for writing deep characters, synthesised from some of the most insightful interviews on The Creative Penn Podcast over the past few years, combined with what I've learned across more than forty books of my own. I'll be referencing episodes with Matt Bird, Will Storr, Gail Carriger, Barbara Nickless, and Sarah Elisabeth Sawyer. I'll also draw on my own book, How to Write a Novel, which covers these fundamentals in detail. Whether you're writing your first novel or your fiftieth, whether you're a plotter or a discovery writer like me, these tips will help you create characters that readers believe in, care about, and invest in—and keep coming back for more. Let's get into it. 1. Master the ‘Believe, Care, Invest' Trifecta When I spoke with Matt Bird on episode 624, he laid out the three things you need to achieve on the very first page of your book or in the first ten minutes of a film. He calls it “Believe, Care, and Invest.” First, the reader must believe the character is a real person, somehow proving they are not a cardboard imitation of a human being, not just a generic type walking through a generic plot. Second, the reader must care about the character's circumstances. And third, the reader must invest in the character's ability to solve the story's central problem. Matt used The Hunger Games as his primary example, and it's brilliant. On the very first page, we believe Katniss's voice. Suzanne Collins writes in first person with a staccato rhythm—lots of periods, short declarative sentences—that immediately grounds us in a survivalist mentality. We care because Katniss is starving. She's protecting her little sister. And we invest because she is out there bow hunting, which Matt pointed out is one of the most badass things a character can do. She even kills a lynx two pages in and sells the pelt. We invest in her resourcefulness and grit before the plot has even begun. Matt was very clear that this has nothing to do with the character being “likable.” He said his subtitle, Writing a Hero Anyone Will Love, doesn't mean the character has to be a good person. He described “hero” as both gender-neutral and morally neutral. A hero can be totally evil or totally good. What matters is that we believe, care, and invest. He demonstrated this beautifully by breaking down the first ten minutes of WeCrashed, where the characters of Adam and Rebekah Neumann are absolutely not likable, but we are completely hooked. Adam steals his neighbour's Chinese food through a carefully orchestrated con involving an imaginary beer. It's not admirable behaviour, but the tradecraft involved, as Matt put it—using a term from spy movies—makes us invest in him. We see a character trying to solve the big problem of his life, which is that he's poor and wants to be rich, and we want to see if he can pull it off. Actionable step: Go to the first page of your current work in progress. Does it achieve all three? Does the reader believe this is a real person with a distinctive voice? Do they care about the character's circumstances? And do they invest in the character's ability to handle what's coming? If even one of those three is missing, that's your revision priority. 2. Define the Dramatic Question: Who Are They Really? Will Storr, author of The Science of Storytelling, came on episode 490 and gave one of the most powerful frameworks I've ever heard for character-driven fiction. He explained that the human brain evolved language primarily to swap social information—in other words, to gossip. We are wired to monitor other people, to ask the question: who is this person when the chips are down? That's what Will calls the Dramatic Question, and it's what he believes lies at the heart of all compelling storytelling. It's not a question about plot. It's a question about the character's soul. And every scene in your novel should force the character to answer it. His example of Lawrence of Arabia is unforgettable. The Dramatic Question for the entire film is: who are you, Lawrence? Are you ordinary or are you extraordinary? At the beginning, Lawrence is a cocky, rebellious young soldier who believes his rebelliousness makes him superior. Every iconic scene in that three-hour film tests that belief. Sometimes Lawrence acts as though he truly is extraordinary—leading the Arabs into battle, being hailed as a god—and sometimes the world strips him bare and he sees himself as ordinary. Because it's a tragedy, he never overcomes his flaw. He doubles down on his belief that he's extraordinary until he becomes monstrous, culminating in that iconic scene where he lifts a bloody dagger and sees his own reflection with horror. Will also used Jaws to demonstrate how this works in a pure action thriller. Brody's dramatic question is simple: are you going to be old Brody who is terrified of the water, or new Brody who can overcome that fear? Every scene where the shark appears is really asking that question. And the last moment of the film isn't the shark blowing up. It's Brody swimming back through the water, saying he used to be scared of the water and he can't imagine why. Actionable step: Write down the Dramatic Question for your protagonist in a single sentence. Is it “Are you ordinary or extraordinary?” or “Are you brave enough to love again?” or “Will you sacrifice your principles for survival?” If you can't answer this with specificity, your character might still be a sketch rather than a person. 3. Get rid of Vague Flaws, and use Absolute Specificity This was one of Will Storr's most important points. He said that vague thinking about characters is really the enemy. When he teaches workshops and asks writers to describe their character's flaw, most of them say something like “they're very controlling.” And Will's response is: that's not good enough. Everyone is controlling. How are they controlling? What's the specific mechanism? He gave the example of a profile he read of Theresa May during the UK's Brexit chaos. Someone who knew her said that Theresa May's problem was that she always thinks she's the only adult in every room she goes into. Will said that stopped him in his tracks because it's so precise. If you define a character with that level of specificity, you can take them and put them in any genre, any situation—a spaceship, a Victorian drawing room, a school playground—and you will know exactly how they're going to behave. The same applies to Arthur Miller's Willy Loman in Death of a Salesman, as Will described it: a man who believes absolutely in capitalistic success and the idea that when you die, you're going to be weighed on a scale, just as God weighs you for sin, but now you're weighed for success. That's not a vague flaw. That's a worldview you can drop into any story and watch it combust. Will made another counterintuitive point that I found really valuable: writers often think that piling on multiple traits will create a complex character, but the opposite is true. Starting with one highly specific flaw and running it through the demands of a relentless plot is what generates complexity. You end up with a far more nuanced, original character than if you'd started with a laundry list of vague attributes. Actionable step: Take your protagonist's flaw and pressure-test it. Is it specific enough that you could place this character in any situation and predict their behaviour? If you're stuck at “she's stubborn” or “he's insecure,” keep pushing. What kind of stubborn? What kind of insecure? Find the diagnostic sentence—the Theresa May level of precision. 4. Understand the Heroine's Journey: Strength Through Connection Gail Carriger came on episode 550 to discuss her nonfiction book, The Heroine's Journey, and it completely reframed how I think about some of my own fiction. Gail explained that the core difference between the Hero's Journey and the Heroine's Journey comes down to how strength and victory are defined. The Hero's Journey is about strength through solo action. The hero must be continually isolated to get stronger. He goes out of civilisation, faces strife alone, and achieves victory through physical prowess and self-actualisation. The Heroine's Journey is the opposite. The heroine achieves her goals by activating a network. She's a delegator, a general. She identifies where she can't do something alone, finds the people who can help, and portions out the work for mutual gain. Gail put it simply: the heroine is very good at asking for help, which our culture tends to devalue but which is actually a powerful form of strength. Crucially, Gail stressed that gender is irrelevant to which journey you're writing. Her go-to examples are striking: the recent Wonder Woman film is practically a beat-for-beat hero's journey—Gilgamesh on screen, as Gail described it. Meanwhile, Harry Potter, both the first book and the series as a whole, is a classic heroine's journey. Harry's power comes from his network—Dumbledore's Army, the Order of the Phoenix, his friendships with Ron and Hermione. He doesn't defeat Voldemort alone. He defeats Voldemort because of love and connection. This distinction has real practical consequences for writers. If you're writing a hero's journey and you hit writer's block, Gail said, the solution is usually to isolate your hero further and pile on more strife. But if you're writing a heroine's journey, the solution is probably to throw a new character into the scene—someone who has advice to offer or a skill the heroine lacks. The actual solutions to writer's block are different depending on which narrative you're writing. As I reflected on my own work, I realised that my ARKANE thriller protagonist, Morgan Sierra, follows a hero's journey—she's a solo operative, a lone wolf like Jack Reacher or James Bond. But my Mapwalker fantasy series follows a heroine's journey, with Sienna and her group of friends working together. I hadn't consciously chosen those paths; the stories led me there. But understanding the framework helps me write more intentionally now. Actionable step: Identify which journey your protagonist is on. Does your character gain strength by being alone (hero) or by building connections (heroine)? This will inform every plot decision you make, from how they face obstacles to how your story ends. 5. Use ‘Metaphor Families' to Anchor Dialogue and Voice One of the most practical techniques Matt Bird shared on episode 624 is the idea of assigning each character a “metaphor family”—a specific well of language that they draw from. This gives each character a distinctive voice that goes beyond accent or dialect. Matt explained how in The Wire, one of the most beloved TV shows of all time, every character has a different metaphor family. What struck him was that Omar, this iconic character, never utters a single curse word in the entire series. His metaphor family is pirate. He talks about parlays, uses language that feels like it belongs in Pirates of the Caribbean, and it creates this incredible ironic counterpoint against his urban setting. It tells us immediately that this is a character who sees himself in a tradition of people that doesn't match his immediate surroundings. Matt also referenced the UK version of The Office, where Gareth works at a paper company but aspires to the military. So all of his language is drawn from a military metaphor family. He doesn't talk about filing and photocopying; he talks about tactics and discipline and being on the front line. This tells us that the character has a life and dreams beyond the immediate scene—and it's the gap between aspiration and reality that makes him both funny and believable. He pointed out that a metaphor family sometimes comes from a character's background, but it's often more interesting when it comes from their aspirations. What does your character want to be? What world do they fantasise about inhabiting? That's where their language should come from. In Star Wars, Obi-Wan Kenobi is a spiritual hermit, but his metaphor family is military. He uses the language of generals and commanders, and that ironic counterpoint is part of what makes him feel so rich. Actionable step: Assign each of your main characters a metaphor family. It could be based on their job, their background, or—more interestingly—their secret aspirations. Then go through your dialogue and make sure each character is consistently drawing from that well of language. If two characters sound the same when you strip away the dialogue tags, this is the fix. 6. Find the Diagnostic Detail: The Diagonal Toast Avoid clichéd character tags—the random scar, the eye patch, the mysterious limp—unless they serve a deep narrative purpose. Matt Bird on episode 624 was very funny about this: he pointed out that Nick Fury, Odin, and eventually Thor all have eye patches in the Marvel Cinematic Universe. Eye patches are done, he said. You cannot do eye patches anymore. Instead, look for what I'm calling the “diagonal toast” detail, after a scene Matt described from Captain Marvel. In the film, Captain Marvel is trying to determine whether Nick Fury is who he says he is. She asks him to prove he isn't a shapeshifting alien. Fury shares biographical details—his history, his mother—but then she pushes further and says, name one more thing you couldn't possibly have made up about yourself. And Fury says: if toast is cut diagonally, I can't eat it. Matt said that detail is gold for a writer because it feels pulled from a real life. You can pull it from your own life and gift it to your characters, and the reader can tell it's not manufactured. He gave another example from The Sopranos: Tony Soprano's mother won't answer the phone after dark. The show's creator, David Chase, confirmed on the DVD commentary that this came from his own mother, who genuinely would not answer the phone after dark and couldn't explain why. Matt's practical advice was to keep a journal. Write down the strange, specific things that people do or say. Mine your own life for those hyper-specific details. You just need one per book. In my own writing, I've used this approach. In my ARKANE thrillers, my character Morgan Sierra has always been Angelina Jolie in my mind—specifically Jolie in Lara Croft or Mr and Mrs Smith. And Blake Daniel in my crime thriller series was based on Jesse Williams from Grey's Anatomy. I paste pictures of actors into my Scrivener projects. It helps with visuals, but also with the sense of the character, their energy and physicality. But visual details only take you so far. It's the behavioural quirks—the diagonal toast moments—that make a character feel genuinely alive. That said, physical character tags can work brilliantly when they serve the story. As I discuss in How to Write a Novel, Robert Galbraith's Cormoran Strike is an amputee, and his pain and the physical challenges of his prosthesis are a key part of every story—it's not a cosmetic detail, it's woven into the action and the character's psychology. My character Blake Daniel always wears gloves to cover the scars on his hands, which provides an angle into his wounded past as well as a visual cue for the reader. And of course, Harry Potter's lightning-shaped scar isn't just a mark—it's a direct connection to his nemesis and the mythology of the entire series. The rule of thumb is: if the tag tells us something about the character's interior life or connects to the plot, it's earning its place. If it's just there to make the character visually distinctive, it's probably a crutch. Game of Thrones takes character tags further with the family houses, each with their own mottos and sigils. The Starks say “Winter is coming” and their sigil is a dire wolf. Those aren't just labels—they're worldview made visible. Actionable step: Start a “diagonal toast” notebook. Every time you notice something strange and specific about someone's behaviour—something that feels too real to be made up—write it down. Then gift it to a character who needs more texture. 7. Displace Your Own Trauma into the Work Barbara Nickless shared something deeply personal on episode 732 that fundamentally changed how I think about putting pain onto the page. While starting At First Light, the first book in her Dr. Evan Wilding series, she lost her son to epilepsy—something called SUDEP, Sudden Unexplained Death in Epilepsy. One day he was there, and the next day he was gone. Barbara said that writing helped her cope with the trauma, that doing a deep dive into Old English literature and the Viking Age for the book's research became a lifeline. But here's what's important: she didn't give Dr. Evan Wilding her exact trauma. Evan Wilding is four feet five inches, and Barbara described how he has to walk through a world that won't adjust to him. That's its own form of learning to cope when circumstances are beyond your control. She displaced her genuine grief into the character's different but parallel struggle. When I asked her about the difference between writing for therapy and writing for an audience, she drew on her experience teaching creative writing to veterans through a collaboration between the US Department of Defense and the National Endowment for the Arts. She said she's found that she can pour her heartache into her characters and process it through them, even when writing professionally, and that the genuine emotion is what touches readers. We've all been through our own losses and griefs, so seeing how a character copes can be deeply meaningful. I've always found that putting my own pain onto the page is the most direct way to connect with a reader's soul. My character Morgan Sierra's musings on religion and the supernatural are often my own. Her restlessness, her fascination with the darker edges of faith—those come from me. But her Krav Maga fighting skills and her ability to kill the bad guys are definitely her own. That gap between what's mine and what's hers is where the fiction lives. Barbara also said something on that episode that I wrote down and stuck on my wall. She said the act of producing itself is a balm to the soul. I've been thinking about that ever since. On my own wall, I have “Measure your life by what you create.” Different words, same truth. Actionable step: If you're carrying something heavy—grief, anger, fear, regret—consider how you might displace it into a character's different but emotionally parallel struggle. Don't copy your exact situation; transform it. The emotion will be genuine, and the reader will feel it. 8. Write Diverse Characters as Real People When I spoke with Sarah Elisabeth Sawyer on episode 673—Sarah is Choctaw and a historical fiction author honoured by the Smithsonian's National Museum of the American Indian—she offered a perspective that every fiction writer needs to hear. The key message was to move away from stereotypes. Don't write your American Indian character as the “Wise Guide” who exists solely to dispense mystic wisdom to the white protagonist. Don't limit diverse characters to historical settings, as though they only exist in the past. Place them in normal, contemporary roles. Your spaceship captain, your forensic scientist, your small-town baker—any of them can be American Indian, or Nigerian, or Japanese, and their heritage should be a lived-in part of their identity, not the sole reason they exist in the story. I write international thrillers and dark fantasy, and my fiction is populated with characters from all over the world. I have a multi-cultural family and I've lived in many places and travelled widely, so I've met, worked with, and had relationships with people from different cultures. I find story ideas through travel, and if I set my books in a certain place, then the story is naturally populated with the people who live there. As I discuss in my book, How to Write a Novel, the world is a diverse place, so your fiction needs to be populated with all kinds of people. If I only populated my fiction with characters like me, they would be boring novels. There are many dimensions of difference—race, nationality, sex, age, body type, ability, religion, gender, sexual orientation, socio-economic status, class, culture, education level—and even then, don't assume that similar types of people think the same way. Some authors worry they will make mistakes. We live in a time of outrage, and some authors have been criticised for writing outside their own experience. So is it too dangerous to try? Of course not. The media amplifies outliers, and most authors include diverse characters in every book without causing offence because they work hard to get it right. It's about awareness, research, and intent. Actionable step: Audit the cast of your current work in progress. Have you written a mono-cultural perspective for all of them? If so, consider who could bring a different background, perspective, or set of cultural specifics to the story. Not as a token addition, but as a real person with a real life. 9. Respect Tribal and Cultural Specificity Sarah Elisabeth Sawyer on episode 673 was emphatic about one thing: never treat diverse groups as monolithic. If you're writing a Native American character, you must research the specific nation. Choctaw is not Navajo, just as British is not French. Sarah described the distinct cultural markers of the Choctaw people—the diamond pattern you'll see on traditional shirts and dresses, which represents the diamondback rattlesnake. They have distinct dances and songs. She said that if she saw someone in traditional dress at a distance, she would know whether they were Choctaw based on what they were wearing. She encouraged writers who want to write specifically about a nation to get to know those people. Go to events, go to a powwow, learn about the individual culture. She noted that a big misconception is that American Indians exist only in the past—she stressed that they are still here, still living their cultures, and fiction should reflect that present reality. I took a similar approach when writing Destroyer of Worlds, which is set mostly in India. I read books about Hindu myth, watched documentaries about the sadhus, and had one of my Indian readers from Mumbai check my cultural references. For Risen Gods, set in New Zealand with a young Maori protagonist, I studied books about Maori mythology and fiction by Maori authors, and had a male Maori reader check for cultural issues. Research is simply an act of empathy. The practical takeaway is this: if you're going to include a character from a specific cultural background, do the work. Use specific cultural details rather than generic signifiers. Sarah talked about how even she fell into stereotypes when she was first writing, until her mother pointed them out. If someone from within a culture can fall into those traps, the rest of us certainly can. Do the research, try your best, ask for help, and apologise if you need to. Actionable step: If you're writing a character from a specific culture, identify three to five sensory or behavioural details that are particular to that culture—not the generic version, but the real, researched, lived-in version. Consider hiring a sensitivity reader from that community to check your work. 10. Give Your Protagonist a Morally Neutral ‘Hero' Status Matt Bird was clear about this on episode 624: the word “hero” simply means the protagonist, the person we follow through the story. It's a functional role, not a moral label. We don't have to like them. We don't even have to root for their goals in a moral sense. We just have to find them compelling enough to invest our attention in their problem-solving. Think of Succession, where every member of the Roy family is varying degrees of awful, and yet the show was utterly compelling. Or WeCrashed, where Adam Neumann is a narcissistic con artist, but we can't look away because he's trying to solve the enormous problem of building an empire from nothing, and the tradecraft he employs is fascinating. As I wrote in How to Write a Novel, readers must want to spend time with your characters. They don't have to be lovable or even likable—that will depend on your genre and story choices—but they have to be captivating enough that we want to spend time with them. A character who is trying to solve a massive problem will naturally draw investment from the audience, even if we wouldn't want to have tea with them. Will Storr extended this idea by pointing out that the audience will actually root for a character to solve their problem even if the audience doesn't actually want the character's goal to be achieved in the real world. We don't really want more billionaires, but we invested in Adam Neumann's rise because that was the problem the story posed, and our brains are wired to invest in problem-solving. This connects to something deeper: what does your character want, and why? As I explore in How to Write a Novel, desire operates on multiple levels. Take a character like Phil, who joins the military during wartime. On the surface, she wants to serve her country. But she also wants to escape her dead-end town and learn new skills. Deeper still, her father and grandfather served, and by joining up, she hopes to finally earn their respect. And perhaps deepest of all, her father died on a mission under mysterious circumstances, and she wants to find out what happened from the inside. That layering of motivation is what turns a flat character into a three-dimensional one. The audience doesn't need to be told all of this explicitly. It can emerge through action, dialogue, and the choices the character makes under pressure. But you, the writer, need to know it. You need to know what your character really wants deep down, because that desire—more than any external plot device—is what drives the story forward. And your antagonist needs the same depth. They also want something, often diametrically opposed to your protagonist, and they need a reason that makes sense to them. In my ARKANE thriller Tree of Life, my antagonist is the heiress of a Brazilian mining empire who wants to restore the Earth to its original state to atone for the destruction caused by her father's company. She's part of a radical ecological group who believe the only way to restore Nature is to end all human life. It's extreme, but in an era of climate change, it's a motivation readers can understand—even if they disagree with the solution. Actionable step: If you're struggling to make a morally grey character work, make sure their problem is big enough and their methods are specific and interesting enough that we invest in the how, even if we're ambivalent about the what. 11. Build Vibrant Side Characters Gail Carriger made a point on episode 550 that was equal parts craft advice and business strategy. In a Heroine's Journey model, side characters aren't just fodder to be killed off to motivate the hero. They form a network. And because you don't have to kill them—unlike in a hero's journey, where allies are often betrayed or removed so the hero can be further isolated—you can pick up those side characters and give them their own books. Gail said this creates a really voracious reader base. You write one series with vivid side characters, and then readers fall in love with those side characters and want their stories. So you write spin-offs. The romance genre does this brilliantly—think of the Bridgerton books, where each sibling gets their own novel. The side character in one book becomes the protagonist in the next. Barbara Nickless experienced this firsthand with her Dr. Evan Wilding series. She has River Wilding, Evan's adventurous brother, and Diana, the axe-throwing research assistant, and her editor has already expressed interest in a spin-off series with those characters. Barbara described creating characters she wants to spend time with, or characters who give her nightmares but also intrigue her. That's the dual test: are they interesting enough for you to write, and interesting enough for readers to demand more? As I wrote in How to Write a Novel, characters that span series can deepen the reader's relationship with them as you expand their backstory into new plots. Readers will remember the character more than the plot or the book title, and look forward to the next instalment because they want more time with those people. British crime author Angela Marsons described it as readers feeling like returning to her characters is like putting on a pair of old slippers. Actionable step: Look at your supporting cast. Is there a side character who is vivid enough to carry their own story? If not, what could you add—a specific hobby, a distinct voice, a compelling backstory—that would make readers want more of them? 12. Use Voice as a Rhythmic Tool Voice is one of the most important elements of novel writing, and Matt Bird helped me think about it in a technical, mechanical way that I found really useful. He pointed out that the ratio of periods to commas defines a character's internal reality. A staccato rhythm—lots of periods, short sentences—suggests a character who is certain, grounded, or perhaps survivalist and traumatised. Katniss in The Hunger Games has a period-heavy voice. She's in survival mode. She doesn't have time for complexity or qualification. A flowing, comma-heavy style suggests someone more academic, more nuanced, or possibly more scattered and manipulative. The character who qualifies everything, who adds sub-clauses and digressions, is a different kind of person from the character who speaks in declarations. This is something you can actually measure. Pull up a passage of your character's dialogue or internal monologue and count the periods versus the commas. If the rhythm doesn't match who the character is supposed to be, you've found a mismatch you can fix. Sentence length is the heartbeat of your character's persona. And voice extends beyond rhythm to the words themselves. As I discussed in the metaphor families tip, each character should draw from a distinctive well of language. But voice also encompasses their relationship to silence. Some characters talk around the thing they mean; others say it straight. Some are self-deprecating; others are blunt to the point of rudeness. All of these choices are character choices, not just style choices. I find it useful to read my dialogue aloud—and not just to check for naturalness, but to hear whether each character sounds distinct. If you could swap dialogue lines between two characters and nobody would notice, you have a voice problem. One practical test: cover the dialogue tags and see if you can tell who's speaking from the words alone. Actionable step: Choose a key passage from your protagonist's point of view and read it aloud. Does the rhythm match the character? A soldier under fire should not sound like a philosophy professor at a wine tasting. Adjust the ratio of periods to commas until the voice feels right. 13. Link Character and Plot Until They're Inseparable Will Storr made the case on episode 490 that the number one problem he sees in the writing he encounters—in workshops, in submissions, even in published books—is that the characters and the plots are unconnected. There's a story happening, and there are people in it, but the story isn't a product of who those people are. He said a story should be like life. In our lives, the plots are intimately connected to who we are as characters. The goals we pursue, the obstacles we face, the same problems that keep recurring—these are products of our personalities, our flaws, our specific ways of being in the world. His framework is that your plot should be designed specifically to plot against your character. You've got a character with a particular flaw; the plot exists to test that flaw over and over until the character either transforms or doubles down and explodes. Jaws is the perfect example. Brody is afraid of water. A shark shows up in the coastal town he's responsible for protecting. The entire plot is engineered to force him to confront the one thing he cannot face. Will pointed out that the whole plot of Jaws is structured around Brody's flaw. It begins with the shark arriving, the midpoint is when Brody finally gets the courage to go into the water, and the very final scene isn't the shark blowing up—it's Brody swimming back through the water. Even a film that's ninety-eight percent action is, at its core, structured around a character with a character flaw. This is the standard I aspire to in my own work, even in my action-heavy thrillers. The external plot should be a mirror of the internal struggle. When those two are aligned, the story becomes irresistible. Will also made an important point about series fiction, which is where most commercial authors live. I asked him how this works when your character can't be transformed at the end of every book because there has to be a next book. His answer was elegant: you don't cure them. Episodic TV characters like Fleabag or David Brent or Basil Fawlty never truly change—and the fact that they don't change is actually the source of the comedy. But every episode throws a new story event at them that tests and exposes their flaw. You just keep throwing story events at them again and again. That's a soap opera, a sitcom, and a book series. As I wrote in How to Write a Novel, character flaws are aspects of personality that affect the person so much that facing and overcoming them becomes central to the plot. In Jaws, the protagonist Brody is afraid of the water, but he has to overcome that flaw to destroy the killer shark and save the town. But remember, your characters should feel like real people, so never define them purely by their flaws. The character addicted to painkillers might also be a brilliant and successful female lawyer who gets up at four in the morning to work out at the gym, likes eighties music, and volunteers at the local dog shelter at weekends. Character wounds are different from flaws. They're formed from life experience and are part of your character's backstory—traumatic events that happened before the events of your novel but shape the character's reactions in the present. In my ARKANE thrillers, Morgan Sierra's husband Elian died in her arms during a military operation. This happened before the series begins, but her memories of it recur when she faces a firefight, and she struggles to find happiness again for fear of losing someone she loves once more. And then there's the perennial advice: show, don't tell. Most writers have heard this so many times that it's easy to nod and then promptly write scenes that tell rather than show. Basically, you need to reveal your character through action and dialogue, rather than explanation. In my thriller Day of the Vikings, Morgan Sierra fights a Neo-Viking in the halls of the British Museum and brings him down with Krav Maga. That fight scene isn't just about showing action. It opens up questions about her backstory, demonstrates character, and moves the plot forward. Telling would be something like: “Morgan was an expert in Krav Maga.” Showing is the reader discovering it through the scene itself. Actionable step: Look at the main plot events of your novel. For each major turning point, ask: does this scene specifically test my protagonist's flaw? If not, can you redesign the scene so that it does? The tighter the connection between character and plot, the more powerful the story. 14. The ‘Maestra' Approach: Write Out of Order If you're a discovery writer like me, you may feel like the deep character work I've been describing sounds more suited to plotters. But Barbara Nickless gave me a beautiful metaphor on episode 732 that reframes it entirely. Barbara described her evolving writing process as being like a maestra standing in front of an orchestra. Sometimes you bring in the horns—a certain theme—and sometimes you bring in the strings—a certain character—and sometimes you turn to the soloist. It's a more organic and jumping-around process than linear writing, and Barbara said she's only recently given herself permission to work this way. When I told her that I use Scrivener to write in scenes out of order and then drag and drop them into a structure later, she was genuinely intrigued. And this is how I've always worked. I'll see the story in my mind like a movie trailer—flashes of the big emotional scenes, the pivotal confrontations, the moments of revelation—and I write those first. I don't know how they hang together until quite late in the process. Then I'll move scenes around, print the whole thing out, and figure out the connective tissue. The point is that discovery writers can absolutely build deep characters. Sometimes writing the big emotional scenes first is how you discover who the character is before you fill in the rest. You don't need a twenty-page character worksheet or a 200-page outline like Jeffery Deaver. You need to be willing to follow the character into the unknown and trust that the structure will emerge. As Barbara said, she writes to know what she's thinking. That's the discovery writer's credo. And I would add: I write to know who my characters are. Actionable step: If you're stuck on your current chapter, skip it. Write the scene that's burning in your imagination, even if it's from the middle or the end. That scene might be the key to unlocking who your character really is. 15. Use Research to Help with Empathy Research shouldn't just be about factual accuracy—it's a tool for finding the sensory details that create empathy. Barbara Nickless described research as almost an excuse to explore things that fascinate her, and I feel exactly the same way. I would go so far as to say that writing is an excuse for me to explore the things that interest me. Barbara and I both travel for our stories. For her Dr. Evan Wilding books, she did deep research into Old English literature and the Viking Age. For my thriller End of Days, I transcribed hours of video from Appalachian snake-handling churches on YouTube to understand the worldview of the worshippers, because my antagonist was brought up in that tradition. I couldn't just make that up. I had to hear their language, feel their conviction, understand why they would hold venomous serpents as an act of faith. Barbara also mentioned getting to Israel and the West Bank for research, and I've been to both places too. Finding that one specific sensory detail—the smell of a particular location, the specific way an expert handles a tool, the sound of a particular kind of music—makes the character's life feel lived-in. It's the difference between a character who is described as living in a place and a character who inhabits it. As I wrote in How to Write a Novel, don't write what you know. Write what you want to learn about. I love research. It's part of why I'm an author in the first place. I take any excuse to dive into a world different from my own. Research using books, films, podcasts, and travel, and focus particularly on sources produced by people from the worldview you want to understand. Actionable step: For your next piece of character research, go beyond reading. Watch a documentary, visit a location, talk to someone who lives the experience. Find one sensory detail—a smell, a sound, a texture—that you couldn't have invented. That detail will make your character feel real. Bonus: Measure Your Life by What You Create In an age of AI and a tsunami of content, your ultimate brand protection is the quality of your human creation. Barbara Nickless said that the act of producing itself is a balm to the soul, and I believe that with every fibre of my being. Don't be afraid to take that step back, like I did with my deadlifting. Take the time to master these deeper craft skills. It might feel like you're slowing down or going backwards by not chasing the latest marketing trend, but it's the only way to step forward into a sustainable, high-quality career. Your characters are your signature. No AI can replicate the specificity of your lived experience, the emotional truth of your displaced trauma, or the sensory details you've gathered from a life of curiosity and travel. Those are yours. Pour them into your characters, and they will resonate for years to come. Actionable Takeaway: Identify the Dramatic Question for your current protagonist. Can you state it in a single sentence with the kind of specificity Will Storr described? Is it as clear as “Are you ordinary or extraordinary?” or “Are you the only adult in the room?” If you can't answer it with that kind of precision, your character might still be a sketch. Give them a diagonal toast moment today. Find the one hyper-specific detail that proves they are not an imitation of life. And then ask yourself: does your plot test your character's flaw in every major scene? If you can align those two things—a precisely defined character and a plot that exists to test them—you will have a story that readers cannot put down. References and Deep Dives The episodes I've referenced today are all available with full transcripts at TheCreativePenn.com: Episode 732 — Facing Fears, and Writing Unique Characters with Barbara Nickless Episode 673 — Writing Choctaw Characters and Diversity in Fiction with Sarah Elisabeth Sawyer Episode 624 — Writing Characters with Matt Bird Episode 550 — The Heroine's Journey with Gail Carriger Episode 490 — How Character Flaws Shape Story with Will Storr Books mentioned: The Secrets of Character: Writing a Hero Anyone Will Love by Matt Bird The Science of Storytelling by Will Storr The Heroine's Journey by Gail Carriger How to Write a Novel: From Idea to Book by Joanna Penn You can find all my books for authors at CreativePennBooks.com and my fiction and memoir at JFPennBooks.com Happy writing! How was this episode created? This episode was initiated created by NotebookLM based on YouTube videos of the episodes linked above from YouTube/TheCreativePenn, plus my text chapters on character from How to Write a Novel. NotebookLM created a blog post from the material and then I expanded it and fact checked it with Claude.ai 4.6 Opus, and then I used my voice clone at ElevenLabs to narrate it. The post Writing Characters: 15 Actionable Tips For Writing Deep Character first appeared on The Creative Penn.

