Podcasts about Storytelling

Brock Johnson was passionate about social media and surrounded by influencers, yet it took nearly a decade of consistent content creation before he finally went viral on Instagram. Through years of trial and error, he cracked the code for organic growth on the platform. In this episode, Brock shares his blueprint for Instagram success, breaking down how the algorithm works and debunking common myths. He also reveals the secret to creating high-performing content that will take your social media to the next level. In this episode, Hala and Brock will discuss: (00:00) Introduction (02:25) Instagram's Algorithm in 2025 (08:23) From NFL Dreams to Entrepreneurship (14:53) The Hidden Path to Social Media Growth (20:52) Effective Instagram Growth Strategies (31:21) Overcoming the Unending Hustle for Followers (35:38) How to Monetize with a Small Following (37:47) Diversifying Revenue Streams as a Content Creator (39:54) The Attract–Nurture–Convert Content Framework (45:17) The Formula for High-Performing Instagram Stories (50:10) Content Creation Hacks That Work Brock Johnson is an Instagram growth coach, entrepreneur, and content creator, known for helping individuals and businesses succeed on social media. With nearly a million followers, he has mastered content marketing and monetization, regardless of audience size. In 2023, Brock began consulting for Meta on Instagram features and creator tools. He co-hosts the Build Your Tribe podcast and co-founded InstaClubHub, a top Instagram coaching membership with tens of thousands of members. 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.  Quo - Get 20% off your first 6 months at Quo.com/PROFITING  Revolve - Head to REVOLVE.com/PROFITING and take 15% off your first order with code PROFITING  Merit Beauty - Go to meritbeauty.com to get your free signature makeup bag with your first order.  DeleteMe - Remove your personal data online. Get 20% off DeleteMe consumer plans at to joindeleteme.com/profiting  Spectrum Business - Visit Spectrum.com/FreeForLife to learn how you can get Business Internet Free Forever. Airbnb - Find yourself a cohost at airbnb.com/host Resources Mentioned: Brock's Instagram: instagram.com/brock11johnson  YAP E291 with GaryVee: youngandprofiting.co/E291  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, Digital Marketing, Storytelling, Advertising, Communication, Video Marketing, Social Proof, Marketing Trends, Influencer Marketing, Marketing Tips, Digital Trends, Online Marketing, Marketing podcast

Phoebe and Pat are sans-Milo this week and have decided to tackle the history of storytelling, from archaic Greece to the modern era. Anyway, which Ajax was the big one? You can check out Pat's new podcast Past Lives here: https://www.patreon.com/cw/PastLivesMedia/posts You can see Milo on Tour in Birmingham, Europe and Ireland here: https://www.miloedwards.co.uk/liveshows Get many more episodes like this on our Patreon from just $5 a month: https://www.patreon.com/c/mastersofpod

Bram Berkien (@bramberkien) is a Dutch photographer celebrated for his ability to capture the human side of elite sports. As the official photographer for Visma-Lease a Bike (formerly Jumbo-Visma), Bram has spent the last seven years documenting the world's top cyclists, including their highs, lows, and everything in between at the Tour de France.In this episode, Bram shares what it's like to work behind the scenes with some of the most dedicated athletes on the planet. From the trust it takes to photograph intimate moments on the team bus to the creative challenges of balancing action shots, sponsor content, and personal storytelling, Bram reveals the art of capturing authenticity in high-pressure environments. We also explore his journey from stacking suitcases at an airport to photographing cycling's biggest stage, the lessons he's learned from elite athletes, and why the human side of sport is where the real magic happens.Expect to Learn:How to build trust with high-profile subjectsHow to anticipate key moments at eventsHow to balance multiple roles as a photographerLessons from elite athletes on sacrifice and perseverance Why behind-the-scenes moments can create more compelling stories than traditional action photographyBram's Website: https://bramberkien.com/Sponsors:Thanks to Tamron for sponsoring this episode! Check out their brand-new 25-200mm F/2.8 all-in-one zoom lens for Sony E-mount, perfect for travel and everyday shooting. Learn more at www.tamron-americas.comThanks to the National Park Foundation for sponsoring today's episode. Enter the Share the Experience photo contest for a chance to win $10,000 and prizes from Celestron, Historic Hotels of America, and YETI. The grand prize winner's photo could be featured on the America the Beautiful—the National Parks and Federal Recreational Lands Annual Pass.Submit your best shots now at sharetheexperience.org/tpmOur Links:Join our subreddit where you can share stories and ask questions:https://www.reddit.com/r/photographermindset/Subscribe to TPM's Youtube page and watch full length episodes: https://www.youtube.com/thephotographermindset/Make a donation via PayPal for any amount you feel is equal to the value you receive from our podcast episodes! Donations help with the fees related to hosting the show: https://paypal.me/podcasttpm?country.x=CA&locale.x=en_USThanks for listening!Go get shooting, go get editing, and stay focused.@sethmacey@mantis_photography@thephotographermindsetSupport the show

Journey with us as we review the book of Colossians! We'll also spend time going on a quick scavenger hunt and listening to your responses to our most recent Riddle Time riddle.

Episode 202 with Melissa Mbugua, East Africa Partnerships Lead at Radio Workshop. Melissa Mbugua leads partnerships across East Africa at Radio Workshop, an award winning organisation that trains young people across the continent to create powerful radio programmes and podcasts. Through storytelling, Radio Workshop equips youth with the skills, tools and confidence to inform their communities, influence public dialogue and shape Africa's future from the ground up.In this episode, Melissa shares how Radio Workshop is building a new generation of African journalists, storytellers and community leaders by supporting youth led audio storytelling. She reflects on the organisation's work training over 5,000 youth reporters across 100+ radio stations and reaching millions of listeners across Africa through local broadcasts and a globally recognised podcast.Drawing on her experience across East Africa, Melissa explores how radio remains Africa's most trusted and accessible medium, particularly in reaching underserved and rural communities. She discusses how youth led storytelling is being used to address critical social and economic issues such as mental health, education inequality, climate change and civic participation, while creating pathways for young people to develop leadership, communication and critical thinking skills.What We Discuss With Dr MercyMelissa Mbugua's journey into youth empowerment and partnerships at Radio Workshop and her role in expanding its impact across East Africa.How Radio Workshop trains youth to produce radio programmes and podcasts across Africa.Why radio continues to play a vital role in informing communities and strengthening civic participation.How youth led storytelling addresses major social and development challenges in Africa.The future of youth driven media and storytelling in East Africa and across the continent.Did you miss my previous episode where I discuss Fighting Misinformation and Advancing Health Literacy and Journalism in Africa? Make sure to check it out!Connect with Terser:LinkedIn - Terser AdamuInstagram - unlockingafricaTwitter (X) - @TerserAdamuConnect with Melissa:LinkedIn - Melissa Mbugua and Radio WorkshopMany of the businesses unlocking opportunities in Africa don't do it alone. If you'd like strategic support on entering or expanding across African markets, reach out to our partners ETK Group: www.etkgroup.co.ukinfo@etkgroup.co.uk

What separates a successful snack from the pack? Storytelling can be effective and important to sustaining a brand. Hosted by: Jeff Lenard About our Guest: Jason Liebig, Brand History Expert, Television Host Jason is a noted brand historian, consultant, television personality and speaker, known for his deep knowledge of consumer brands and behavior. In demand for his unique perspective and captivating storytelling, he's often referred to as "The Indiana Jones of Brands" due to his extensive archive and collection of vintage brand packaging, numbering at over 100,000 pieces.

Send us a textAfter a bit of planning, the party enters Port Wayworth to look for Solace. Though the town seems deserted, they know something sinister watches and waits.The Unknowing | Unquenchable Thirst Arc | Episode 4 Theme song by Ryan Springman. Website: https://www.notherrealm.com Instagram: https://www.instagram.com/notherrealmpodcast/ Twitter: https://twitter.com/NotherRealm YouTube: https://www.youtube.com/@notherrealm TikTok: https://www.tiktok.com/@notherrealm

367 - Once heard, you won't forget this tender, unsung Yuletide story. Not rockets to Mars, it's the softer side of Bradbury. Tuck in as he carries us through his own memories and longing.  

Send us a textChance McClain is the CEO of Heritage Films and an acclaimed documentary filmmaker committed to capturing individual legacies through film. His career has been inspired by a passion for storytelling and the impact of personal legacy, profoundly influencing his leadership style and philosophy on life and business.Chance McClain emphasizes the importance of authenticity in leadership, stressing that a great leader effectively blends vision, systems, and people. This episode highlights how Chance's work at Heritage Films has not only provided him with a unique vantage point into people's lives but also transformed his understanding of success and influence. Further into the discussion, Chance shares how personal stories, marked by challenges and triumphs, have influenced his leadership philosophy. Grit and discipline, according to Chance, are critical for mastery and success, overshadowing mere talent. He draws lessons from various accounts, urging leaders to embrace their blind spots, welcome constructive criticism, and simplify problems—teaching that personal growth stems from hardship and mistakes. Key Takeaways:*   The role of authenticity in leadership involves maintaining a delicate balance between vision, systems, and people.*   Personal stories hold immense power in shaping leadership philosophies and fostering personal growth.*   Mastery and success are achieved more through grit and discipline rather than mere talent.*   Failure is a crucial stepping stone for learning and development, providing essential life lessons.*   Storytelling can serve as a profound tool for leadership, capable of reframing individual and collective struggles.Notable Quotes:"Failure is the greatest thing in the world. They're lessons. They're stepping stones.""Simplify and solve problems—that is the distillation of what a leader should ask of his or her people." "Effort matters more than talent. The discipline of doing things over and over leads to mastery.""The best stories come from the worst times—they're filled with profound lessons." "Live a life that your kids would want to make a movie about, so they know where they came from."Resources:heritagefilmsgroup.comBook: Rocket FuelBook: How to Win Friends and Influence PeopleAll episodes and guest requests can be found at:www.leadershipmomentspodcast.comFollow Stacey Caster on Instagram @staceycaster_Follow Tracy-Ann Palmer on Instagram @tracy_ann_palmer

Episode 97's guest is author Elle Gonzalez Rose.Elle Gonzalez Rose is an author from New York who's better at writing love stories about short, queer, Latines than she is at writing bios. Her dog thinks she's okay. She is the author of Caught in a Bad Fauxmance, 10 Things I Hate About Prom, The Girl You Know, and Marisol Acts the Part. Elle, not the dog.In this episode Elle and I discussed Marisol Acts the Part, her most recent YA romcom. With that, we talked about how she challenged herself while writing this book. We touched on her career writing for film/tv, the parasocial relationships between film and TV actors and fans, and writing thriller alongside romance.Links in this episode:Legally Blonde, the filmDawson's Creek, the tv seriesTruth Is by Hannah SawyerrThe Carbon Footprint***Current release: THE FOREVER WEDDING DATENote: some links are affiliate linksContact Tif at tif@tifmarcelo.comPlease check out her website for podcast submissions

One on One Video Call W/George https://tidycal.com/georgepmonty/60-minute-meetingSupport the show:https://www.paypal.me/Truelifepodcast?locale.x=en_USThe Lila Code: https://orcid.org/0009-0008-4612-3942