People are forgetful. Here's how to make your messages more memorable.After any presentation, your audience will forget about 90% of what you said. That's okay, says Carmen Simon — just make sure they remember the right 10%.Simon is a cognitive neuroscientist, speaker, author, and expert on how the brain processes and retains information. Her research reveals a humbling truth: “We forget our lives almost as quickly as we live them,” she says. But instead of fighting our forgetfulness, Simon believes we can work with it — by getting intentional about what we want people to remember. “So many people aspire at attention and memory, but very few really know what they want to be memorable for,” she says. “Ask the question: what is my 10% message?”In this episode of Think Fast, Talk Smart, Simon and host Matt Abrahams discuss how to distill your communication for maximum memorability. Whether you're pitching an idea or presenting to a team, Simon's practical techniques will help you ensure your 10% message is the one your audience takes away.Episode Reference Links:Carmen SimonCarmen's Book: Impossible to IgnoreEp.39 Brains Love Stories: How Leveraging Neuroscience Can Capture People's Emotions Connect:Premium Signup >>>> Think Fast Talk Smart PremiumEmail Questions & Feedback >>> hello@fastersmarter.ioEpisode Transcripts >>> Think Fast Talk Smart WebsiteNewsletter Signup + English Language Learning >>> FasterSmarter.ioThink Fast Talk Smart >>> LinkedIn, Instagram, YouTubeMatt Abrahams >>> LinkedInChapters:(00:00) - Introduction (02:39) - Attention vs. Memory (05:15) - Novelty & Surprise (06:36) - Why Attention Isn't Enough (08:04) - The Power of Priming (09:37) - Priming in Business Communication (10:21) - Why Audiences Forget (13:32) - Smart Repetition (15:08) - The Final Three Questions (22:00) - Conclusion ********Thank you to our sponsors.  These partnerships support the ongoing production of the podcast, allowing us to bring it to you at no cost.Strawberry.me. Get 50% off your first coaching session today at Strawberry.me/smartJoin our Think Fast Talk Smart Learning Community and become the communicator you want to be. 