Trusting the process is a really important way to free yourself, and the film, to discover what it is.Viridiana Lieberman is an award-winning documentary filmmaker. She recently edited the Netflix sensation The Perfect Neighbor.In this interview we talk:* Viri's love of the film Contact* Immersion as the core goal in her filmmaking* Her editing tools and workflow* Film school reflections* The philosophy and process behind The Perfect Neighbor — crafting a fully immersive, evidence-only narrative and syncing all audio to its original image.* Her thoughts on notes and collaboration* Techniques for seeing a cut with fresh eyesYou can see all of Viri's credits on her IMD page here.Thanks for reading The Creativity, Education, and Leadership Newsletter! Subscribe for free to receive new posts and support my work.Here is an AI-generated transcript of our conversation. Don't come for me.BEN: Viri, thank you so much for joining us today.VIRI: Oh, thank you for having me. I'm excited to be here.BEN: And I always like to start with a fun question. So senior year of high school, what music were you listening to?VIRI: Oh my goodness. Well, I'm class of 2000, so I mean. I don't even know how to answer this question because I listen to everything.I'm like one of those people I was raving, so I had techno in my system. I have a lot of like, um. The, like, everything from Baby Ann to Tsta. Like, there was like, there was a lot, um, Oak and like Paul Oak and Full, there was like techno. Okay. Then there was folk music because I loved, so Ani DeFranco was the soundtrack of my life, you know, and I was listening to Tori Amos and all that.Okay. And then there's like weird things that slip in, like fuel, you know, like whatever. Who was staying? I don't remember when they came out. But the point is there was like all these intersections, whether I was raving or I was at Warp Tour or I was like at Lili Fair, all of those things were happening in my music taste and whenever I get to hear those songs and like that, that back late nineties, um, rolling into the Ox.Yeah.BEN: I love the Venn diagram of techno and folk music.VIRI: Yeah.BEN: Yeah. What, are you a fan of the film inside Lou and Davis?VIRI: Uh, yes. Yes. I need to watch it again. I watched it once and now you're saying it, and I'm like writing it on my to-dos,BEN: but yes, it, it, the first time I saw it. I saw in the East Village, actually in the theater, and I just, I'm a Cohen Brothers fan, but I didn't love it.Mm-hmm. But it, it stayed on my mind and yeah. Now I probably rewatch it once a year. It might, yeah. In my, in my, on my list, it might be their best film. It's so good. Oh,VIRI: now I'm gonna, I'm putting it on my, I'm literally writing it on my, um, post-it to watch it.BEN: I'mVIRI: always looking for things to watch in the evening.BEN: What, what are some of the docs that kind of lit your flame, that really turned you on?VIRI: Uh, this is one of those questions that I, full transparency, get very embarrassed about because I actually did not have a path of documentary set for me from my film Loving Passion. I mean, when I graduated film school, the one thing I knew I didn't wanna do was documentary, which is hilarious now.Hilarious. My parents laugh about it regularly. Um. Because I had not had a good documentary education. I mean, no one had shown me docs that felt immersive and cinematic. I mean, I had seen docs that were smart, you know, that, but, but they felt, for me, they didn't feel as emotional. They felt sterile. Like there were just, I had seen the most cliched, basic, ignorant read of doc.And so I, you know, I dreamed of making space epics and giant studio films. Contact was my favorite movie. I so like there was everything that about, you know, when I was in film school, you know, I was going to see those movies and I was just chasing that high, that sensory high, that cinematic experience.And I didn't realize that documentaries could be. So it's not, you know, ever since then have I seen docs that I think are incredible. Sure. But when I think about my origin tale, I think I was always chasing a pretty. Not classic, but you know, familiar cinematic lens of the time that I was raised in. But it was fiction.It was fiction movies. And I think when I found Docs, you know, when I was, the very long story short of that is I was looking for a job and had a friend who made docs and I was like, put me in coach, you know, as an editor. And she was like, you've never cut a documentary before. I love you. Uh, but not today.But no, she hired me as an archival producer and then I worked my way up and I said, no, okay, blah, blah, blah. So that path showed me, like I started working on documentaries, seeing more documentaries, and then I was always chasing that cinema high, which by the way, documentaries do incredibly, you know, and have for many decades.But I hadn't met them yet. And I think that really informs. What I love to do in Docs, you know, I mean, I think like I, there's a lot that I like to, but one thing that is very important to me is creating that journey, creating this, you know, following the emotion, creating big moments, you know, that can really consume us.And it's not just about, I mean, not that there are films that are important to me, just about arguments and unpacking and education. At the same time, we have the opportunity to do so much more as storytellers and docs and we are doing it anyway. So that's, that's, you know, when, it's funny, when light my fire, I immediately think of all the fiction films I love and not docs, which I feel ashamed about.‘cause now I know, you know, I know so many incredible documentary filmmakers that light my fire. Um, but my, my impulse is still in the fiction world.BEN: Used a word that it's such an important word, which is immersion. And I, I first saw you speak, um, a week or two ago at the doc NYC Pro panel for editors, documentary editors about the perfect neighbor, which I wanna talk about in a bit because talk about a completely immersive experience.But thank you first, uh, contact, what, what is it about contact that you responded to?VIRI: Oh my goodness. I, well, I watched it growing up. I mean, with my dad, we're both sci-fi people. Like he got me into that. I mean, we're both, I mean he, you know, I was raised by him so clearly it stuck around contact for me. I think even to this day is still my favorite movie.And it, even though I'm kind of a style nut now, and it's, and it feels classic in its approach, but. There's something about all the layers at play in that film. Like there is this crazy big journey, but it's also engaging in a really smart conversation, right? Between science and faith and some of the greatest lines from that film.Are lines that you can say to yourself on the daily basis to remind yourself of like, where we are, what we're doing, why we're doing it, even down to the most basic, you know, funny, I thought the world was what we make it, you know, it's like all of these lines from contact that stick with me when he says, you know, um, did you love your father?Prove it. You know, it's like, what? What is proof? You know? So there were so many. Moments in that film. And for me, you know, climbing into that vessel and traveling through space and when she's floating and she sees the galaxy and she says they should have sent a poet, you know, and you're thinking about like the layers of this experience and how the aliens spoilers, um, you know, show up and talk to her in that conversation herself.Anyways, it's one of those. For me, kind of love letters to the human race and earth and what makes us tick and the complexity of identity all in this incredible journey that feels so. Big yet is boiled down to Jody Foster's very personal narrative, right? Like, it's like all, it just checks so many boxes and still feels like a spectacle.And so the balance, uh, you know, I, I do feel my instincts normally are to zoom in and feel incredibly personal. And I love kind of small stories that represent so much and that film in so many ways does that, and all the other things too. So I'm like, how did we get there? But I really, I can't, I don't know what it is.I can't shake that film. It's not, you know, there's a lot of films that have informed, you know, things I love and take me out to the fringe and take me to the mainstream and, you know, on my candy and, you know, all those things. And yet that, that film checks all the boxes for me.BEN: I remember seeing it in the theaters and you know everything you said.Plus you have a master filmmaker at the absolute top Oh god. Of his class. Oh my,VIRI: yes,BEN: yes. I mean, that mirror shot. Know, know, I mean, my jaw was on the ground because this is like, right, right. As CGI is started. Yes. So, I mean, I'm sure you've seen the behind the scenes of how theyVIRI: Yeah.BEN: Incredible.VIRI: Years.Years. We would be sitting around talking about how no one could figure out how he did it for years. Anybody I met who saw contact would be like, but how did they do the mirror shot? Like I nobody had kind of, yeah. Anyways, it was incredible. And you know, it's, and I,BEN: I saw, I saw it just with some civilians, right?Like the mirror shot. They're like, what are you talking about? The what? Huh?VIRI: Oh, it's so funny you bring that up because right now, you know, I went a friend, I have a friend who's a super fan of Wicked. We went for Wicked for Good, and there is a sequence in that film where they do the mirror jot over and over and over.It's like the, it's like the. Special device of that. It feels that way. That it's like the special scene with Glenda and her song. And someone next to me was sitting there and I heard him under his breath go,wow.Like he was really having a cinematic. And I wanted to lean over and be like, watch contact, like, like the first time.I saw it was there and now it's like people have, you know, unlocked it and are utilizing it. But it was, so, I mean, also, let's talk about the opening sequence of contact for a second. Phenomenal. Because I, I don't think I design, I've ever seen anything in cinema in my life like that. I if for anybody who's listening to this, even if you don't wanna watch the entire movie, which of course I'm obviously pitching you to do.Watch the opening. Like it, it's an incredible experience and it holds up and it's like when, yeah. Talk about attention to detail and the love of sound design and the visuals, but the patience. You wanna talk about trusting an audience, sitting in a theater and that silence Ah, yeah. Heaven film heaven.BEN: I mean, that's.That's one of the beautiful things that cinema does in, in the theater. Right. It just, you're in, you're immersed in this case, you know, pulling away from earth through outer space at however many, you know, hundreds of millions of miles an hour. You can't get that anywhere else. Yeah. That feeling,VIRI: that film is like all the greatest hits reel of.Storytelling gems. It's like the adventure, the love, the, you know, the, the complicated kind of smart dialogue that we can all understand what it's saying, but it's, but it's doing it through the experience of the story, you know, and then someone kind of knocks it outta the park without one quote where you gasp and it's really a phenomenal.Thing. Yeah. I, I've never, I haven't talked about contact as much in ages. Thank you for this.BEN: It's a great movie. It's there, and there were, there were two other moments in that movie, again when I saw it, where it's just like, this is a, a master storyteller. One is, yeah. When they're first like trying to decode the image.Mm-hmm. And you see a swastika.VIRI: Yeah. Oh yeah. And you're like,BEN: what the, what the f**k? That was like a total left turn. Right. But it's, it's, and I think it's, it's from the book, but it's like the movie is, it's, it's, you know, it's asking these questions and then you're like totally locked in, not expecting.You know, anything from World War II to be a part of this. And of course in the movie the, go ahead.VIRI: Yeah, no, I was gonna say, but the seed of thatBEN: is in the first shot,VIRI: scientifically educating. Oh yes. Well, the sensory experience, I mean, you're like, your heart stops and you get full Bo chills and then you're scared and you know, you're thinking a lot of things.And then when you realize the science of it, like the first thing that was broadcast, like that type of understanding the stakes of our history in a space narrative. And, you know, it, it just, there's so much. You know, unfurling in your mind. Yeah. In that moment that is both baked in from your lived experiences and what you know about the world, and also unlocking, so what's possible and what stakes have already been outside of this fiction, right?Mm-hmm. Outside of the book, outside of the telling of this, the reality of what has already happened in the facts of it. Yeah. It's really amazing.BEN: And the other moment we're just, and now, you know, being a filmmaker, you look back and I'm sure this is, it falls neatly and at the end of the second act. But when Tom scars, you know, getting ready to go up on the thing and then there's that terrorist incident or whatever, and the whole thing just collapses, the whole, um, sphere collapses and you just like, wait, what?Is that what's gonna happen now?VIRI: Yeah, like a hundred million dollars in it. It does too. It just like clink pun. Yeah. Everything.BEN: Yeah.VIRI: Think they'll never build it again. I mean, you just can't see what's coming after that and how it went down, who it happened to. I mean, that's the magic of that film, like in the best films.Are the ones where every scene, every character, it has so much going into it. Like if somebody paused the film there and said, wait, what's happening? And you had to explain it to them, it would take the entire movie to do it, you know, which you're like, that's, we're in it. Yeah. Anyway, so that's a great moment too, where I didn't, and I remember when they reveal spoilers again, uh, that there's another one, but when he is zooming in, you know, and you're like, oh, you know, it just, it's, yeah.Love it. It's wonderful. Now, I'm gonna watch that tonight too. IBEN: know, I, I haven't probably, I probably haven't watched that movie in 10 years, but now I gotta watch it again.VIRI: Yeah.BEN: Um, okay, so let's talk doc editing. Yes. What, um, I always like to, I heard a quote once that something about when, when critics get together, they talk meaning, and when artists get together, they talk paint.So let's talk paint for a second. What do you edit on?VIRI: I cut mainly on Avid and Premier. I, I do think of myself as more of an avid lady, but there's been a lot of probably the films that have done the most. I cut on Premier, and by that I mean like, it's interesting that I always assume Avid is my standard yet that most of the things that I love most, I cut on Premiere right now.I, I toggle between them both multiple projects on both, on both, um, programs and they're great. I love them equal for different reasons. I'm aBEN: big fan of Avid. I think it gets kind of a, a bad rap. Um, what, what are the benefits of AVID versus pr? I've never used Premier, but I was a big final cut seven person.So everybody has said that. Premier kind of emulates Final cut. Seven.VIRI: I never made a past seven. It's funny, I recently heard people are cutting on Final Cut Pro again, which A adds off. But I really, because I thought that ship had sailed when they went away from seven. So with, I will say like the top line things for me, you know, AVID forces you to control every single thing you're doing, which I actually think it can feel hindering and intimidating to some folks, but actually is highly liberating once you learn how to use it, which is great.It's also wonderful for. Networks. I mean, you can send a bin as a couple kilobyte. Like the idea that the shared workflow, when I've been on series or features with folks, it's unbeatable. Uh, you know, it can be cumbersome in like getting everything in there and stuff like that and all, and, but, but it kind of forces you to set up yourself for success, for online, for getting everything out.So, and there's a lot of good things. So then on conversely Premier. It's amazing ‘cause you can hit the ground running. You just drag everything in and you go. The challenge of course is like getting it out. Sometimes that's when you kind of hit the snaps. But I am impressed when I'm working with multiple frame rates, frame sizes, archival for many decades that I can just bring it into Premier and go and just start cutting.And you know, also it has a lot of intuitive nature with other Adobe Pro, you know, uh, applications and all of this, which is great. There's a lot of shortcuts. I mean, they're getting real. Slick with a lot of their new features, which I have barely met. I'm like an archival, I'm like a ancient picture editor lady from the past, like people always teach me things.They're just like, you know, you could just, and I'm like, what? But I, so I guess I, you know, I don't have all the tech guru inside talk on that, but I think that when I'm doing short form, it does feel like it's always premier long form. Always seems to avid. Team stuff feels avid, you know, feature, low budge features where they're just trying to like make ends meet.Feel Premier, and I think there's an enormous accessibility with Premier in that regard. But I still feel like Avid is a studios, I mean, a, a studio, well, who knows? I'm cut in the studios. But an industry standard in a lot of ways it still feels that way.BEN: Yeah, for sure. How did you get into editing?VIRI: I went to film school and while I was there, I really like, we did everything.You know, we learned how to shoot, we learned everything. Something about editing was really thrilling to me. I, I loved the puzzle of it, you know, I loved putting pieces together. We did these little funny exercises where we would take a movie and cut our own trailer and, you know, or they'd give us all the same footage and we cut our scene from it and.Itwas really incredible to see how different all those scenes were, and I loved finding ways to multipurpose footage, make an entire tone feel differently. You know, like if we're cutting a scene about a bank robbery, like how do you all of a sudden make it feel, you know, like romantic, you know, or whatever.It's like how do we kind of play with genre and tone and how much you can reinvent stuff, but it was really structure and shifting things anyways, it really, I was drawn to it and I had fun editing my things and helping other people edit it. I did always dream of directing, which I am doing now and I'm excited about, but I realized that my way in with editing was like learning how to do a story in that way, and it will always be my language.I think even as I direct or write or anything, I'm really imagining it as if I'm cutting it, and that could change every day, but like when I'm out shooting. I always feel like it's my superpower because when I'm filming it's like I know what I have and how I'll use it and I can change that every hour.But the idea of kind of knowing when you've got it or what it could be and having that reinvented is really incredible. So got into edit. So left film school. And then thought and loved editing, but wasn't like, I'm gonna be an editor. I was still very much on a very over, you know what? I guess I would say like, oh, I was gonna say Overhead, broad bird's eye.I was like, no, I'm gonna go make movies and then I'll direct ‘em and onward, but work, you know, worked in post houses, overnights, all that stuff and PA and try made my own crappy movies and you know, did a lot of that stuff and. It kept coming back to edit. I mean, I kept coming back to like assistant jobs and cutting, cutting, cutting, cutting, and it just felt like something that I had a skill for, but I didn't know what my voice was in that.Like I didn't, it took me a long time to realize I could have a voice as an editor, which was so dumb, and I think I wasted so much time thinking that like I was only search, you know, like that. I didn't have that to bring. That editing was just about. Taking someone else's vision. You know, I'm not a set of hands like I'm an artist as well.I think we all are as editors and I was very grateful that not, not too long into, you know, when I found the doc path and I went, okay, I think this is where I, I can rock this and I'm pretty excited about it. I ended up working with a small collection of directors who all. Respected that collaboration.Like they were excited for what I do and what I bring to it and felt, it made me feel like we were peers working together, which was my fantasy with how film works. And I feel like isn't always the constant, but I've been spoiled and now it's what I expect and what I want to create for others. And you know, I hope there's more of us out there.So it's interesting because my path to editing. Was like such a, a practical one and an emotional one, and an ego one, and a, you know, it's like, it's like all these things that have led me to where I am and the perfect neighbor is such a culmination of all of that. For sure.BEN: Yeah. And, and I want to get into it, uh, first the eternal question.Yeah. Film school worth it or not worth it?VIRI: I mean, listen, I. We'll share this. I think I've shared this before, but relevant to the fact I'll share it because I think we can all learn from each other's stories. I did not want to go to college. Okay? I wanted to go straight to la. I was like, I'm going to Hollywood.I wanted to make movies ever since I was a kid. This is what I'm gonna do, period. I come from a family of teachers. All of my parents are teachers. My parents divorced. I have my stepparent is teacher, like everybody's a teacher. And they were like, no. And not just a teacher. My mom and my dad are college professors, so they were like college, college, college.I sabotaged my SATs. I did not take them. I did not want to go to college. I was like, I am going to Los Angeles. Anyways, uh, my parents applied for me. To an accredited arts college that, and they were like, it's a three year try semester. You'll shoot on film, you can do your, you know, and they submitted my work from high school when I was in TV production or whatever.Anyways, they got me into this little college, and when I look back, I know that that experience was really incredible. I mean, while I was there, I was counting the days to leave, but I know that it gave me not only the foundation of. You know, learning, like, I mean, we were learning film at the time. I don't know what it's like now, but like we, you know, I learned all the different mediums, which was great on a vocational level, you know, but on top of that, they're just throwing cans of film at us and we're making all the mistakes we need to make to get where we need to get.And the other thing that's happening is there's also like the liberal arts, this is really, sounds like a teacher's kid, what I'm about to say. But like, there's also just the level of education To be smarter and learn more about the world, to inform your work doesn't mean that you can't. You can't skip college and just go out there and find your, and learn what you wanna learn in the stories that you journey out to tell.So I feel really torn on this answer because half of me is like. No, you don't need college. Like just go out and make stuff and learn what you wanna learn. And then the other half of me have to acknowledge that, like, I think there was a foundation built in that experience, in that transitional time of like semi-structure, semi independence, you know, like all the things that come with college.It's worth it, but it's expensive as heck. And I certainly, by the time I graduated, film wasn't even a thing and I had to learn digital out in the world. And. I think you can work on a film set and learn a hell of a lot more than you'll ever learn in a classroom. And at the same time, I really love learning.So, you know, my, I think I, my parents were right, they know it ‘cause I went back to grad school, so that was a shock for them. But I think, but yeah, so I, I get, what I would say is, it really is case, this is such a cop out of an answer, case by case basis. Ask yourself, you know, if you need that time and if you, if you aren't gonna go.You need to put in the work. You have to really like go out, go on those sets, work your tail off, seek out the books, read the stuff, you know, and no one's gonna hand you anything. And my stories are a hell of a lot, I think smarter and eloquent because of the education I had. Yeah.BEN: So you shuttle on, what was the school, by the way?VIRI: Well, it was called the, it was called the International Fine Arts College. It no longer exists because Art Institute bought it. It's now called the Miami International University of Art and Design, and they bought it the year I graduated. So I went to this tiny little arts college, uh, but graduated from this AI university, which my parents were like, okay.Um, but we were, it was a tiny little college owned by this man who would invite all of us over to his mansion for brunch every year. I mean, it was very strange, but cool. And it was mainly known for, I think fashion design and interior design. So the film kids, we all kind of had, it was an urban campus in Miami and we were all like kind of in a wado building on the side, and it was just kind of a really funky, misfit feeling thing that I thought was, now when I look back, I think was like super cool.I mean, they threw cans of film at us from the very first semester. There was no like, okay, be here for two years and earn your opportunity. We were making stuff right away and all of our teachers. All of our professors were people who were working in the field, like they were ones who were, you know, writing.They had written films and fun fact of the day, my, my cinematography professor was Sam Beam from Iron and Wine. If anybody knows Iron and Wine, like there's like, there's like we, we had crazy teachers that we now realize were people who were just probably trying to pay their bills while they were on their journey, and then they broke out and did their thing after we were done.BEN: Okay, so shooting on film. Yeah. What, um, was it 16 or 35? 16. And then how are you doing sound? No, notVIRI: 35, 16. Yeah. I mean, we had sound on Dax, you know, like we were recording all the mm-hmm. Oh, when we did the film. Yeah, yeah. Separate. Yeah, yeah, yeah. We did the Yeah. Syncs soundBEN: into a We did a,VIRI: yeah, we did, we did one.We shot on a Bolex, I think, if I remember it right. It did like a tiny, that probably was eight, you know? But the point is we did that on. The flatbed. After that, we would digitize and we would cut on media 100, which was like this. It was, I think it was called the, I'm pretty sure it was called Media 100.It was like this before avid, you know. A more archaic editing digital program that, so we did the one, the one cut and splice version of our, our tiny little films. And then we weren't on kind of beautiful steam backs or anything. It was like, you know, it was much, yeah, smaller. But we had, but you know, we raced in the changing tents and we did, you know, we did a lot of film, love and fun.And I will tell you for your own amusement that we were on set once with somebody making their short. The girl at the AC just grabbed, grabbed the film, what's, oh my God, I can't even believe I'm forgetting the name of it. But, um, whatever the top of the camera grabbed it and thought she had unlocked it, like unhinged it and just pulled it out after all the film just come spooling out on set.And we were like, everybody just froze and we were just standing there. It was like a bad sketch comedy, like we're all just standing there in silence with like, just like rolling out of the camera. I, I'll never forget it.BEN: Nightmare. Nightmare. I, you know, you said something earlier about when you're shooting your own stuff.Being an editor is a little bit of a superpower because you know, oh, I'm gonna need this, I'm gonna need that. And, and for me it's similar. It's especially similar. Like, oh, we didn't get this. I need to get an insert of this ‘cause I know I'm probably gonna want that. I also feel like, you know, I came up, um, to instill photography, 35 millimeter photography, and then when I got into filmmaking it was, um, digital, uh, mini DV tape.So, but I feel like the, um, the structure of having this, you know, you only have 36 shots in a still camera, so you've gotta be sure that that carried over even to my shooting on digital, of being meticulous about setting up the shot, knowing what I need. Whereas, you know, younger people who have just been shooting digital their whole lives that just shoot everything and we'll figure it out later.Yeah. Do do you, do you feel you had that Advant an advantage? Yes. Or sitting on film gave you some advantages?VIRI: I totally, yes. I also am a firm believer and lover of intention. Like I don't this whole, like we could just snap a shot and then punch in and we'll, whatever. Like it was my worst nightmare when people started talking about.We'll shoot scenes and something, it was like eight K, so we can navigate the frame. And I was like, wait, you're not gonna move the camera again. Like, it just, it was terrifying. So, and we passed that, but now the AI stuff is getting dicey, but the, I think that you. I, I am pretty romantic about the hands-on, I like books with paper, you know, like, I like the can, the cinematographer to capture, even if it's digital.And those benefits of the digital for me is like, yes, letting it roll, but it's not about cheating frames, you know, like it's about, it's about the accessibility of being able to capture things longer, or the technology to move smoother. These are good things. But it's not about, you know, simplifying the frame in something that we need to, that is still an art form.Like that's a craft. That's a craft. And you could argue that what we choose, you know, photographers, the choice they make in Photoshop is the new version of that is very different. Like my friends who are dps, you know, there's always like glasses the game, right? The lenses are the game. It's like, it's not about filters In posts, that was always our nightmare, right?The old fix it and post everybody's got their version of their comic strip that says Fix it and post with everything exploding. It's like, no, that's not what this is about. And so, I mean, I, I think I'll always be. Trying to, in my brain fight the good fight for the craftiness of it all because I'm so in love with everything.I miss film. I'm sad. I miss that time. I mean, I think I, it still exists and hopefully someday I'll have the opportunity that somebody will fund something that I'm a part of that is film. And at the same time there's somewhere in between that still feels like it's honoring that freshness. And, and then now there's like the, yeah, the new generation.It's, you know, my kids don't understand that I have like. Hand them a disposable camera. We'll get them sometimes for fun and they will also like click away. I mean, the good thing you have to wind it so they can't, they can't ruin it right away, but they'll kind of can't fathom that idea. And um, and I love that, where you're like, we only get 24 shots.Yeah, it's veryBEN: cool. So you said you felt the perfect neighbor, kind of, that was the culmination of all your different skills in the craft of editing. Can you talk a little bit about that?VIRI: Yes. I think that I spent, I think all the films, it's like every film that I've had the privilege of being a part of, I have taken something like, there's like some tool that was added to the tool belt.Maybe it had to do with like structure or style or a specific build to a quote or, or a device or a mechanism in the film, whatever it is. It was the why of why that felt right. That would kind of be the tool in the tool belt. It wouldn't just be like, oh, I learned how to use this new toy. It was like, no, no.There's some kind of storytelling, experience, technique, emotion that I felt that Now I'm like, okay, how do I add that in to everything I do? And I want every film to feel specific and serve what it's doing. But I think a lot of that sent me in a direction of really always approaching a project. Trying to meet it for like the, the work that only it can do.You know, it's like, it's not about comps. It's not about saying like, oh, we're making a film that's like, fill in the blank. I'm like, how do we plug and play the elements we have into that? It's like, no, what are the elements we have and how do we work with them? And that's something I fought for a lot on all the films I've been a part of.Um, and by that I mean fight for it. I just mean reminding everybody always in the room that we can trust the audience, you know, that we can. That, that we should follow the materials what, and work with what we have first, and then figure out what could be missing and not kind of IME immediately project what we think it needs to be, or it should be.It's like, no, let's discover what it is and then that way we will we'll appreciate. Not only what we're doing in the process, but ultimately we don't even realize what it can do for what it is if we've never seen it before, which is thrilling. And a lot of those have been a part of, there have been pockets of being able to do that.And then usually near the end there's a little bit of math thing that happens. You know, folks come in the room and they're trying to, you know, but what if, and then, but other people did. Okay, so all you get these notes and you kind of reel it in a little bit and you find a delicate balance with the perfect neighbor.When Gita came to me and we realized, you know, we made that in a vacuum like that was we, we made that film independently. Very little money, like tiny, tiny little family of the crew. It was just me and her, you know, like when we were kind of cutting it together and then, and then there's obviously producers to kind of help and build that platform and, and give great feedback along the way.But it allowed us to take huge creative risks in a really exciting way. And I hate that I even have to use the word risks because it sounds like, but, but I do, because I think that the industry is pushing against, you know, sometimes the spec specificity of things, uh, in fear of. Not knowing how it will be received.And I fantasize about all of us being able to just watch something and seeing how we feel about it and not kind of needing to know what it is before we see it. So, okay, here comes the perfect neighbor. GTA says to me early on, like, I think. I think it can be told through all these materials, and I was like, it will be told through like I was determined and I held us very strict to it.I mean, as we kind of developed the story and hit some challenges, it was like, this is the fun. Let's problem solve this. Let's figure out what it means. But that also came within the container of all this to kind of trust the audience stuff that I've been trying to repeat to myself as a mantra so I don't fall into the trappings that I'm watching so much work do.With this one, we knew it was gonna be this raw approach and by composing it completely of the evidence, it would ideally be this kind of undeniable way to tell the story, which I realized was only possible because of the wealth of material we had for this tracked so much time that, you know, took the journey.It did, but at the same time, honoring that that's all we needed to make it happen. So all those tools, I think it was like. A mixed bag of things that I found that were effective, things that I've been frustrated by in my process. Things that I felt radical about with, you know, that I've been like trying to scream in, into the void and nobody's listening.You know, it's like all of that because I, you know, I think I've said this many times. The perfect neighbor was not my full-time job. I was on another film that couldn't have been more different. So I think in a, in a real deep seated, subconscious way, it was in conversation with that. Me trying to go as far away from that as possible and in understanding what could be possible, um, with this film.So yeah, it's, it's interesting. It's like all the tools from the films, but it was also like where I was in my life, what had happened to me, you know, and all of those. And by that I mean in a process level, you know, working in film, uh, and that and yes, and the values and ethics that I honor and wanna stick to and protect in the.Personal lens and all of that. So I think, I think it, it, it was a culmination of many things, but in that approach that people feel that has resonated that I'm most proud of, you know, and what I brought to the film, I think that that is definitely, like, I don't think I could have cut this film the way I did at any other time before, you know, I think I needed all of those experiences to get here.BEN: Oh, there's so much there and, and there's something kind of the. The first part of what you were saying, I've had this experience, I'm curious if you've had this experience. I sort of try to prepare filmmakers to be open to this, that when you're working with something, especially Doc, I think Yeah. More so Doc, at a certain point the project is gonna start telling you what it wants to be if you, if you're open to it.Yes. Um, but it's such a. Sometimes I call it the spooky process. Like it's such a ephemeral thing to say, right? Like, ‘cause you know, the other half of editing is just very technical. Um, but this is like, there's, there's this thing that's gonna happen where it's gonna start talking to you. Do you have that experience?VIRI: Yes. Oh, yes. I've also been a part of films that, you know, they set it out to make it about one person. And once we watched all the footage, it is about somebody else. I mean, there's, you know, those things where you kind of have to meet the spooky part, you know, in, in kind of honoring that concept that you're bringing up is really that when a film is done, I can't remember cutting it.Like, I don't, I mean, I remember it and I remember if you ask me why I did something, I'll tell you. I mean, I'm very, I am super. Precious to a fault about an obsessive. So like you could pause any film I've been a part of and I'll tell you exactly why I used that shot and what, you know, I can do that. But the instinct to like just grab and go when I'm just cutting and I'm flowing.Yeah, that's from something else. I don't know what that is. I mean, I don't. People tell me that I'm very fast, which is, I don't know if that's a good or a bad thing, but I think it really comes from knowing that the job is to make choices and you can always go back and try different things, but this choose your own adventure novel is like just going, and I kind of always laugh about when I look back and I'm like, whoa, have that happen.Like, you know, like I don't even. And I have my own versions of imposter syndrome where I refill mens and I'm like, oh, got away with that one. Um, or every time a new project begins, I'm like, do I have any magic left in the tank? Um, but, but trusting the process, you know, to what you're socking about is a really important way to free yourself and the film to.Discover what it is. I think nowadays because of the algorithm and the, you know, I mean, it's changing right now, so we'll see where, how it recalibrates. But for a, for a while, over these past years, the expectations have, it's like shifted where they come before the film is like, it's like you create your decks and your sizzles and you write out your movie and you, and there is no time for discovery.And when it happens. It's like undeniable that you needed to break it because it's like you keep hitting the same impasse and you can't solve it and then you're like, oh, that's because we have to step outta the map. But I fear that many works have suffered, you know, that they have like followed the map and missed an opportunity.And so, you know, and for me as an editor, it's always kinda a red flag when someone's like, and here's the written edit. I'm like, what? Now let's watch the footage. I wanna know where There's always intention when you set up, but as people always say, the edit is kind of the last. The last step of the storytelling process.