Learn how growing up between Brooklyn and Panama shaped Dash's journey into documentary storytelling and global travel. ============================ Get the Monday Minute my weekly email with 3 personal recs for travel, culture, and living beyond borders you can read in 60 seconds. ============================ ON THIS EPISODE Peabody Award–winning producer and historian Dash Harris tells stories about coming of age between 1990s Bed-Stuy, Brooklyn and Panama. She reflects on navigating Black and Afro-Panamanian identity across cultures and how those experiences shaped her understanding of race, identity, and the global Black diaspora. Dash tells the backstory of filming Negro, her groundbreaking docu-series exploring race and anti-Blackness across Latin America. She also explains how filming the docu-series ultimately led her to co-found AfroLatinx Travel, a company that organizes trips centering the African roots of Latin America and connecting travelers with Black communities, histories, and cultural traditions. → Full show notes with direct links to everything discussed are available here. ============================ FREE RESOURCES FOR YOU: See my Top 10 Apps For Digital Nomads See my Top 10 Books For Digital Nomads See my 7 Keys For Building A Remote Business (Even in a space that's not traditionally virtual) Watch my Video Training on Stylish Minimalist Packing so you can join #TeamCarryOn See the Travel Gear I Use and Recommend See How I Produce The Maverick Show Podcast (The equipment, services & vendors I use) ============================ ENJOYING THE SHOW? Follow The Maverick Show on Instagram and DM Matt to continue the conversation Please leave a rating and review — it really helps the show and I read each one personally You can buy me a coffee — espressos help me produce significantly better podcast episodes! :)