‘cause so much can change there. So there is, you know, there it will reveal itself. I do get nerdy about that. I think a film knows what it is. I remember when I was shooting my first film called Born to Play, that film, we were. At the championship, you know, the team was not, thought that they were gonna win the whole thing.We're at the championship and someone leaned over to me and they said, you know, it's funny when a story knows it's being filmed. And I was like, ah. I think about that all the time because now I think about that in the edit bay. I'm like, okay, you tell me, you know, what do you wanna do? And then you kind of like, you match frame back to something and all of a sudden you've opened a portal and you're in like a whole new theme.It's very cool. You put, you know, you put down a different. A different music temp, music track, and all of a sudden you're making a new movie. I mean, it's incredible. It's like, it really is real world magic. It's so much fun. Yeah,BEN: it is. It's a blast. The, so, uh, I saw you at the panel at Doc NYC and then I went that night or the next night and watched Perfect Neighbor blew me away, and you said something on the panel that then blew me away again when I thought about it, which is.I think, correct me if I'm wrong, all of the audio is syncedVIRI: Yeah. To the footage.BEN: That, to me is the big, huge, courageous decision you made.VIRI: I feel like I haven't said that enough. I don't know if folks understand, and it's mainly for the edit of that night, like the, I mean, it's all, it's, it's all that, but it was important.That the, that the sound would be synced to the shock that you're seeing. So when you're hearing a cop, you know, a police officer say, medics, we need medics. If we're in a dashboard cam, that's when it was, you know, echoing from the dashboard. Like that's what, so anything you're hearing is synced. When you hear something coming off from the per when they're walking by and you hear someone yelling something, you know, it's like all of that.I mean, that was me getting really strict about the idea that we were presenting this footage for what it was, you know, that it was the evidence that you are watching, as you know, for lack of a better term, unbiased, objectively as possible. You know, we're presenting this for what it is. I, of course, I have to cut down these calls.I am making choices like that. That is happening. We are, we are. Composing a narrative, you know, there, uh, that stuff is happening. But to create, but to know that what you're hearing, I'm not applying a different value to the frame on, on a very practical syn sound way. You know, it's like I'm not gonna reappropriate frames.Of course, in the grand scheme of the narrative flow with the emotions, you know, the genre play of this horror type film, and there's a lot happening, but anything you were hearing, you know, came from that frame. Yeah.BEN: That's amazing. How did you organize the footage and the files initially?VIRI: Well, Gita always likes to laugh ‘cause she is, she calls herself my first ae, which is true.I had no a, you know, I had, she was, she had gotten all that material, you know, she didn't get that material to make a film. They had originally, this is a family friend who died and when this all happened, they went down and gathered this material to make a case, to make sure that Susan didn't get out. To make sure this was not forgotten.You know, to be able to utilize. Protect the family. And so there was, at first it was kind of just gathering that. And then once she got it, she realized that it spanned two years, you know, I mean, she, she popped, she was an editor for many, many years, an incredible editor. She popped it into a system, strung it all out, sunk up a lot of it to see what was there, and realized like, there's something here.And that's when she called me. So she had organized it, you know, by date, you know, and that, that originally. Strung out a lot of it. And then, so when I came in, it was just kind of like this giant collection of stuff, like folders with the nine one calls. How long was the strung out? Well, I didn't know this.Well, I mean, we have about 30 hours of content. It wasn't one string out, you know, it was like there were the call, all the calls, and then the 9 1 1 calls, the dash cams. The ring cams. Okay. Excuse me. The canvassing interviews, audio only content. So many, many. Was about 30 hours of content, which honestly, as most of us editors know, is not actually a lot I've cut.You know, it's usually, we have tons more than that. I mean, I, I've cut decades worth of material and thousands of hours, you know, but 30 hours of this type of material is very specific, you know, that's a, that's its own challenge. So, so yeah. So the first, so it was organized. It was just organized by call.Interview, you know, some naming conventions in there. Some things we had to sync up. You know, the 9 1 1 calls would overlap. You could hear it in the nine one one call center. You would hear someone, one person who called in, and then you'd hear in the background, like the conversation of another call. It's in the film.There's one moment where you can hear they're going as fast as they can, like from over, from a different. So there was so much overlap. So there was some syncing that we kind of had to do by ear, by signals, by, you know, and there's some time coding on the, on the cameras, but that would go off, which was strange.They weren't always perfect. So, but that, that challenge unto itself would help us kind of really screen the footage to a finite detail, right. To like, have, to really understand where everybody is and what they're doing when,BEN: yeah. You talked about kind of at the end, you know, different people come in, there's, you know, maybe you need to reach a certain length or so on and so forth.How do you, um, handle notes? What's your advice to young filmmakers as far as navigating that process? Great question.VIRI: I am someone who, when I was a kid, I had trouble with authority. I wasn't like a total rebel. I think I was like a really goody goody too. She was borderline. I mean, I had my moments, but growing up in, in a journey, an artistic journey that requires you to kind of fall in love with getting critiques and honing things and working in teams.And I had some growing pains for a long time with notes. I mean, my impulse was always, no. A note would come and I'd go, no, excuse me. Go to bed, wake up. And then I would find my way in and that would be great. That bed marinating time has now gone away, thank goodness. And I have realized that. Not all notes, but some notes have really changed the trajectory of a project in the most powerful waves.And it doesn't always the, to me, what I always like to tell folks is it's, the notes aren't really the issues. It's what? It's the solutions people offer. You know? It's like you can bring up what you're having an issue with. It's when people kind of are like, you know what I would do? Or you know what you think you should do, or you could do this.You're like, you don't have to listen to that stuff. I mean, you can. You can if you have the power to filter it. Some of us do, some of us don't. I've worked with people who. Take all the notes. Notes and I have to, we have to, I kind of have to help filter and then I've worked with people who can very quickly go need that, don't need that need, that, don't need that.Hear that, don't know how to deal with that yet. You know, like if, like, we can kind of go through it. So one piece of advice I would say is number one, you don't have to take all the notes and that's, that's, that's an honoring my little veary. Wants to stand by the vision, you know, and and fight for instincts.Okay. But the second thing is the old classic. It's the note behind the note. It's really trying to understand where that note's coming from. Who gave it what they're looking for? You know, like is that, is it a preference note or is it a fact? You know, like is it something that's really structurally a problem?Is it something that's really about that moment in the film? Or is it because of all the events that led to that moment that it's not doing the work you think it should? You know, the, the value is a complete piece. So what I really love about notes now is I get excited for the feedback and then I get really excited about trying to decipher.What they mean, not just taking them as like my to-do list. That's not, you know, that's not the best way to approach it. It's really to get excited about getting to actually hear feedback from an audience member. Now, don't get me wrong, an audience member is usually. A producer in the beginning, and they have, they may have their own agenda, and that's something to know too.And maybe their agenda can influence the film in an important direction for the work that they and we all wanted to do. Or it can help at least discern where their notes are coming from. And then we can find our own emotional or higher level way to get into solving that note. But, you know, there's still, I still get notes that make me mad.I still get notes where I get sad that I don't think anybody was really. Watching it or understanding it, you know, there's always a thought, you know, that happens too. And to be able to read those notes and still find that like one kernel in there, or be able to read them and say, no kernels. But, but, but by doing that, you're now creating the conviction of what you're doing, right?Like what to do and what not to do. Carrie, equal value, you know, so you can read all these notes and go, oh, okay, so I am doing this niche thing, but I believe in it and. And I'm gonna stand by it. Or like, this one person got it and these five didn't. And I know that the rules should be like majority rules, but that one person, I wanna figure out why they got it so that I can try to get these, you know, you get what I'm saying?So I, I've grown, it took a long time for me to get where I am and I still have moments where I'm bracing, you know, where I like to scroll to see how many notes there are before I even read them. You know, like dumb things that I feel like such a kid about. But we're human. You know, we're so vulnerable.Doing this work is you're so naked and you're trying and you get so excited. And I fall in love with everything. I edit so furiously and at every stage of the process, like my first cut, I'm like, this is the movie. Like I love this so much. And then, you know, by the 10th root polling experience. I'm like, this is the movie.I love it so much. You know, so it's, it's painful, but at the same time it's like highly liberating and I've gotten a lot more flowy with it, which was needed. I would, I would encourage everybody to learn how to really enjoy being malleable with it, because that's when you find the sweet spot. It's actually not like knowing everything right away, exactly what it's supposed to be.It's like being able to know what the heart of it is. And then get really excited about how collaborative what we do is. And, and then you do things you would've never imagined. You would've never imagined, um, or you couldn't have done alone, you know, which is really cool. ‘cause then you get to learn a lot more about yourself.BEN: Yeah. And I think what you said of sort of being able to separate the idea of, okay, something maybe isn't clicking there, versus whatever solution this person's offering. Nine times outta 10 is not gonna be helpful, but, but the first part is very helpful that maybe I'm missing something or maybe what I want to connect is not connecting.VIRI: And don't take it personally. Yeah. Don't ever take it personally. I, I think that's something that like, we're all here to try to make the best movie we can.BEN: Exactly.VIRI: You know? Yeah. And I'm not gonna pretend there aren't a couple sticklers out there, like there's a couple little wrenches in the engine, but, but we will, we all know who they are when we're on the project, and we will bind together to protect from that.But at the same time, yeah, it's, yeah. You get it, you get it. Yeah. But it's really, it's an important part of our process and I, it took me a while to learn that.BEN: Last question. So you talked about kind of getting to this cut and this cut and this cut. One of the most important parts of editing, I think is especially when, when you've been working on a project for a long time, is being able to try and see it with fresh eyes.And of course the, one of the ways to do that is to just leave it alone for three weeks or a month or however long and then come back to it. But sometimes we don't have that luxury. I remember Walter Merch reading in his book that sometimes he would run the film upside down just to, mm-hmm. You know, re re redo it the way his brain is watching it.Do you have any tips and tricks for seeing a cut with fresh eyes? OhVIRI: yeah. I mean, I mean, other than stepping away from it, of course we all, you know, with this film in particular, I was able to do that because I was doing other films too. But I, one good one I always love is take all the music out. Just watch the film without music.It's really a fascinating thing. I also really like quiet films, so like I tend to all of a sudden realize like, what is absolutely necessary with the music, but, but it, it really, people get reliant on it, um, to do the work. And you'd be pleasantly surprised that it can inform and reinvent a scene to kind of watch it without, and you can, it's not about taking it out forever, it's just the exercise of watching what the film is actually doing in its raw form, which is great.Switching that out. I mean, I can, you know, there's other, washing it upside down, I feel like. Yeah, I mean like there's a lot of tricks we can trick our trick, our brain. You can do, you could also, I. I think, I mean, I've had times where I've watched things out of order, I guess. Like where I kind of like go and I watch the end and then I click to the middle and then I go back to the top, you know?And I'm seeing, like, I'm trying to see if they're all connecting, like, because I'm really obsessed with how things begin and how they end. I think the middle is highly important, but it really, s**t tells you, what are we doing here? Like what are we set up and where are we ending? And then like, what is the most effective.Journey to get there. And so there is a way of also kind of trying to pinpoint the pillars of the film and just watching those moments and not kind, and then kind of reverse engineering the whole piece back out. Yeah, those are a couple of tricks, but more than anything, it's sometimes just to go watch something else.If you can't step away from the project for a couple of weeks, maybe watch something, you could, I mean, you can watch something comparable in a way. That tonally or thematically feels in conversation with it to just kind of then come back and feel like there's a conversation happening between your piece and that piece.The other thing you could do is watch something so. Far different, right? Like, even if you like, don't like, I don't know what I'm suggesting, you'd have to, it would bend on the project, but there's another world where like you're like, all right, I'm gonna go off and watch some kind of crazy thrill ride and then come back to my slow burn portrait, you know, and, and just, just to fresh the pal a little bit, you know?I was like that. It's like fueling the tanks. We should be watching a lot of stuff anyways, but. That can happen too, so you don't, you also get to click off for a second because I think we can get, sometimes it's really good to stay in it at all times, but sometimes you can lose the force for the, you can't see it anymore.You're in the weeds. You're too close to it. So how do we kind of shake it loose? Feedback sessions, by the way, are a part, is a part of that because I think that when you sit in the back of the room and you watch other people watch the film, you're forced to watch it as another person. It's like the whole thing.So, and I, I tend to watch people's body language more than, I'm not watching the film. I'm like watching for when people shift. Yeah, yeah. I'm watching when people are like coughing or, you know, or when they, yeah. Whatever. You get it. Yeah. Yeah. That, that, soBEN: that is the most helpful part for me is at a certain point I'll bring in a couple friends and I'll just say, just want you to watch this, and I'm gonna ask you a couple questions afterwards.But 95% of what I need is just sitting there. Watching them and you said exactly. Watching their body language.VIRI: Yeah. Oh man. I mean, this was shoulder, shoulder shooks. There's, and you can tell the difference, you can tell the difference between someone's in an uncomfortable chair and someone's like, it's like whenever you can sense it if you're ever in a theater and you can start to sense, like when they, when they reset the day, like whenever we can all, we all kind of as a community are like, oh, this is my moment.To like get comfortable and go get a bite of popcorn. It's like there's tells, so some of those are intentional and then some are not. Right? I mean, if this is, it goes deeper than the, will they laugh at this or will they be scared at this moment? It really is about captivating them and feeling like when you've, when you've lost it,BEN: for sure.Yeah. Very. This has been fantastic. Oh my God, how fun.VIRI: I talked about things here with you that I've haven't talked, I mean, contact so deeply, but even film school, I feel like I don't know if that's out there anywhere. So that was fun. Thank you.BEN: Love it. Love it. That, that that's, you know, that's what I hope for these interviews that we get to things that, that haven't been talked about in other places.And I always love to just go in, you know, wherever the trail leads in this case. Yeah. With, uh, with Jody Foster and Math McConaughey and, uh, I mean, go see it. Everybody met this. Yeah. Uh, and for people who are interested in your work, where can they find you?VIRI: I mean, I don't update my website enough. I just go to IMDB.Look me up on IMDB. All my work is there. I think, you know, in a list, I've worked on a lot of films that are on HBO and I've worked on a lot of films and now, you know, obviously the perfect neighbor's on Netflix right now, it's having an incredible moment where I think the world is engaging with it. In powerful ways beyond our dreams.So if you watch it now, I bet everybody can kind of have really fascinating conversations, but my work is all out, you know, the sports stuff born to play. I think it's on peacock right now. I mean, I feel like, yeah, I love the scope that I've had the privilege of working on, and I hope it keeps growing. Who knows.Maybe I'll make my space movie someday. We'll see. But in the meantime, yeah, head over and see this, the list of credits and anything that anybody watches, I love to engage about. So they're all, I feel that they're all doing veryBEN: different work. I love it. Thank you so much.VIRI: Thank you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

K100 w/ Konnan & Disco is presented to you by FanDuel Sportsbook! Quickest deposits & withdrawals, plus betting available on all sports in the US & worldwide! Support K100 & check out the best in the game, FanDuel! Check out our Patreon site at Konnan.me and Patreon.com/Konnan for extra audio, exclusive video, listener roundtable discussion shows, watch-a-longs, call in shows with Konnan and DI, plus so much more! Get Interactive on Twitter @Konnan5150 @TheRealDisco  @TheCCNetwork1 @K100Konnan @TheHughezy @HarryRuiz @HugoSavinovich @RoyLucier Youtube: https://www.youtube.com/@KeepinIt100OFFICIAL @K100Konnan on Facebook, Twitter, and Instagram! Rugiet's 3-in-1 formula gets you ready in just 15 mins on avg & effects can last up to 36 hrs. Stay confident, present, & in control in the bedroom! Connect at rugiet.com/k100 to see if Rugiet Ready's right for you. You can use code K100 to get 15% off! To get the best discount off your NordVPN plan - go to http://nordvpn.com/k100 ! get 4 extra months on the 2-year plan. There's no risk with Nord's 30-day money-back guarantee! Check out LegacySupps.com and use the code K100 for 10% off of their fat burner, pre workout, testosterone supplement, and sleep aid! Brought to you by friend of the show, Nick Aldis! Plus they now carry Women's supplements, brought to you by Mickie James! Get 15% off the exciting & innovative products at Manscaped.com by using our code K100! Smell good, stay groomed, & support Konnan, Disco, & Joe! That's a win for everyone! TheAeonMan.com brings you high quality Superfood Protein, world class New Zealand Deer Antler Velvet extract for natural testosterone, & supplements to eradicate joint pain & more for all of your health & needs! Use code WELCOME15 for 15% off! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This time in Strangerville, Eli's new book, We're Thankful For The Moisture, is available for preorder! You can find it through Amazon or Barnes & Noble or really Anywhere you like to find books.We also talk vacations, cooking, and a recent chaotic trip to the farmers market.StoryFarmers Market, by Eli McCannProduction by Meg Walter & Eli McCannJoin our Patreon!