Today I'm joined by returning guest Tiffany Hawk - author, book coach, and longtime collaborator - to talk about why sharing your story matters, especially when you don't feel ready.We explore how many accomplished professionals get stuck in what I call the “expert trap”, relying on expertise and credentials while holding back the personal stories that actually create connection.Tiffany shares insights from her work helping women write meaningful books, along with her own journey of returning to writing after years of self-doubt.We also talk about the messy reality of creativity, why the first draft is rarely pretty, and how community and accountability can make all the difference when you're working on a book, talk, or other thought leadership project.This conversation is especially meaningful during Women's History Month, as we reflect on the power of women using their voices to tell the stories that shape culture and create change. Tiffany and I talk about:Why expertise alone doesn't create connectionThe role of vulnerability in thought leadershipWhy you shouldn't wait until your ideas feel perfectHow storytelling helps audiences see themselves in your messageThe creative process behind writing a bookWe also share details about our Story to Spotlight writing and speaking retreat in Spain this Fall 2026, where we'll help women develop their ideas, stories, and thought leadership in a supportive environment. Learn more and apply at https://www.speakingyourbrand.com/spain/ Links:Show notes at https://www.speakingyourbrand.com/464/ Get the details and apply for our Story to Spotlight Writing & Speaking Retreat in Spain this Fall 2026: https://www.speakingyourbrand.com/spain/ Tiffany's website: https://www.tiffanyhawk.com/intensive/ Discover your Speaker Archetype by taking our free quiz at https://www.speakingyourbrand.com/quiz/Connect on LinkedIn:Carol Cox = https://www.linkedin.com/in/carolcoxTiffany Hawk (guest) = https://www.linkedin.com/in/tiffanyhawk/ Related Podcast Episodes:Episode 407: Building Your Speaking Platform as an Author (Even If You're an Introvert!) with Tiffany HawkEpisode 257: Writing a Book Gives Your Ideas Depth and Longevity with Tiffany HawkEpisode 461: Storytelling as Resistance: Finding and Using Your Voice with Janice Gassam AsareEpisode 378: The Power of Women's Voices and Stories to Change the World with Carol Cox