Bestselling writer Jodi Picoult, author of 29 novels, discusses her writing process, adapting her books for Hollywood and why one of her books has been banned across the country. Learn more about your ad choices. Visit megaphone.fm/adchoices

A Christmas Carol: Marley's Ghost-The Ghost of Christmas PastJoin Grandpa Bill as he delves into his daily routine, shares insights on holistic healing, and explores memory techniques. This episode features a unique storytelling adaptation of 'A Christmas Carol', infused with personal anecdotes and future plans.Grandpa Bill Asks:Are You Willing to Share: What personal story or memory would you like to share that resonates with the themes of healing and reflection?

In this episode, Elizabeth Wright shares her journey from being a Paralympic swimmer to becoming a sports journalist. She discusses the challenges and triumphs of her career, the importance of representation in media, and her personal experiences with disability. Elizabeth emphasises the need for more coverage of Paralympic sports and the significance of embracing one's identity and pride in the face of ableism. The conversation highlights the evolving landscape of disability representation in journalism and the importance of community support. Connect with Elizabeth Instagram: https://www.instagram.com/elizabethlwright/?hl=en LinkedIn: https://www.linkedin.com/in/elizabeth-wright-ply-300610129/ Website: http://www.elizabethwright.net/ What we cover: Elizabeth Wright transitioned from Paralympic swimmer to sports journalist. She emphasizes the need for more representation of disabled individuals in media. The Sydney 2000 Paralympics were a turning point for public support of para sports. Elizabeth faced challenges in her identity after retiring from swimming. She found empowerment through photography and art. Living with a disability requires daily practice of self-acceptance. Elizabeth advocates for more coverage of Paralympic sports. She reflects on the ableist perceptions in society. The importance of community pride in disability is highlighted. Elizabeth aims to inspire more disabled individuals to pursue journalism. Chapters 00:00 Introduction and Background 02:58 Elizabeth Wright's Journey in Sports Journalism 05:51 Reflections on the Paralympic Games 09:05 Life After Competitive Swimming 11:51 Exploring Identity Through Art and Photography 14:54 Understanding Disability and Personal Experience 21:19 The Journey of Adaptation 22:34 Prosthetics: Tools of Empowerment 26:54 Disability Pride: A Daily Practice 31:10 The Future of Disability Representation in Journalism 33:43 Confronting Ableism: Personal Experiences and GrowthSee omnystudio.com/listener for privacy information.

Fluent Fiction - Danish: Winter Whispers: A Love Story Hidden in Snowy Pines Find the full episode transcript, vocabulary words, and more:fluentfiction.com/da/episode/2025-12-07-23-34-02-da Story Transcript:Da: Et let snefald dækkede den danske landskab og gav en magisk gnist til den rolige vintermorgen.En: A light snowfall covered the danske landskab and gave a magical gleam to the calm winter morning.Da: Inden i den hyggelige skihytte, omfavnet af sneklædte fyrretræer, sad Freja ved et stort bord.En: Inside the cozy ski cabin, embraced by snow-covered pine trees, Freja sat at a large table.Da: Hun kiggede ud af vinduet.En: She looked out the window.Da: Skriveblokken lå tom foran hende.En: The notepad lay empty in front of her.Da: Hun var journalist og havde vinduet til inspiration åben, men de rette ord kom ikke.En: She was a journalist and had the window to inspiration open, but the right words didn't come.Da: Søren, hendes barndomsven, trådte stille frem med to dampende kopper gløgg.En: Søren, her childhood friend, quietly stepped forward with two steaming cups of gløgg.Da: Han havde kendt Freja, så længe han kunne huske.En: He had known Freja for as long as he could remember.Da: At tilbringe juledagene sammen i hytten var som en drøm for ham.En: Spending the Christmas days together in the cabin was like a dream for him.Da: Men han havde også en hemmelighed.En: But he also had a secret.Da: Han havde altid elsket hende, men havde aldrig fundet modet til at sige det højt.En: He had always loved her but had never found the courage to say it out loud.Da: "Skal vi gå ud?"En: "Shall we go out?"Da: foreslog Søren pludselig.En: suggested Søren suddenly.Da: Freja sukkede og nikkede.En: Freja sighed and nodded.Da: "Måske kan en tur i skoven hjælpe," svarede hun håbefuldt.En: "Maybe a walk in the woods will help," she replied hopefully.Da: De trak i deres varmt tøj og begav sig ud i den krystallignende verden udenfor.En: They donned their warm clothes and ventured out into the crystal-like world outside.Da: Skoven mindede om et vintereventyr, hvor grene bøjede sig yndefuldt under snenes vægt.En: The forest resembled a winter fairy tale, where branches bent gracefully under the weight of the snow.Da: Freja trak vejret dybt ind.En: Freja took a deep breath.Da: Luften var skarp og frisk.En: The air was sharp and fresh.Da: De gik i stilhed i et stykke tid, mens Freja kæmpede for at organisere sine tanker.En: They walked in silence for a while, as Freja struggled to organize her thoughts.Da: Søren gik ved hendes side, og samlede mod til det, han ønskede at sige.En: Søren walked beside her, gathering the courage for what he wished to say.Da: Pludselig blev flokkene af sne tykke.En: Suddenly, the flurries of snow grew thick.Da: En snevæg knust af vinden fik dem til at søge ly under en stor, gammel eg.En: A wall of snow, shattered by the wind, forced them to seek shelter under a large, old oak.Da: Her, midt i stormen, fandt Søren endelig ordene.En: Here, in the middle of the storm, Søren finally found the words.Da: "Freja," startede han med en stemme, der næsten forsvandt i vinden.En: "Freja," he began with a voice that almost disappeared in the wind.Da: "Jeg har altid haft stærke følelser for dig.En: "I've always had strong feelings for you.Da: Jeg elsker dig."En: I love you."Da: Freja blinkede mod snefnuggene, der blødt landede på hendes kinder.En: Freja blinked against the snowflakes that softly landed on her cheeks.Da: En varme bredte sig fra hendes hjerte.En: A warmth spread from her heart.Da: Hun havde været så fokuseret på at søge inspiration, at hun ikke havde set, hvad der havde været lige foran hende.En: She had been so focused on seeking inspiration that she hadn't seen what had been right in front of her.Da: "Søren," åndede hun ud.En: "Søren," she breathed out.Da: "Du har altid været min inspiration."En: "You've always been my inspiration."Da: Hendes smil var både lettet og fuldt af glæde.En: Her smile was both relieved and full of joy.Da: De vendte tilbage til hytten, hvor en ny energi fyldte Freja.En: They returned to the cabin, where a new energy filled Freja.Da: Ved pejsens varme sat hun sig igen med sin blok og skrev det mest meningsfulde stykke hun nogensinde havde lavet.En: By the warmth of the fireplace, she sat down again with her pad and wrote the most meaningful piece she had ever created.Da: Artiklen beskrev ikke kun vinterlandets skønhed, men afslørede også den skjulte varme ved kærlighed opdaged i ly af sneen.En: The article not only described the beauty of the winter landscape but also revealed the hidden warmth of love discovered in the shelter of the snow.Da: Den magiske julestemning fyldte rummet.En: The magical Christmas spirit filled the room.Da: For Freja og Søren var dette blot begyndelsen på en ny, fælles rejse.En: For Freja and Søren, this was just the beginning of a new, shared journey.Da: En rejse fyldt med kærlighed og historier, der kun de to sammen kunne skabe.En: A journey filled with love and stories that only the two of them together could create. Vocabulary Words:snowfall: snefaldlandscape: landskabgleam: gnistcozy: hyggeligepine trees: fyrretræernotepad: skriveblokkeninspiration: inspirationsteaming: dampendegløgg: gløggcourage: modetsigh: sukkedeforest: skovenwalked: gikflurries: flokkeneshelter: lyoak: egstorm: stormendisappeared: forsvandtblinking: blinkedesnowflakes: snefnuggenecheeks: kinderwarmth: varmefireplace: pejsensarticle: artiklenrevealed: afsløredehidden: skjultediscovered: opdagedespirit: juleåndenjourney: rejseshared: fælles

In this episode we explore the importance of timing, simplicity, and passion in crossing the chasm from early adopters to mass market adoption for any company or product. We also talk about personal branding and storytelling in business success.TakeawaysThe importance of timing in market adoption is crucial for success.Simplicity in product and message helps in crossing the chasm.Passion of the founder is key to engaging customers and building trust.Personal branding and owning your domain are essential in today's digital age.Podcasts are a powerful medium for entrepreneurs to share their stories.Taking photos with others can help expand your network and reach.The cascade theory emphasizes the need for a product to be easily shareable.Entrepreneurs should focus on grassroots marketing strategies.Building a business with passion can lead to success without large budgets.About Jim JamesJim has spent over 25 years running his own PR and Marketing Firm, EastWest Public Relations. He sold his firm and now helps Founders/Entrepreneurs get noticed in the noisy world we live in.You can find him and his podcast, the Unnoticed Entrepreneur at: https://www.jimajames.com CONNECT WITH USGet Your Weekly EDGE Newsletter. It's FREE.Bottom Line Up Front (BLUF)Brandon writes a weekly email newsletter called EDGE that over 22,000 people rely on for an edge to achieve their best selves in business and life.ContentBrandon writes about what he knows...lessons from 2x exits, 20+ strike outs Venture Capital, Marketing at AOL, writing a #1 Amazon Best Seller, Podcasting, Angel Investing, Philanthropy, Public service, Fitness and peak performance.Who it's forPeople that want to achieve their full potential.Claim your edge with others who have been getting a step ahead. Link to sign up: https://edge.ck.page/bea5b3fda6 A Podcast for entrepreneurs and peak performersPart of the Best Podcast Network: Productivity Podcast, Marketing Podcast, Business Plan Podcast, 401k Podcast, Car Accident Lawyer Podcast,

Find the 9 Points Rating System here: https://www.alostplot.com/9-points/ Find our review of Pirates of the Caribbean: On Stranger Tides here:https://www.podomatic.com/podcasts/maverick51411/episodes/2025-11-26T15_45_38-08_00 In this episode, hosts Maverick and Andrew review 'Pirates of the Caribbean: Dead Men Tell No Tales,' discussing its reliance on nostalgia, character development issues, and the overall decline of Disney's storytelling quality. They analyze the film's plot, opening scenes, and the characters of Henry Turner and Caryna Smith, ultimately concluding that the film fails to deliver a compelling narrative or engaging characters. They discuss the lack of depth in the new characters, the forced romance, and the flat villain, Salazar. The conversation also touches on the themes of identity and redemption, questioning the film's lasting impact and the future of the franchise.----------Highlights:0:00 ‘Pirates of the Caribbean: Dead Men Tell No Tales' Introduction8:55 Opening Scene16:37 Jack Sparrow23:09 Henry Turner29:29 Caryna Smith48:47 Captain Armando Salazar55:02 Themes59:17 Lasting Impact1:06:18 Final Critiques#pirates #piratesofthecaribbean #deadmentellnotales #jacksparrow #johnnydepp #pirates5 #piratesofthecaribbean5 #alostplot #willturner #henryturner #carynasmith #amandosalazar #film #filmthoughts 

In this episode, the hosts delve into the intricate world of the Malazan series, focusing on 'House of Chains.' They explore the complexities of characters like Karsa Orlong, the moral ambiguities present in the narrative, and the significant themes of power struggles, suffering, and the role of female characters. The discussion also touches on the psychological aspects of oppression and the impact of hallucinations as a narrative device, all while appreciating the rich world-building that defines the series. In this conversation, the hosts delve into the intricate themes and character developments within the Malazan series, particularly focusing on the roles of various characters such as Heberic, Fiddler, and Cotillion. They explore the significance of ascension, the emotional depth of the characters, and the narrative structure that intertwines past and present. The discussion also touches on the implications of immortality and the cyclical nature of history as it relates to the characters' journeys.Send us a message (I'm not able to reply)Support the showPage Chewing Blog Page Chewing Forum Film Chewing PodcastSpeculative Speculations Podcast Support the podcast via PayPal Support the show by using our Amazon Affiliate linkJoin Riverside.fm Co-Hosts: Jarrod Varsha Chris Jose Carl D. Albert (author) Thomas J. Devens (author) Alex French (author) Intro and Outro Music by Michael R. Fletcher (2024-Current)