In this episode of the Crazy Wisdom Podcast, host Stewart Alsop sits down with Vahram Ayvazyan, founder of the Armenian Network State, for a wide-ranging conversation touching on AI and the future of work, the cyclical nature of human conflict throughout history, the decay of the nation-state, the concept of a "fourth establishment" of free people operating outside traditional power structures, the role of greed and self-aggrandizement in politics and tech, and how network states could serve as a parallel structure to challenge entrenched global elites. You can find Vahram on LinkedIn, or check the Armenian Network State page at networkstate.io.Timestamps00:00 The Future of AI and Humanity05:57 Human Nature and Greed12:00 The Crisis of Nation-States17:53 Community Resilience and Abundance23:30 The Power of Storytelling in Change29:43 Cultural Connections: Armenia and Africa35:43 Western Dominance and Its Consequences42:17 Creativity in the Age of AI48:07 Creating Parallel StructuresKey Insights1. Humans advance technologically but remain socially and biologically stagnant. Vahram argues that despite extraordinary technological leaps, human nature remains driven by greed and self-aggrandizement. Conflicts today mirror those of thousands of years ago, with only the actors changing while the underlying structure of power struggles stays the same.2. Power corrupts by disconnecting leaders from reality. Using a personal account of a deputy head of state, the guest illustrates how those who gain significant power gradually lose touch with reality, fall into cycles of wanting more, and become trapped in ego-driven decision-making regardless of their original intentions.3. The nation-state is in decay and failing its citizens. Globalization, internet, and migration have eroded the nation-state's ability to deliver basic services. Events like the Valencia flooding exposed how even wealthy European governments mismanage resources despite collecting enormous tax revenues.4. Three institutions currently rule the world, with a fourth emerging. Nation-states, multinational corporations, and religious institutions form today's power structure. The guest envisions a "fourth establishment" — network states — composed of free-thinking individuals connecting across geographies to build parallel, dignity-based communities outside these failing systems.5. Intentions matter more than the tools themselves. Whether discussing AI, nuclear energy, or mathematics, the guest emphasizes that technology is neutral and that what defines civilization is the moral intention behind its use, not the sophistication of the tools developed.6. Western civilization's dominance was built on superior weapons, not superior values. The guest challenges Western narratives by suggesting its historical advantage came primarily from military technology rather than cultural or moral superiority, contrasting this with indigenous and Eastern philosophies that treat land, community, and human relationships as sacred rather than as capital.7. Evolutionary, not revolutionary, change is the path forward. The guest warns that revolutionary movements are easily infiltrated, diverted, or crushed by existing power structures. Meaningful change requires patiently building critical mass through parallel structures, storytelling, and emotional connection until the alternative becomes undeniably powerful.

In this special episode, Casey Wilson, Travis Shook, Justin Bohner, and Cliff Graham introduce the brand-new Lion of War Podcast.Recorded while Cliff is in the studio producing the first episodes, this conversation explores the heart behind the project, the long road of completing the full Lion of War series, and why the story of David continues to resonate so deeply with men. They discuss the difference between merely reading facts and being shaped by story, why biblical storytelling carries unique power, and how David's life helps modern men recover a fuller vision of courage, worship, brotherhood, struggle, repentance, and faithfulness.This episode also gives listeners a preview of the opening arc of the podcast, including the prelude, the first episode on the geography and history surrounding David's world, and the larger vision for a long-form narrative journey through Scripture, history, and manhood.If you want to better understand David, the mighty men, the world of the Old Testament, and the grand story of God that forms faithful men, this episode is a strong starting point.

La comunidad hispanohablante de Sídney tendrá en abril un nuevo espacio de encuentro en torno a la literatura y la oralidad en español. El Festival de la Palabra y el Storytelling, en su tercera edición, reunirá en abril a escritores latinos consagrados y emergentes residentes en Australia con motivo del Día del Idioma. El evento combina presentaciones literarias, oratoria y networking, y acoge también a lectores y emprendedores que quieran involucrarse con la cultura.

There is no better way to capture the attention of book publishers than a uniquely interesting and deeply moving story. Mitch Russo is joined by Bill Blankschaen, Founder and Chief Story Architect of StoryBuilders, to discuss the secrets of incredible storytelling success. From identifying the central tone of your story to determining your target audience, Bill breaks down the essential steps to developing, writing, and ultimately publishing your book. He also explains the right way to leverage your book to successfully brand and scale your business through the right monetization strategies. Get started with writing your very own story and bring your message out there!

In this episode of 7MS Presents: The Storytelling University, Aaron sits down with writer, activist, and Grammy-certified songwriter Ani Zonneveld, founder of Muslims for Progressive Values, an international human rights organization advocating for equality, freedom of expression, and inclusive interpretations of Islam. Ani shares the remarkable story of a moment that changed someone's heart at a music festival, revealing how storytelling, music, and human connection can dissolve fear and misunderstanding. The conversation explores Ani's global upbringing as the daughter of a Malaysian ambassador, the spiritual power of music, and how storytelling can create empathy across cultures, religions, and political divides. Along the way, Ani reflects on how narrative shapes faith, identity, and social change, and why stories often reach people in ways arguments never can. Ani is also the author of the memoir An Unlikely Social Justice Warrior: Making My Life Count as a Muslim Feminist. *The Storytelling University is part of the 7 Minute Stories Universe Created & Produced by Aaron Calafato & Brooks Borden Love 7MS & TSU? Here's how to support: *Follow the pod wherever you're listening *Tap 5 Stars *Text one person you love a link to your favorite episode.