Fluent Fiction - Norwegian: From Rivals to Allies: A Festive Tale of Art and Friendship Find the full episode transcript, vocabulary words, and more:fluentfiction.com/no/episode/2025-12-06-23-34-02-no Story Transcript:No: Bergen Fisketorg var fullt av liv.En: Bergen Fisketorg was full of life.No: Menneskene strømmet til bodene, ivrige etter å oppleve julestemningen selv om lufta var bitende kald.En: People flocked to the stands, eager to experience the Christmas spirit even though the air was bitterly cold.No: Sigrid, en engasjert fiskehandler, svettet nesten under de tykke klærne der hun jobbet med sitt vakre juleutstilling.En: Sigrid, an enthusiastic fishmonger, was almost sweating under the thick clothes as she worked on her beautiful Christmas display.No: Hun hadde opparbeidet et rykte for sine imponerende dekorasjoner, og denne vinterfestivalen ville hun gjerne vinne den årlige dekorasjonskonkurransen.En: She had built a reputation for her impressive decorations, and this winter festival she wanted to win the annual decoration contest.No: Ikke langt unna sto Eirik, en lokal håndverker kjent for sine tradisjonelle norske treskjæringer.En: Not far away stood Eirik, a local craftsman known for his traditional Norwegian wood carvings.No: Trefigurene hans var nydelige, inspirert av gamle norske tradisjoner, og mange stoppet for å beundre dem.En: His wood figures were gorgeous, inspired by old Norwegian traditions, and many stopped to admire them.No: Selv om Eirik nøt arbeidet, kjente han av og til et snev av ensomhet i julehøytiden.En: Although Eirik enjoyed the work, he sometimes felt a hint of loneliness during the Christmas season.No: Sigrid sverget til sjødyr som dekorelementer, mens Eirik brukte tre og naturmaterialer.En: Sigrid swore by sea creatures as decorative elements, while Eirik used wood and natural materials.No: Med den iskalde vinteren ble det vanskelig for henne å finne det hun trengte.En: With the icy winter, it became difficult for her to find what she needed.No: I tillegg merket hun at Eiriks treskulpturer begynte å stjele oppmerksomheten fra hennes fiskedekorasjoner.En: Additionally, she noticed that Eirik's wood sculptures began to steal attention from her fish decorations.No: En vennlig konkurranse mellom dem vokste frem.En: A friendly competition between them emerged.No: Mens Sigrid tenkte på hvordan hun kunne overgå Eirik, slo det henne plutselig; hvorfor ikke samarbeide?En: While Sigrid thought about how she could surpass Eirik, it suddenly struck her; why not collaborate?No: Hun gikk bort til ham og spurte om de kunne lage noe sammen.En: She went over to him and asked if they could create something together.No: Eirik nølte, men så lyset i Sigrids øyne.En: Eirik hesitated but saw the light in Sigrid's eyes.No: Han aksepterte med et smil.En: He accepted with a smile.No: I ukene som fulgte, jobbet de to tett sammen.En: In the weeks that followed, the two worked closely together.No: Sigrid delte sine ideer om sjøtemaer, mens Eirik foreslo elementer fra norsk folklore.En: Sigrid shared her ideas about sea themes, while Eirik suggested elements from Norwegian folklore.No: Sammen skapte de et kunstverk som kombinerte fisk og tre, lik en glitrende nordlys over et vintervisker Bergen.En: Together they created a work of art that combined fish and wood, like a shimmering aurora borealis over a wintery Bergen.No: Da den store dagen kom, dekket snø byen som en hvit dyne, og markedet var mer hektisk enn noen gang.En: When the big day came, snow covered the city like a white blanket, and the market was busier than ever.No: Sigrid og Eirik avduket sitt felles verk, og publikum ble stående i beundring.En: Sigrid and Eirik unveiled their joint creation, and the audience stood in awe.No: Fisk og tre skinnet under lysene, sammenflettet i en vakker fortelling om vinterens gleder.En: Fish and wood shone under the lights, interwoven in a beautiful tale of winter's joys.No: De vant konkurransen, og ikke bare mottok de heder og premie, men også invitasjoner til å delta på større arrangementer.En: They won the competition, and not only did they receive honor and a prize, but also invitations to participate in larger events.No: Sigrid innså noe viktig den dagen.En: Sigrid realized something important that day.No: Hun forsto at man kunne oppnå sine drømmer hjemme, gjennom vennskap og samarbeid.En: She understood that you could achieve your dreams at home, through friendship and collaboration.No: Eirik følte også en ny varme, et fellesskap han lenge hadde savnet.En: Eirik also felt a new warmth, a community he had long missed.No: Bergen Fisketorg skinte i lyset av deres felles arbeid, og to mennesker fant langt mer enn en seier.En: Bergen Fisketorg shone in the light of their shared work, and two people found far more than a victory.No: De fant en forbindelse og gleden av å dele sitt arbeid.En: They found a connection and the joy of sharing their work.No: Da de sammen nøt den kalde vinterkvelden, visste de begge at de hadde funnet noe virkelig verdifullt.En: As they together enjoyed the cold winter evening, they both knew that they had found something truly valuable. Vocabulary Words:fishtmonger: fiskehandlerflocked: strømmetenthusiastic: engasjertbitterly: bitendedisplay: utstillingreputation: ryktecraftsman: håndverkercarvings: treskjæringergorgeous: nydeligeinspired: inspirertloneliness: ensomhetswore: svergetelements: dekorelementericy: iskaldecollaborate: samarbeidehesitated: nøltesuggested: foreslofolklore: folkloreaurora borealis: nordlysunveiled: avduketinterwoven: sammenflettetprize: premieinvitation: invitasjonerhonor: hedercommunity: fellesskapconnection: forbindelsejoy: gledervaluable: verdifulltfestival: vinterfestivalenadmire: beundre

A year ago we brought you a show called Shell Game where a journalist named Evan Ratliff made an AI copy of himself. Now on season 2 of the show, Evan's using AI to do more than just mimic himself — he's starting a company staffed entirely by AI agents, and making a podcast about the experience. The show is a smart, funny, and truly bizarre look at what AI can do—and what it can't. This week we bring you the first episode of Shell Game Season Two, Minimum Viable Company. You can sign up to get the rest of the Shell Game ad-free, and the Shell Game newsletter, at shellgame.co .EPISODE CREDITS: Shell Game Hosted by Evan Ratliff, Produced and edited by Sophie Bridges. Shell Game's Technical Advisor Matty Bohacek Executive Produced by Samantha Henig, Kate Osborn and Mangesh Hattikudur at Kaleidoscopeand Katrina Norvell at IHeart Podcasts.Radiolab portions Hosted by Simon Adler Produced by Mona Madgavkar.Sign up for our newsletter!! It includes short essays, recommendations, and details about other ways to interact with the show. Signup (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.

Lee's great grandfather, his grandfather, and his father have all seen him: the shapeshifter. They know this man has the power to curse them, to hurt them. Lee wonders: is this man coming for him too?BIG thanks to, Lee, and his entire family for sharing their story with us!Produced by Annie Nguyen, original score by Leon Morimoto, 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.

In this episode of the Birdshot Podcast, Nick Larson welcomes back Ted Koch, for an important conversation on prairie grouse conservation, grassland loss, ranching, and the future of upland habitat across North America. Ted also shares unforgettable elk-hunting stories, ruffed grouse parallels, and urgent insights into habitat fragmentation and the decline of gamebird populations. Ted Koch is a retired endangered species biologist and CEO of the North American Grouse Partnership. With decades of experience in western wildlife conservation, Ted works directly with ranchers, agencies, and conservation partners to protect prairie grouse species, including sharp-tailed grouse, greater prairie-chickens, lesser prairie-chickens, and sage-grouse. Expect to Learn Why prairie grouse populations are collapsing across North America How grassland loss and fragmentation impact sharptails, prairie-chickens, and sage-grouse Why ranching is essential to upland bird habitat How public-land and private-land management affect upland hunting access What hunters can do to support prairie conservation and rangeland stewardship Episode Breakdown with Timestamps [00:00:00] - Introduction [00:04:36] - What's keeping Ted Busy [00:19:20] - Storytelling, memory, and the hunt [00:20:42] - Introduction to the North American Grouse Partnership [00:25:18] - Private-land rangelands and public perception [00:37:05] - How Conservation Practices Create Real Value for Wildlife and Habitat [00:43:37] - Rangelands, Cattle Production and Food Output [00:56:12] - Comparing The Approach with CRP [01:00:50] - National Grasslands Conservation Act and Its Role in Farm Bill Funding [01:04:40] - Learn More about The North American Grouse Partnership and Membership Follow the Guest Ted Website: grousepartners.org  Facebook: https://www.facebook.com/GrousePartners  Instagram: https://www.instagram.com/na_grouse_partnership/?hl=en  Saving Ranching to Save Wildlife: https://www.youtube.com/watch?v=lxM6vvEoRgc Follow the Host Nick: Instagram: @birdshot.podcast Website: www.birdshotpodcast.com Listening Links: Spotify: https://open.spotify.com/show/17EVUDJPwR2iJggzhLYil7 Apple Podcasts: https://podcasts.apple.com/us/podcast/birdshot-podcast/id1288308609 YouTube: http://www.youtube.com/@birdshot.podcast SUPPORT | http://www.patreon.com/birdshot Use Promo Code | BSP20 to save 20% on https://www.onxmaps.com/hunt/app Use Promo Code | BS10 to save 10% on https://trulockchokes.com/ The Birdshot Podcast is Presented By: https://www.onxmaps.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Just like every great recipe, captivating communication requires some spice! And who better to teach us that than world-renowned communication and public speaking expert, David JP Phillips?  David has spent his career researching and building a business on the art of communication and presentation, but his expertise goes beyond these practical skills that allow us to succeed in professional settings. He's also dedicated to helping others apply these techniques on a personal level so that we can improve our relationships, exert control over our emotions, find our sense of happiness, and foster great empathy.   With his three widely-recognized TED Talks, “The Magical Science of Storytelling,” “How to Avoid Death by PowerPoint,” and “The 110 Techniques of Communication and Public Speaking,” he is reforming our understanding of communication and simultaneously eliminating antiquated notions about storytelling.  His journey is certainly one of dedication and perseverance, and as he discusses the scientific and psychological sides of expression and communication, the impact of his wife's stroke, and how he rebuilt his company from nothing, you will walk away from this episode feeling both inspired and ready to tackle your day.  In this episode, you'll learn: Why The Hitchhiker's Guide to the Galaxy helps fuel David's creativity (4:36)  The art of adding spice to your presentation (6:57)  The transformative power of happiness and the difference between internal and external communication (10:40) The focus and importance of David's upcoming book as well as his tip for grounding yourself in peace, gratitude, and compassion (17:30) David's experience with his wife's stroke and the process of rebuilding his company (23:46) What the somatic feedback loop is and why body language is a huge element of conversation (32:58)  The Five Layers of Communication and how to practice utilizing your facial expressions (36:49)  Why actors and comedians rate higher than other professions (38:25)  How YouTube forced David to adapt and grow and the #1 lesson he's learned in the realm of public speaking (39:48)  Notable Quotes: “The perception we have of a talk is related to the number of spices in a talk. And that is what you were on to contrast and surprises.” – David (8:55)   Every war and every action of hatred stems from our desire to get the substances in our brain fulfilled. That's where they come from. So yeah, if people would actually understand that they could create them by themselves without hurting and causing pain and destruction, the world would be a better place by far.” – David (20:55) “It is interesting how life's moments that are so shakingly painful can also be so important and put in perspective the few moments that we have on this ball of rock flying through the sky. We sometimes take for granted that we're given this life.” – Billy (31:15) “If you focus on performance, anxiety is its brother. If you focus on having fun, that is when you will be the best version of yourself… And in a state of having fun, we are relaxed. We get free access to our vocabulary, our thoughts…” – David (41:10)  Resources & Links: David JP Phillips  Website: ⁠https://www.davidjpphillips.com/⁠ LinkedIn: ⁠https://www.linkedin.com/in/davidjpphillips/⁠ Instagram: ⁠https://www.instagram.com/davidjpphillips/⁠ YouTube: ⁠https://www.youtube.com/davidjpphillips⁠ TikTok: ⁠https://www.tiktok.com/@davidjpphillips⁠ HeadGain: ⁠https://www.headgain.com/⁠ Presenter Mastery Training: ⁠https://www.headgain.com/jp/⁠  Billy Samoa Saleebey  LinkedIn: ⁠https://www.linkedin.com/in/billysamoa⁠  Email: ⁠billy@podify.com⁠ and ⁠saleebey@gmail.com⁠  Insight Out  Website: ⁠https://insightoutshow.com/⁠  This is an encore episode and was originally published on December 16, 2022 Learn more about your ad choices. Visit megaphone.fm/adchoices