Welcome to episode #1027 of Thinking With Mitch Joel (formerly Six Pixels of Separation). Will Storr is an award-winning author, journalist and storytelling researcher whose work explores one of the most powerful forces shaping human behavior… the stories we tell ourselves about the world. Over the course of a career that blends psychology, neuroscience, investigative journalism and narrative craft, Will has become one of the most compelling voices examining how stories shape identity, belief and culture. His bestselling books include The Science of Storytelling, Selfie: How We Became So Self-Obsessed And What It's Doing To Us, and The Status Game, each offering a deeper look at the hidden forces driving human motivation and social behavior. In his latest book, A Story Is A Deal - How To Use The Science Of Story To Motivate And Persuade, Will explores how storytelling operates as a powerful psychological transaction… a kind of deal between storyteller and audience that shapes what we believe, who we trust and how we act. Drawing on research from neuroscience and psychology alongside examples that range from ancient rituals to modern brand campaigns, Will shows how narratives influence everything from the leaders we follow to the products we buy. In this conversation, Will explores why people so often believe stories before they believe facts, how identity and status shape the narratives we embrace, and why character-driven storytelling remains the most powerful way to influence human behavior. At the same time, he wrestles with the darker side of narrative… the way stories can fuel misinformation, reinforce tribal identities and manipulate audiences when used without care. As artificial intelligence begins to play a role in creating and distributing stories, the conversation also turns to questions of authenticity, creativity and the future of narrative itself. I'm a huge fan of Will's work and it was truly a honor to host him. Enjoy the conversation… Running time: 54:58. Hello from beautiful Montreal. Listen and subscribe over at Apple Podcasts. Listen and subscribe over at Spotify. Please visit and leave comments on the blog - Thinking With Mitch Joel. Feel free to connect to me directly on LinkedIn. Check out ThinkersOne. Here is my conversation with Will Storr. A Story Is A Deal - How To Use The Science Of Story To Motivate And Persuade. The Science of Storytelling. Selfie: How We Became So Self-Obsessed And What It's Doing To Us. The Status Game. Will's other books. Follow Will on LinkedIn. Follow Will on Instagram. Follow Will on X. Chapters: (00:00) - Introduction to Storytelling and Its Significance. (02:47) - The Power of Story in Belief Systems. (05:43) - The Role of Story in Climate Change Narratives. (08:56) - Navigating Complex Conversations and Identity. (11:45) - Storytelling as a Business Tool. (15:41) - Consciousness and Story: An Indivisible Connection. (18:18) - Persuasion vs. Manipulation in Storytelling. (20:29) - AI and the Future of Storytelling. (27:29) - The Emergence of AI-Generated Content. (29:36) - The Emotional Connection to Art. (31:31) - The Future of Cultural Art and AI. (32:54) - AI's Role in Creative Writing. (36:35) - The Formula of Storytelling. (40:39) - The Impact of AI on Writing Quality. (44:14) - The Science of Storytelling. (49:41) - The Role of Character in Business Narratives. (56:34) - Understanding Religion as a Status Game.

We're delighted to introduce Spade Robinson, a talented filmmaker, screenwriter, and story consultant. She runs the Atlanta Film Project, a consulting firm dedicated to helping storytellers polish their scripts and projects. Currently, Spade is working on her debut feature film, 'Late Bloomers,' set against the beautiful backdrop of the American Heartland.In our chat, we explore what a story consultant does, how Spade encourages hesitant writers to be honest and dig deeper for stronger screenplays, and she shares five of her best screenwriting tips. She also talks about her favorite clients—including housewives who are passionate screenwriters—how to handle rejection with resilience, and the step she believes offers the most democratic way for a writer to change their life.    Executive Producer Kristin OvernCreator/Executive Producer Sandy AdomaitisProducer Terry SampsonMusic by Ethan Stoller

For tonight's story, imagine yourself as a playful dolphin having fun in the ocean, then settle down with your pod for a good night's rest.Narrated By: Kristen PaulWritten By: Deb E. BergmanWelcome to Snuggle! The best kid's story-telling podcast. Enter a cozy world of imagination perfect for bedtime, quiet time, or any time you want to embark on an enchanting adventure. Our cozy stories present a wide selection of calming tales for not just kids and toddlers, but for the whole family too! Enjoy some relaxing family time every day, when the children can parents can snuggle up together and venture into imaginative worlds, fairy tales, and other heartwarming stories. Develop deeper connections when you make Snuggle stories a routine at bedtime or anytime!Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠slumberstudios.com/snuggle⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠To enjoy ad-free listening and exclusive bonus episodes, start your 7-day free trial of Snuggle Premium: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://snuggle.supercast.com/⁠

ABOUT JOE PINE: Joe's LinkedIn profile; linkedin.com/in/joepine Websites: strategichorizons.com (Blog) StrategicHorizons.com (Company) strategichorizons.com (Personal) SHOW INTRO: Today, EPISODE 86… I talk with Joe Pine Joe Pine, an internationally acclaimed author, speaker, and management advisor to Fortune 500 companies and entrepreneurial start-ups alike... *                     *                          *                          * I've been in the world of retail place-making for a few decades. 3 would qualify as ‘a few' I guess. I took a detour for a few years in the late 20-teens, shifting from retail design into the play space of hospitality – a wonderful diversion. The transition was transformative to be sure. I got to re-imagine what I knew about customer experience place making in terms of retail stores and turn my lens towards another fascination – hotels. The interesting thing that emerged was the recognition that in the world of retail everyone, brands, and retail designers and architects alike, were all going on about experience.  Now this in and of itself was curious because I'd been designing stores for a couple decades, and I couldn't recall one client who had ever come to the game and said – ‘hey lets create a really miserable experience for our customers…' ‘…Let's make it hard to understand the assortment, hard to read the labels, bathe the product in bad lighting, have people walk the store not being able to find the thing they came in for, etc…' Not one. Ironically though, while many clients never asked for that, we have all had the experience of that exactly being the case in many stores we go to. So no,… creating a bad experience was never the strategy. We retail designers always sought to create places where positive experience was key. The stuff was important to be sure, but the experience - the emotional residue of the retail interaction - was what was critically important. The stuff was supposed to deliver on what it purported to do, fit well, wear well, not break down, taste good, make you feel better, whatever… it was supposed to work. Otherwise why buy it? In some cases, the stuff just had to deliver on its practical, functional level, it didn't need to give you more than that. It was a commodity that lived up to its promise. In other cases the stuff delivered on function but gave you oh so much more on an emotional, socio-cultural, psychological, spiritual, level… and all of that is about brand relevance and emotional impact of owning the thing – what it says about you. It's like looking at the difference between a paper bag which you could get for about 5 cents and a Birkin bag for which you'd drop $50,000. They both provide the same functional use – they carry other stuff – I think we could make a pretty sound argument that that is true. But now the Birkin bag, well… it is supposed to offer you so much more about who you are, and what tribe you run with and a host of other non-tangibles that deeply connect us to a brand. Things way beyond function. And if the paper bag got wet and fell apart, well… you could be confident that for the price of the Birkin bag you could literally get a million replacements. The interesting thing about the stuff, or services, in retail places whether a commodity or something altogether magnificent and magical was that in either case we had to wrap it in positive experience. Mess up the experience and you've damaged the relationship. And repairing that rupture can take some time.  So, experience matters because the overt and subtle messaging that accompanies a shopping trip is important in fostering the long-term connection between a customer, product (or service) and the brand. The value proposition that determines my choice of one brand or retailer over another can't just be they have lots of whatever it is at low prices. Price point and SKU count are not differentiators in an economy where you can get virtually anything on Amazon and have it delivered to your door and, as a brand or retailer, you are hoping to engage an emerging cohort of customers who craves more than getting a good deal. Now... the interesting thing about hospitality is that industry never really sold stuff. You didn't take home the hotel room (at least not until more recently). You took in, and took home, experience - the body memory and emotional residue of being there. Your stuff, as it were, was a camera full of images and tchotchkes bought along the way during the trip that serve as a conduit or a link to, or a trigger of memories and emotional responses to experiences previously lived. You don't bring home the hotel room, though you can now buy the Westin Heavenly bed and all of the linens – I have often wondered why, if I love the room décor, I can't just walk around with my phone and point it at QR codes on everything and in a flash have the whole thing purchased and sent off to my home or apartment to redo the guest room – or my own bedroom for that matter? So…in the end retail sells stuff and wraps it in experience and hotels only sells experience though the industry is starting to get it that selling stuff may extend the brand experience beyond the hotel stay into your home…. Another interesting distinction between hospitality and retail is time. In the hospitality world you spend an overnight or maybe a few days immersed in the brand experience. In a retail store dwell time is often measured in seconds or minutes. This matters because it suggests that retail has to come on strong and be impactful quickly, capturing interest and trying to hold it. Everyone in retail knows the longer the stay the more conversion – larger basket size. Get customers to linger longer and their consideration of other things that were not on their primary shopping list begin to be a little more interesting.  There are environments that sell spectacle, the digitally immersive environments that we see emerging into the market like Moment Factory Lumina walks, meow wolf, the Monet digital experiences and things like Artechouse. While they are visual captivating, what is being sold is time in the form of 20-minute shows and 2 hour walks in a midnight forest. Time is the currency of experiences, and more companies should figure out how to charge for it. The both challenge and opportunity here is that in an economy that seems to be time starved because our attention is so fractured into micro moments,  time and attention are intricately intertwined.  And the rules of basic economics are at play suggesting that the more scarce something is the more expensive it becomes to acquire it. Customer acquisition when pedaling time becomes a costly endeavor. But then time seems to pass by without notice when experience is built on a good story. All good experiences engage the imagination in narrative. We are built for story more than logic though we have believed the at later is the dominant prowess of our species.  And stories directly effect our neurobiology in remarkable ways that allow the narrative to come alive in us. Remember, that we came to understand the world through dance, rhythm  and stories told around fires for millenia - even before language became a prime vehicle for expression. Our affinity for story is deeply woven into our very beings. So, all great experiences are built on great stories.  Narrative manifest become brand experience places.  These places for selling goods and services are like stage sets for stories to unfold.  I love the theatre and have always felt that retailers and brands should instruct their sales associates to act out their parts in the brand narrative and embrace the idea of theater as a customer interaction strategy.  I've always thought of the theatre as something into which I dove for a time, becoming full emersed in the story and emerged somehow changed. I learned something I didn't know previously, saw the world from a different point of view, I would become one of the characters in the story and was, may be, in some way transformed.  Certainly during the performance, I was definitely in and out of body state – no longer me. The world beyond the story unfolding in front of me disappeared for a time. And so great experiences can also be transformative... The NXTLVL Experience Design podcast is presented by VMSD magazine and Smartwork Media. It is hosted and executive produced by David Kepron. Our original music and audio production is by Kano Sound. The content of this podcast is copywrite to David Kepron and NXTLVL Experience Design. Any publication or rebroadcast of the content is prohibited without the expressed written consent of David Kepron and NXTLVL Experience Design.Make sure to tune in for more NXTLVL “Dialogues on DATA: Design Architecture Technology and the Arts” wherever you find your favorite podcasts and make sure to visit vmsd.com and look for the tab for the NXTLVL Experience Design podcast there too.

381 - A brutal murder . . . a surprising confession . . .creates a rare moment for the always analytical Sherlock Holmes. He must decide . . . justice . . . or . . . mercy. Tuck in and unwind as you listen to the conclusion of "The Adventure of the Abbey Grange."

J. S. Puller is a playwright and author from the Windy City, Chicago. She has a master's degree in elementary education and a bachelor's degree in theatre from Northwestern University. She is an award-winning member of the American Alliance for Theatre and Education and has written about the social-emotional benefits of arts education with the University of Chicago Consortium on School Research. When not writing, she can usually be found in the theatre. She is the author of two novels, CAPTAIN SUPERLATIVE and THE LOST THINGS CLUB, both published by Little, Brown Books for Young Readers. She also has several published plays, including: WOMEN WHO WEAVE (Playscripts, Inc.), PERSEUS AND MEDUSA - IT'S ALL GREEK TO ME! (Lazybee Scripts), THE DEATH OF ROBIN HOOD (Stage Rights), and five titles with Plays for New Audiences.Website: https://pullerwrites.wordpress.com/ Link Tree: https://linktr.ee/pullerwritesTell Me What Happened features the music of Susan Salidor.More information about Susan Salidor can be found at her website Get Susan Salidor's One Little Act of Kindness Children's BookGet Susan Salidor's I've Got Peace in My Fingers Children's BookMore Information about our sponsor's 10 x 10 Blackhole Chess game can be found at www.blackholechess.com

Fluent Fiction - Norwegian: Easter Revelations: Finding New Beginnings in Art and Friendship Find the full episode transcript, vocabulary words, and more:fluentfiction.com/no/episode/2026-03-15-07-38-19-no Story Transcript:No: Solen skinte over Vigelandsparken denne vårdagen.En: The sun shone over Vigelandsparken on this spring day.No: Blomster begynte å springe ut på trærne, og parken var full av mennesker.En: Flowers began to bloom on the trees, and the park was full of people.No: Det var påske, og barn løp rundt med kurver fylt med fargerike egg.En: It was Easter, and children ran around with baskets filled with colorful eggs.No: Sunniva gikk alene langs stiene.En: Sunniva walked alone along the paths.No: Hun hadde alltid elsket skulpturer, men livet hennes hadde vært litt monotont i det siste.En: She had always loved sculptures, but her life had been a bit monotonous lately.No: Hun ønsket noe mer, men visste ikke helt hva.En: She wanted something more but didn't quite know what.No: Erik var også i parken, med sin skisseblokk i hånden.En: Erik was also in the park, with his sketchbook in hand.No: Han lette etter inspirasjon og nye bekjentskaper.En: He was looking for inspiration and new acquaintances.No: Da han stoppet foran Sinnataggen, merket han Sunniva som stod og betraktet skulpturen med et tankefullt blikk.En: When he stopped in front of Sinnataggen, he noticed Sunniva standing and observing the sculpture with a thoughtful look.No: Erik smilte og sa: "Hei!En: Erik smiled and said, "Hi!No: Er du også fascinert av Vigelands arbeid?En: Are you also fascinated by Vigeland's work?"No: "Sunniva så forvirret opp, men kunne ikke motstå å svare: "Ja, jeg elsker skulpturer.En: Sunniva looked up, confused, but couldn't resist replying, "Yes, I love sculptures.No: De forteller så mange historier.En: They tell so many stories."No: " Samtalen fløt lett mellom dem, og Sunniva begynte å føle seg mer komfortabel.En: The conversation flowed easily between them, and Sunniva began to feel more comfortable.No: Hun hadde alltid vært litt sjenert, spesielt rundt fremmede, men Erik hadde en varm tilstedeværelse.En: She had always been a bit shy, especially around strangers, but Erik had a warm presence.No: Marta, Sunnivas eventyrlystne venn, hadde presset henne til å komme ut i dag.En: Marta, Sunniva's adventurous friend, had urged her to come out today.No: "Du må oppleve noe nytt, Sunniva.En: "You have to experience something new, Sunniva.No: Påsken er tiden for nye begynnelser," sa Marta alltid.En: Easter is the time for new beginnings," Marta always said.No: Det var nettopp derfor Sunniva nå stod i parken og snakket med Erik.En: That was precisely why Sunniva now stood in the park, talking with Erik.No: "Vil du bli med å skissere litt med meg?En: "Do you want to join me and do some sketching?"No: " spurte Erik plutselig.En: asked Erik suddenly.No: Sunniva nølte et øyeblikk, men så på Marta i hodet sitt og hørte henne si: "Grip sjansen!En: Sunniva hesitated for a moment but then looked at Marta in her mind and heard her say, "Seize the chance!"No: " Hun nikket, og snart satt de sammen på en benk, skissende skulpturene foran seg.En: She nodded, and soon they were sitting together on a bench, sketching the sculptures in front of them.No: Erik la merke til detaljer Sunniva aldri hadde sett før, og hun følte at kunsten vokste frem i henne.En: Erik noticed details Sunniva had never seen before, and she felt that art was growing inside her.No: I dette øyeblikket følte Sunniva at vinden hadde snudd.En: At this moment, Sunniva felt that the tide had turned.No: Erik oppmuntret henne til å se på kunst fra et nytt perspektiv, og hun kjente at hun sprengte grensene for sin egen komfortsone.En: Erik encouraged her to look at art from a new perspective, and she felt like she was breaking the boundaries of her own comfort zone.No: Da dagen nærmet seg slutten, byttet Erik og Sunniva kontaktinformasjon.En: As the day drew to a close, Erik and Sunniva exchanged contact information.No: "Vi kan møtes igjen og utforske mer av kunsten," sa Erik.En: "We can meet again and explore more of the art," said Erik.No: Sunniva nikket, følelsene hennes flødde over med nye forventninger.En: Sunniva nodded, her feelings overflowing with new expectations.No: Da hun dro hjemover, var tankene hennes fylt med ideer og nyvunnet mot.En: As she headed home, her thoughts were filled with ideas and newfound courage.No: Hun hadde ikke bare funnet inspirasjon i kunsten, men også troen på at hun kunne åpne seg for verden.En: She had not only found inspiration in art but also the belief that she could open herself to the world.No: Takket være Erik, og litt press fra Marta, hadde hun tatt det første steget mot noe nytt i livet.En: Thanks to Erik, and a little push from Marta, she had taken the first step towards something new in life.No: En begynnelse i Vigelandsparken, og hun kunne ikke vente å se hva fremtiden ville bringe.En: A beginning in Vigelandsparken, and she couldn't wait to see what the future would bring. Vocabulary Words:shone: skintebloom: springe utmonotonous: monotontsketchbook: skisseblokkinspiration: inspirasjonacquaintances: bekjentskaperobserving: betraktetthoughtful: tankefulltcomfortable: komfortabelstrangers: fremmedepresence: tilstedeværelseadventurous: eventyrlystneurged: pressetbeginnings: begynnelserhesitated: nølteboundaries: grenserencouraged: oppmuntretperspective: perspektivexchanged: byttetexplore: utforskebelief: troenoverflowing: flødde overexpectations: forventningernewfound: nyvunnetcourage: motinspiration: inspirasjonthanks to: takket værepush: presscontinue: fortsetteexperience: oppleve

Enjoy Penis Feet feedback from Suliore, Lee, Dustin, Calm Horizons + Nicky, John the Shoveler and Vanessa as we dive deeper into the Big MTJoin our Discord:https://discord.gg/cVSN65jJoin in the Roundtable Fun with our Character Generators!Fallout 76: https://tinyurl.com/F76GeneratorFallout 4: https://tinyurl.com/Fallout4GeneratorFallout New Vegas: https://tinyurl.com/NewVegasGeneratorFallout 3: https://tinyurl.com/F3GeneratorThe NEW New Vegas Character Generator! DONATE:  https://fightcf.cff.org/site/TR/?fr_id=7889&pg=team&team_id=90760Shop:  optimistic.threadless.com/Patreon:  https://www.patreon.com/asapodcastingEmail: thefalloutfeed@gmail.comWeb: http://www.asapodcasting.com/#/the-fallout-feed/Twitter: https://twitter.com/TheFalloutFeedFB: facebook.com/groups/askyrimaddictpodcastSupport the show

If a species is horrible enough, do we have the right to kill it forever? Seventy years ago, a nightmare parasite feasted on the live flesh of warm-blooded creatures in North America: the screwworm. That is, until a young scientist named Edward F. Knipling discovered a crucial screwworm weakness and hatched a sweeping project to wipe them out. Knipling's seemingly zany plan to spray screwworms out of planes all over the continent— with US taxpayer money— succeeded, becoming one of humanity's biggest environmental interventions ever.  Today, screwworms have been gone so long that none of us in North America even remember them. But now, they're coming back. And they're forcing us to ask: in an era of climate change and rapid mass extinction— should we kill off a species on purpose?  Special thanks to James P. Collins, Max Scott, Amy Murillo, Daniel Griffin, Phil Kaufman, Katie Barnhill, Arthur Caplan, Ron Sandler, Yasha Rohwer, Aaron Keefe, Gwendolyn Bogard, Maria Sabate, Meredith Asbury, and Joanne Padrón CarneyEPISODE CREDITS:  Reported by - Sarah Qari with help from - Latif Nasser Produced by - Sarah Qari Sound design contributed by - Sarah Qari Fact-checking by - Emily Krieger EPISODE CITATIONS: **The latest information on screwworm outbreaks and precautions: screwworm.gov Videos: Oral history interviews of Edward F. Knipling: here (https://zpr.io/njhMedFN5jsZ) and here (https://zpr.io/VQReQbfznCrq)  Podcasts: Here's a Spotify playlist (https://zpr.io/PNMEM274G7vh)  of all of our Golden Goose-inspired episodes! Sam Kean's podcast The Disappearing Spoon – his episode about screwworms is called The Screwiest and Perhaps Most Original Idea of the 20th Century (https://zpr.io/UYf6dR2yG3eN)  Our episode on CRISPR & gene drives (https://zpr.io/UYf6dR2yG3eN)  New to Radiolab? Check out our Radiolab Starter Kit (https://zpr.io/QpPnrHAZVQLR)  playlist of all-time favorite episodes! Articles: Sarah Zhang's latest piece in The Atlantic: American Milk Has Changed (https://zpr.io/xebbdq2MWV4L)  Her most recent piece on screwworms: The ‘Man-Eater' Screwworm Is Coming (https://zpr.io/ECmjCs7ScbS4)  Her initial reporting on screwworms: America's Never-Ending Battle Against Flesh-Eating Worms (https://zpr.io/PNMEM274G7vh)  Gregory Kaebnick's paper (https://zpr.io/yqNC3q5FbCcq)  about screwworm eradication in Science Archival materials:  The USDA's Screwworm Eradication Records (https://zpr.io/dY7zuVdGYKjf) contain lots of cool images and letters Signup for our newsletter!! It includes short essays, recommendations, and details about other ways to interact with the show. Sign up (https://radiolab.org/newsletter)! Radiolab is supported by listeners like you. Support Radiolab by becoming a member of The Lab (https://members.radiolab.org/) today. Follow our show on Instagram, Twitter and Facebook @radiolab, and share your thoughts with us by emailing radiolab@wnyc.org. Leadership support for Radiolab's science programming is provided by the Simons Foundation and the John Templeton Foundation. Foundational support for Radiolab was provided by the Alfred P. Sloan Foundation.

When Flora heads to China to spend time with family for the summer, she realizes her young cousin is acting weird. Almost like he's someone… or something else entirely. Thank you, Flora, for sharing your story with us! Produced by Annie Nguyen, original score by Doug Stuart, artwork by Teo Ducot. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Don't get too attached.

Join us for a heartfelt journey through the power of music and storytelling in this inspiring encore episode of takin' a walk with host Buzz Knight. Celebrating Women's History Month, Buzz welcomes the multi-talented Rita Wilson—an acclaimed actor, producer, singer, songwriter, and author. With a career that spans decades, Rita shares her remarkable experiences in the entertainment industry, emphasizing the profound impact of creativity and advocacy in shaping her artistic path. Rita Wilson opens up about her early influences, including how The Beatles ignited her passion for music as a child and the unforgettable thrill of attending her first concert with Led Zeppelin. As they stroll, Buzz and Rita delve into her latest projects, including the uplifting new single "Look How Far We’ve Come," co-written with legendary songwriter Billy Steinberg, and her contributions to the Grammy-nominated album "Through the Storm. " This episode serves as a vibrant exploration of the music journey and the emotional connection that live performances foster within communities. Throughout their walk, they discuss the significance of music in uplifting spirits and the necessity for artists to embrace diverse creative outlets, highlighting the rich tapestry of American music history. Rita reflects on her recent participation in the Joni Jam at the Hollywood Bowl, a celebration that showcases the communal experience of music and its ability to heal. With each step, Buzz and Rita explore the stories behind songs and the incredible power of music to inspire and connect. As the conversation unfolds, Rita expresses her admiration for Paul McCartney and shares her dream of interviewing him, acknowledging the lasting legacy that he and The Beatles have left on music and culture. This episode of takin' a walk is not just a tribute to creativity and resilience; it’s a reminder of how the music history weaves through our lives, shaping our experiences and emotions. Whether you’re a fan of classic rock history, indie music journeys, or simply love music storytelling, this episode offers a treasure trove of insights and inspiration. Tune in for an engaging conversation that celebrates legendary musicians, the cultural impact of music, and the stories that define our artistic journeys. Don't miss this opportunity to walk alongside Rita Wilson and Buzz Knight as they explore the music history lessons that resonate deeply in our hearts.Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

Nate talks with author and Renovaré Institute alum Emily Bain Murphy about her new middle grade fiction book and the potency of stories for spiritual formation.

Storytelling strategist and pitch expert Donna Griffith joins me to unpack how leaders, founders, and professionals can take control of their narrative during moments of chaos—and why the ability to rewrite your story may be the most valuable skill in the AI era.Most conversations about disruption focus on technology. This one focuses on something more human: how people interpret change, adapt to it, and reposition themselves when the world shifts underneath them.Donna has spent over two decades helping entrepreneurs, executives, and startup founders transform raw information—data, facts, features, and technical language—into compelling narratives that move investors, customers, and teams to action.But storytelling isn't just a presentation skill.It's a survival skill.In this conversation, we explore how narrative shapes the way people respond to major disruptions—from economic crashes and industry shifts to global events like 9/11, the financial crisis, and COVID. Donna shares how each of those moments forced her to reinvent her own professional story, pivoting from corporate training to startup storytelling and ultimately becoming one of the leading pitch strategists in the startup ecosystem.We also explore what may be the next massive narrative shift: the rise of AI.As automation compresses traditional organizational hierarchies and reshapes knowledge work, many professionals will need to rethink their roles, redefine their value, and tell a new story about what they do.The people who succeed won't necessarily be the ones with the best resumes.They'll be the ones who can translate their skills into a story the market understands.This episode is about resilience, reinvention, and why narrative—not credentials—is often the real driver of opportunity.The lesson isn't blind optimism.It's learning how to rewrite your story when the plot changes.TL;DR• Narrative determines how people interpret chaos and opportunity• Economic shocks often create new industries and new professional paths• Storytelling transforms raw information into messages that move people to act• Career pivots often emerge from crisis moments• AI will compress corporate hierarchies and reshape knowledge work• Professionals who control their narrative adapt faster than those who don't• Reinvention requires aligning skills with what the market needs now• The future belongs to people who can translate expertise into compelling storiesMemorable Lines• “You can walk through life telling the story of your problems—or leave them at home and go live.”• “Storytelling turns bits, bytes, and facts into messages that drive results.”• “AI is a sous-chef. You're still the executive chef.”• “The world doesn't just change your circumstances—it changes the story you need to tell.”• “Reinvention starts when you ask what the world needs now.”GuestDonna Griffith — Corporate Storyteller, Pitch Alchemist, and Startup Narrative ExpertFor more than 20 years, Donna has helped startups, executives, and global companies transform complex information into powerful narratives that secure funding, drive sales, and influence decision-makers.She is widely recognized for her work helping startups craft investor pitch stories and has supported companies that collectively raised billions in funding.

Vast expanses of land seem like difficult places to find curiosities, but today's trip through the Cabinet will make two of them very clear. Order the official Cabinet of Curiosities book by clicking here today, and get ready to enjoy some curious reading! Join our Patreon for ad-free episodes!: https://www.patreon.com/grimandmildSee omnystudio.com/listener for privacy information.

Kate Tellers, storyteller, host and director of MothWorks, talks about The Moth's upcoming event with the theme "what are we fighting for?"  Photo: Matthew Mercier takes part in The Moth true personal storytelling show live-streamed from St. Ann's Church on April 21, 2021 in Brooklyn. (Credit: Michael Loccisano/Getty Images)  

That's when things started going wrong.