In this Write Big session of the #amwriting podcast, host Jennie Nash welcomes Pulitzer Prize–winning journalist Jennifer Senior for a powerful conversation about finding, knowing, and claiming your voice.Jennifer shares how a medication once stripped away her ability to think in metaphor—the very heart of her writing—and what it was like to get that voice back. She and Jennie talk about how voice strengthens over time, why confidence and ruthless editing matter, and what it feels like when you're truly writing in flow.It's an inspiring reminder that your voice is your greatest strength—and worth honoring every time you sit down to write.TRANSCRIPT BELOW!THINGS MENTIONED IN THIS PODCAST:* Jennifer's Fresh Air interview with Terry Gross: Can't Sleep? You're Not Alone* Atlantic feature story: What Bobby McIlvaine Left Behind* Atlantic feature story: The Ones We Sent Away* Atlantic feature story: It's Your Friends Who Break Your Heart* The New York Times article: Happiness Won't Save You* Heavyweight the podcastSPONSORSHIP MESSAGEHey, it's Jennie Nash. And at Author Accelerator, we believe that the skills required to become a great book coach and build a successful book coaching business can be taught to people who come from all kinds of backgrounds and who bring all kinds of experiences to the work. But we also know that there are certain core characteristics that our most successful book coaches share. If you've been curious about becoming a book coach, and 2026 might be the year for you, come take our quiz to see how many of those core characteristics you have. You can find it at bookcoaches.com/characteristics-quiz.EPISODE TRANSCRIPTJennie NashHi, I'm Jennie Nash, and you're listening to the Hashtag AmWriting Podcast. This is a Write Big Session, where I'm bringing you short episodes about the mindset shifts that help you stop playing small and write like it matters. This one might not actually be that short, because today I'm talking to journalist Jennifer Senior about the idea of finding and knowing and claiming your voice—a rather big part of writing big. Jennifer Senior is a staff writer at The Atlantic. She won the Pulitzer Prize for feature writing in 2022 and was a finalist again in 2024. Before that, she spent five years at The New York Times as both a daily book critic and a columnist for the opinion page, and nearly two decades at New York Magazine. She's also the author of a bestselling parenting book, and frequently appears on NPR and other news shows. Welcome, Jennifer. Thanks for joining us.Jennifer SeniorThank you for having me. Hey, I got to clarify just one thing.Jennie NashOh, no.Jennifer SeniorAll Joy and No Fun is by no means a parenting book. I can't tell you the first thing about how to raise your kids. It is all about how kids change their parents. It's all like a sociological look at who we become and why we are—so our lives become so vexed. I like, I would do these book talks, and at the end, everybody would raise their hand and be like, “How do I get my kid into Harvard?” You know, like, the equivalent obviously—they wouldn't say it that way. I'd be like; I don't really have any idea, or how to get your kid to eat vegetables, or how to get your kid to, like, stop talking back. But anyway, I just have to clarify that, because every time...Jennie NashPlease, please—Jennifer SeniorSomeone says that, I'm like, “Noooo.” Anyway, it's a sociology book. Ah, it's an ethnography, you know. But anyway, it doesn't matter.Jennie NashAll right, like she said, you guys—not what I said.Jennifer SeniorI'm not correcting you. It came out 11 years ago. There were no iPads then, or social media. I mean, forget it. It's so dated anyway. But like, I just...Jennie NashThat's so funny. So the reason that we're speaking is that I heard you recently on Fresh Air with Terry Gross, where you were talking about an Atlantic feature story that you wrote called “Why Can't Americans Sleep?” And this was obviously a reported piece, but also a really personal piece and you're talking about your futile attempts to fall asleep and the latest research into insomnia and medication and therapy that you used to treat it, and we'll link to that article and interview in the show notes. But the reason that we're talking, and that in the middle of this conversation, which—which I'm listening to and I'm riveted by—you made this comment, and it was a little bit of a throwaway comment in the conversation, and, you know, then the conversation moved on. But you talked about how you were taking a particular antidepressant you'd been prescribed, and this was the quote you said: “It blew out all the circuitry that was responsible for generating metaphors, which is what I do as a writer. So it made my writing really flat.” And I was just like, hold up. What was that like? What happened? What—everything? So that's why we're talking. So… can we go back to the very beginning? If you can remember—Jess Lahey actually told me that when she was teaching fifth and sixth grade, that's around the time that kids begin to grasp this idea of figurative language and metaphor and such. Do you remember learning how to write like that, like write in metaphor and simile and all such things?Jennifer SeniorOh, that's funny. Do I remember it? I remember them starting to sort of come unbidden in my—like they would come unbidden in my head starting maybe in my—the minute I entered college, or maybe in my teens. Actually, I had that thing where some people have this—people who become writers have, like, a narrator's voice in their head where they're actually looking at things and describing them in the third person. They're writing them as they witness the world. That went away, that narrator's voice, which I also find sort of fascinating. But, like, I would say that it sort of emerged concurrently. I guess I was scribbling a little bit of, like, short story stuff, or I tried at least one when I was a senior in high school. So that was the first time maybe that, like, I started realizing that I had a flair for it. I also—once I noticed that, I know in college I would make, you know, when I started writing for the alternative weekly and I was reviewing things, particularly theater, I would make a conscientious effort to come up with good metaphors, and, like, 50% of them worked and 50% of them didn't, because if you ever labor over a metaphor, there's a much lower chance of it working. I mean, if you come—if you revisit it and go, oh, that's not—you know, that you can tell if it's too precious. But now if I labor over a metaphor, I don't bother. I stop. You know, it has to come instantaneously or...Jennie NashOr that reminds me of people who write with the thesaurus open, like that's going to be good, right? That's not going to work. So I want to stick with this, you know, so that they come into your head, you recognize that, and just this idea of knowing, back in the day, that you could write like that—you… this was a thing you had, like you used the word “flair,” like had a flair for this. Were there other signs or things that led you to the work, like knowing you were good, or knowing when something was on the page that it was right, like, what—what is that?Jennifer SeniorIt's that feeling of exhilaration, but it's also that feeling of total bewilderment, like you've been struck by something—something just blew through you and you had nothing to do with it. I mean, it's the cliché: here I am saying the metaphors are my superpower, which my editors were telling me, and I'm about to use a cliché, which is that you feel like you're a conduit for something and you have absolutely nothing to do with it. So I would have that sense that it had almost come without conscious thought. That was sort of when I knew it was working. It's also part of being in a flow state. It's when you're losing track of time and you're just in it. And the metaphors are—yeah, they're effortless. By the way, my brain is not entirely fogged in from long COVID, but I have noticed—and at first I didn't really notice any decrements in cognition—but recently, I have. So I'm wondering now if I'm having problems with spontaneous metaphor generation. It's a little bit disconcerting. And I do feel like all SSRIs—and I'm taking one now, just because, not just because long COVID is depressing, but because I have POTS, which is like a—it's Postural Orthostatic Tachycardia Syndrome, and that's a very common sequela from long COVID, and it wipes out your plasma serotonin. So we have to take one anyway, we POTS patients. So I found that nicotine often helped with my long COVID, which is a thing—like a nicotine patch—and that made up for it. It almost felt like I was doping [laughing]. It made my writing so much better. But it's been...Jennie NashWait, wait, wait, this is so interesting.Jennifer SeniorI know…it's really weird. I would never have guessed that so much of my writing would be dampened by Big Pharma. I mean—but now with the nicotine patches, I was like, oh, now I get why writers are smoking until into the night, writing. Like, I mean, and I always wished that I did, just because it looked cool, you know? I could have just been one of those people with their Gitanes, or however you pronounce it, but, yeah.Jennie NashWow. So I want to come—I want to circle back to this in a minute, but let's get to the first time—well, it sounds like the first time that happened where you were prescribed an antidepressant and—and you recognized that you lost the ability to write in metaphor. Can you talk about—well, first of all, can you tell us what the medication was?Jennifer SeniorYeah, it was Paxil, which is actually notorious for that. And at the top—which I only subsequently discovered—those were in the days where there were no such things as Reddit threads or anything like that. It was 1999… I guess, no, eight, but so really early. That was the bespoke antidepressant at the time, thought to be more nuanced. I think it's now fallen out of favor, because it's also a b***h to wean off of. But it was kind of awful, just—I would think, and nothing would come. It was the strangest thing. For—there's all this static electricity usually when you write, right? And there's a lot of free associating that goes on that, again, feels a little involuntary. You know, you start thinking—it's like you've pulled back the spring in the pinball machine, and suddenly the thing is just bouncing around everywhere, and the ball wasn't bouncing around. Nothing was lighting up. It was like a dis… it just was strange, to be able to summon nothing.Jennie NashWow. So you—you just used this killer metaphor to describe that.Jennifer SeniorYeah, that was spontaneous.Jennie NashRight? So—so you said first, you said static, static energy, which—which is interesting.Jennifer SeniorYeah, it's... [buzzing sound]Jennie NashYeah. Yeah. Because it's noisy. You're talking about...Jennie SeniorOh, but it's not disruptive noise. Sorry, that might seem like it's like unwanted crackling, like on your television. I didn't really—yeah, maybe that's the wrong metaphor, actually, maybe the pinball is sort of better, that all you need is to, you know, psych yourself up, sit down, have your caffeine, and then bam, you know? But I didn't mean static in that way.Jennie NashI understood what you meant. There's like a buzzy energy.Jennifer SeniorYeah, right. It's fizz.Jennie NashFizz... that's so good. So you—you recognized that this was gone.Jennifer SeniorSo gone! Like the TV was off, you know?Jennie NashAnd did you...?Jennifer SeniorOr the machine, you know, was unplugged? I mean, it's—Jennie NashYeah, and did you? I'm just so curious about the part of your brain that was watching another part of your brain.Jennifer Senior[Laughing] You know what? I think... oh, that's really interesting. But are you watching, or are you just despairing because there's nothing—I mean, I'm trying to think if that's the right...Jennie NashBut there's a part of your brain that's like, this part of my brain isn't working.Jennifer SeniorRight. I'm just thinking how much metacognition is involved in— I mean, if you forget a word, are you really, like, staring at that very hard, or are you just like, s**t, what's the word? If you're staring at Jack Nicholson on TV, and you're like, why can't I remember that dude's name?Multiple speakers[Both laughing]Jennifer SeniorWhich happens to me far more regularly now, [unintelligible]… than it used to, you know? I mean, I don't know. There is a part of you that's completely alarmed, but, like, I guess you're right. There did come a point where I—you're right, where I suddenly realized, oh, there's just been a total breakdown here. It's never happening. Like, what is going on? Also, you know what would happen? Every sentence was a grind, like...Jennie NashOkay, so—okay, so...Jennifer Senior[Unintelligible]... Why is this so effortful? When you can't hold the previous sentence in your head, suddenly there's been this lapse in voice, right? Because, like, if every sentence is an effort and you're starting from nothing again, there's no continuity in how you sound. So, I mean, it was really dreadful. And by the way, if I can just say one thing, sorry now that—Jennie NashNo, I love it!Jennifer SeniorYeah. Sorry. I'm just—now you really got me going. I'm just like, yeah, I know. I'm sort of on a tear and a partial rant, which is Prozac—there came a point where, like, every single SSRI was too activating for me to sleep. But it was, of course, a problem, because being sleepless makes you depressed, so you need something to get at your depression. And SNRIs, like the Effexor's and the Cymbalta's, are out of the question, because those are known to be activating. So I kept vainly searching for SSRIs, and Prozac was the only one that didn't—that wound up not being terribly activating, besides Paxil, but it, too, was somewhat deadening, and I wrote my whole book on it.Jennie NashWow!Jennifer SeniorIt's not all metaphor.Multiple Speakers[both laughing]Jennifer SeniorIt's not all me and no—nothing memorable, you know? I mean, it's—it's kind of a problem. It was—I can't really bear to go back and look at it.Jennie NashWow.Jennie NashSo—so the feeling...Jennifer SeniorI'm really giving my book the hard sell, like it's really a B plus in terms of its pro…—I mean, you know, it wasn't.Jennie NashSo you—you—you recognize its happening, and what you recognize is a lack of fizzy, buzzy energy and a lack of flow. So I just have to ask now, presumably—well, there's long COVID now, but when you don't have—when you're writing in your full powers, do you—is it always in a state of flow? Like, if you're not in a state of flow, do you get up and go do something else? Like, what—how does that function in the life of a writer on a deadline?Jennifer SeniorOK. Well, am I always in a state of flow? No! I mean, flow is not—I don't know anyone who's good at something who just immediately can be in flow every time.Jennie NashYeah.Jennifer SeniorIt's still magic when it happens. You know, when I was in flow almost out of the gate every day—the McIlvaine stories—like, I knew when I hit send, this thing is damn good. I knew when I hit send on a piece that was not as well read, but is like my second or third favorite story. I wrote something for The New York Times called “Happiness Wont Save You,” about a pioneer in—he wrote one of the foundational studies in positive psychology about lottery winners and paraplegics, and how lottery winners are pretty much no happier than random controls found in a phone book, and paraplegics are much less unhappy than you might think, compared to controls. It was really poorly designed. It would never withstand the scrutiny of peer review today. But anyway, this guy was, like, a very innovative thinker. His name was Philip Brickman, and in 1982 at 38 years old, he climbed—he got—went—he found his way to the roof of the tallest building in Ann Arbor and jumped, and took his own life. And I was in flow pretty much throughout writing that one too.Jennie NashWow. So the piece you're referring to, that you referred to previous to that, is What Bobby McIlvaine Left Behind, which was a feature story in The Atlantic. It's the one you won the—Pul…Pulitzer for? It's now made into a book. It has, like...Jennifer SeniorAlthough all it is like, you know, the story between...Jennie NashCovers, right?Jennifer SeniorYeah. Yeah. Because—yeah, yeah.Jennie NashBut—Jennifer SeniorWhich is great, because then people can have it, rather than look at it online, which—and it goes on forever—so yeah.Jennie NashSo this is a piece—the subtitle is Grief, Conspiracy Theories, and One Family's Search for Meaning in the Two Decades Since 9/11—and I actually pulled a couple of metaphors from that piece, because I re-read it knowing I was going to speak to you… and I mean, it was just so beautifully written. It's—it's so beautifully structured, everything, everything. But here's a couple of examples for our listeners. You're describing Bobby, who was a 26-year-old who died in 9/11, who was your brother's college roommate.Jennifer SeniorAnd at that young adult—they—you can't afford New York. They were living together for eight years. It was four in college, and four—Jennie NashWow.Jennifer SeniorIn New York City. They had a two-bedroom... yeah, in a cheaper part... well, to the extent that there are cheaper parts in...Jennie NashYeah.Jennifer SeniorThe way over near York Avenue, east side, yeah.Jennie NashSo you write, “When he smiled, it looked for all the world like he'd swallowed the moon.” And you wrote, “But for all Bobby's hunger and swagger, what he mainly exuded, even during his college years, was warmth, decency, a corkscrew quirkiness.” So just that kind of language—a corkscrew quirkiness, like he'd swallowed the moon—that, it's that the piece is full of that. So that's interesting, that you felt in flow with this other piece you described and this one. So how would you describe—so you describe metaphors as things that just come—it just—it just happens. You're not forcing it—you can't force it. Do you think that's true of whatever this ineffable thing of voice—voices—as well?Jennifer SeniorOh, that's a good question. My voice got more distinct as I got older—it gets better. I think a lot of people's—writers'—powers wax. Philip Roth is a great example of that. Colette? I mean, there are people whose powers really get better and better, and I've gotten better with more experience. But do you start with the voice? I think you do. I don't know if you can teach someone a voice.Jennie NashSo when you say you've gotten better, what does that mean to you?Jennifer SeniorYeah. Um, I'm trying to think, like, do I write with more swing? Do I—just with more confidence because I'm older? Being a columnist…which is the least creative medium…Jennie NashYeah.Jennifer SeniorSeven hundred and fifty words to fit onto—I had a dedicated space in print. When David Leonhardt left, I took over the Monday spot, during COVID. So it's really, really—but what it forces you to do is to be very—your writing becomes lean, and it becomes—and structure is everything. So this does not relate to voice, but my—I was always pretty good at structure anyway. I think if you—I think movies and radio, podcasts, are, like, great for structure. Storytelling podcasts are the best thing to—I think I unconsciously emulate them. The McIlvaine story has a three-act structure. There's also—I think the podcast Heavyweight is sublime in that way.Jennie NashIs that Roxane Gay?Jennifer SeniorNo, no, no, no.Jennie NashOh, it's, um—Jennifer SeniorIt's Jonathan Goldstein.Jennie NashYes, got it. I'm going to write that down and link to that in our show notes.Jennifer SeniorIt's... I'm trying to think of—because, you know, his is, like, narratives, and it's—it's got a very unusual premise. But voice, voice, voice—well, I, you know, I worked on making my metaphors better in the beginning. I worked on noticing things, you know, and I worked on—I have the—I'm the least visual person alive. I mean, this is what's so interesting. Like, I failed to notice once that I had sat for an hour and a half with a woman who was missing an arm. I mean, I came back to the office and was talking—this is Barbara Epstein, who was a storied editor of The New York Review of Books, the story editor, along with Bob Silver. And I was talking to Mike Tomasky, who was our, like, city politic editor at the time. And I said to him, I just had this one—I knew she knew her. And he said, was it awkward? Was—you know, with her having one arm and everything? And I just stared at him and went one arm? I—I am really oblivious to stuff. And yet visual metaphors are no problem with me. Riddle me that, Batman. I don't know why that is. But I can, like, summon them in my head, and so I worked at it for a while, when my editors were responsive to it. Now they come more easily, so that seems to maybe just be a facility. I started noticing them in other people's writing. So Michael Ondaatje —in, I think it was In the Skin of a Lion, but maybe it was The English Patient. I've read, like, every book of his, like I've, you know— Running… was it Running in the Family? Running with the Family? I think it was Running in the—his memoir. And, I mean, doesn't—everything. Anil's Ghost—he— you know, that was it The Ballad of Billy the Kid? [The Collected Works of Billy the Kid] Anyway, I can go on and on. He had one metaphor talking about the evening being as serene as ink. And it was then that I realized that metaphors without effort often—and—or is that a simile? That's a simile.Jennie NashLike—or if it's “like” or “as,” it's a simile.Jennifer SeniorYeah. So I'm pretty good with similes, maybe more than metaphors. But... serene as ink. I realized that what made that work is that ink is one syllable. There is something about landing on a word with one syllable that sounds like you did not work particularly hard at it. You just look at it and keep going. And I know that I made a real effort to make my metaphors do that for a while, and I still do sometimes. Anything more than that can seem labored.Jennie NashOh, but that's so interesting. So you—you noticed in other people what worked and what you liked, and then tried to fold that into your own work.Jennifer SeniorYeah.Jennie NashSo does that mean you might noodle on—like, you have the structure of the metaphor or simile, but you might noodle on the word—Jennifer SeniorThe final word?Jennie NashThe final word.Jennifer SeniorYeah. Yeah, the actual simile, or whatever—yeah, I guess it's a simile—yeah, sometimes. Sometimes they—like I said, they come unbidden. I think I have enough experience now—which may make my voice better—to know what's crap. And I also, by the way, I'll tell you what makes your voice better: just being very willing to hit Select Alt, Delete. You know, there's more where that came from. I am a monster of self-editing. I just—I have no problem doing it. I like to do it. I like to be told when things are s**t. I think that improves your voice, because you can see it on the page.Jennie NashYeah.Jennifer SeniorAnd also, I think paying attention to other people's writing, you know, I did more and more of that, you know, reverse engineering stuff, looking at how they did stuff as I got older, so...Jennie NashSo I was going to ask a question, which now maybe you already answered, but the question was going to be… you said that you're—you feel like you're getting better as a writer as you got older. And you—you said that was due to experience. And I was going to ask, is it, or is it due to getting older? You know, is there something about literally living more years that makes you better, or, you know, like, is wisdom something that you just get, or is it something you work for? But I think what I'm hearing is you're saying you have worked to become the kind of writer who knows, you know, what you just said—you delete stuff, it comes again. But tell me if—you know, you welcome the kind of tough feedback, because you know that makes you better. You know, this sort of real effort to become better, it sounds like that's a practice you have. Is that—is that right?Jennifer SeniorOh yeah. I mean, well, let's do two things on that, please. I so easily lose my juju these days that, like, you've got to—if you can put a, you know, oh God, I'm going to use a cliché again—if you can put a pin in or bookmark that, the observation about, you know, harsh feedback. I want to come back to that. But yes, one of the things that I was going to keep—when I said that I have the confidence now, I also was going to say that I have the wisdom, but I had too many kind of competing—Jennie NashYeah. Yeah.Jennifer SeniorYou know, were running at once, and I, you know, many trains on many tracks—Jennie NashYeah, yeah.Jennifer Senior…about to leave, so…, Like, I had to sort of hop on one. But, like, the—the confidence and wisdom, yes, and also, like, I'll tell you something: in the McIlvaine piece, it may have been the first time I did, like, a narrative nonfiction. I told a story. There was a time when I would have hid behind research on that one.Jennie NashOoh, and did you tell a story. It was the—I remember reading that piece when it first came out, and there you're introducing, you know, this—the situation. And then there's a moment, and it comes very quickly at the top of the piece, where you explain your relationship to the protagonist of the story. And there's a—there's just a moment of like, oh, we're—we're really in something different here. There's really—is that feel of, this is not a reported story, this is a lived story, and that there's so many layers of power, I mean, to the story itself, but obviously the way that you—you present it, so I know exactly what you're talking about.Jennifer SeniorYeah, and by the way, I think writing in the first person, which I've been doing a lot of lately, is not something I would have done until now. Probably because I am older and I feel like I've earned it. I have more to say. I've been through more stuff. It's not, like, with the same kind of narcissism or adolescent—like, I want to get this out, you know. It's more searching, I think, and because I've seen more, and also because I've had these pent up stories that I've wanted to tell for a long time. And also I just don't think I would have had the balls, you know.Jennie NashRight.Jennifer SeniorSo some of it is—and I think that that's part of—you can write better in your own voice. If it's you writing about you, you're—there's no better authority, you know? So your voice comes out.Jennie NashRight.Jennifer SeniorBut I'm trying to think of also—I would have hid behind research and talked about theories of grief. And when I wrote, “It's the damnedest thing, the dead abandon you, and then you abandon the dead,” I had blurted that out loud when I was talking to, actually, not Bobby's brother, which is the context in which I wrote it, but to Bobby's—I said that, it's, like, right there on the tape—to his former almost fiancée. And I was thinking about that line, that I let it stand. I didn't actually then rush off and see if there was a body of literature that talked about the guilt that the living feel about letting go of their memories. But I would have done that at one point. I would have turned it into this... because I was too afraid to just let my own observations stand. But you get older and you're like, you know what? I'm smart enough to just let that be mine. Like, assume...Jennie NashRight.Jennifer SeniorIt's got to be right. But can we go back, also, before I forget?Jennie NashYeah, we're going to go back to harsh, but—but I would just want to use your cliché, put a pin in what you said, because you've said so many important things— that there's actual practice of getting better, and then there's also wisdom of—of just owning, growing into, embracing, which are two different things, both so important. So I just wanted to highlight that you've gone through those two things. So yes, let's go back to—I said harsh, and maybe I miss—can...misrepresenting what you meant.Jennifer SeniorYou may not have said that. I don't know what you said.Jennie NashNo, I did, I did.Jennifer SeniorYou did, okay, yeah, because I just know that it was processed as a harsh—oh no, totally. Like, I was going to say to you that—so there was a part of my book, my book, eventually, I just gave one chapter to each person in my life whom I thought could, like, assess it best, and one of them, so this friend—I did it on paper. He circled three paragraphs, and he wrote, and I quote, “Is this just a shitty way of saying...?” And then I was like, thank God someone caught it, if it was shitty. Oh my God. And then—and I was totally old enough to handle it, you know, I was like 44, whatever, 43. And then, who was it? Someone else—oh, I think I gave my husband the intro, and he wrote—he circled a paragraph and just wrote, “Ugh.” Okay, Select Alt, Delete, redo. You know, like, what are you going to do with that? That's so unambiguous. It's like, you know—and also, I mean, when you're younger, you argue. When you're older, you never quarrel with Ugh. Or Is this...Jennie NashRight, you're just like, okay, yep.Jennifer SeniorYeah. And again, you—you've done it enough that, you know, there's so much more where that came from.Jennie NashYeah.Jennifer SeniorWhy cling to anything that someone just, I don't know, had this totally allergic reaction to? Like, you know, if my husband broke out in a hive.Jennie NashYeah. So, circling back to the—the storyline of—you took this medication, you lost your ability to write in this way, you changed medications, presumably, you got it back. What did it feel like to get it back? Did you—do you remember that?Jennifer SeniorOh God, yes, it was glorious.Jennie NashReally?!Jennifer SeniorOh, you don't feel like yourself. I think that—I mean, I think there are many professions that are intertwined with identity. They may be the more professional—I'm sorry, the more creative professions. But not always, you know. And so if your writing voice is gone, and it's—I mean, so much of writing is an expression of your interior, if not life, then, I don't know some kind of thought process and something that you're working out. To have that drained out of you, for someone to just decant all the life out of your—or something to decant all the life out of your writing, it's—it's, I wouldn't say it's traumatic, that's totally overstating it, but it's—it's a huge bummer. It's, you know, it's depressing.Jennie NashWell, the word glorious, that's so cool. So to feel that you got back your—the you-ness of your voice was—was glorious. I mean, that's—that's amazing.Jennifer SeniorWhat—if I can just say, I wrote a feature, right, that then, like, I remember coming off of it, and then I wrote a feature that won the News Women's Club of New York story for best feature that year. Like, I didn't realize that those are kind of hard to win, and not like I won... I think I've won one since. But, like, that was in, like, 99 or something. I mean, like, you know, I don't write a whole lot of things that win stuff, until recently, you know. There was, like, a real kind of blackout period where, you know, I mean, but like—which I think, it probably didn't have to do with the quality of my writing. I mean, there was—but, I mean, you know, I wasn't writing any of the stuff that floated to the tippy top, and, like, I think that there was some kind of explosion thereof, like, all the, again, stuff that was just desperate to come out. I think there was just this volcanic outpouring.Jennie NashSo you're saying now you are winning things, which is indeed true. I mean, Pulitzer Prizes among them. Do you think that that has to do with this getting better? The wisdom, the practice, the glorious having of your abilities? Or, I guess what I'm asking is, like, is luck a part of—a part of all that? Is it just, it just happens? Or do you think there's some reason that it's happening? You feel that your writing is that powerful now?Jennifer SeniorWell, luck is definitely a part of it, because The Atlantic is the greatest place to showcase your feature writing. It gets so much attention, even though I think fewer people probably read that piece about Bobby McIlvaine than would have read any of my columns on any given day. The kind of attention was just so different. And it makes sense in a funny way, because it was 13,600 words or something. I mean, it was so long, and columns are 750 words. But, like, I think that I just lucked out in terms of the showcase. So that's definitely a part of it. And The Atlantic has the machinery to, you know, and all these dedicated, wonderful publicity people who will make it possible for people to read it, blah, blah, blah. So there's that. If you're older, you know everyone in the business, so you have people amplifying your work, they're suddenly reading it and saying, hey, everybody read it. It was before Twitter turned to garbage. Media was still a way to amplify it. It's much harder now, so passing things along through social media has become a real problem. But at that moment, it was not—Jennie NashYeah.Jennifer SeniorSo that was totally luck. Also, I wonder if it was because I was suddenly writing something from in the first person, and my voice was just better that way. And I wouldn't have had, like, the courage, you know?Jennie NashYeah.Jennifer SeniorAnd also, you're a book critic, which is what I was at The Times. And you certainly are not writing from the first person. And as a columnist, you're not either.Jennie NashYeah.Jennifer SeniorSo, you know, those are very kind of constricted forms, and they're also not—there are certainly critics who win Pulitzers. I don't think I was good enough at it. I was good, but it was not good enough. I could name off the top of my head, like, so many critics who were—who are—who haven't even won anything yet. Like Dwight Garner really deserves one. Why has he not won a Pulitzer? He's, I think, the best writer—him and Sophie Gilbert, who keeps coming close. I don't get it, like, what the hell?Jennie NashDo you—as a—as a reader of other people's work, I know you—you mentioned Michael Ondaatje that you'd studied—study him. But do you just recognize when somebody else is on their game? Like, do you recognize the voice or the gloriousness of somebody else's work? Can you just be like, yeah, that...?Jennifer SeniorWell, Philip Roth, sentence for sentence. Martin Amis, even more so—I cannot get over the originality of each of his sentences and the wide vocabulary from which he recruits his words, and, like, maybe some of that is just being English. I think they just get better, kind of more comprehensive. They read more comprehensively. And I always tell people, if they want to improve their voice, they should read the Victorians, like that [unintelligible]. His also facility with metaphor, I don't think, is without equal. The thing is, I can't stand his fiction. I just find it repellent. But his criticism is bangers and his memoirs are great, so I love them.Jennie NashYeah.Jennifer SeniorSo I really—I read him very attentively, trying to think of, like, other people whose kind of...Jennie NashI guess I was—I was getting at more... like, genius recognizes genius, that con... that concept, like, when you know you can do this and write in this way from time to time anyway, you can pull it off.Jennifer SeniorYeah, genius as in—I wouldn't—we can't go there.Jennie NashWell, that's the—that's the cliché, right? But, like...Jennifer SeniorOh no, I know, I know. Game—game, game recognizes game.Jennie NashGame recognizes game is a better way of saying it. Like, do you see—that's actually what the phrase is. I don't know where I came up with genius, but...Jennifer SeniorNo, it's fine. You can stick anything in that template, you know—evil recognizes evil, I mean, you know, it's like a...Jennie NashYeah. Do you see it? Do you see it? Like, you can see it in other people?Jennifer SeniorSure. Oh yeah, I see it.Jennie NashYeah.Jennifer SeniorI mean, you're just talking about among my contemporaries, or just as it...Jennie NashJust like anything, like when you pick up a book or you read an article or even listen to a storytelling pack podcast, that sense of being in the hands of somebody who's on it.Jennifer SeniorYeah, I think that Jonathan Goldstein—I mean, I think that the—the Heavyweight Podcast, for sure, is something—and more than that, it's—it's storytelling structure, it's just that—I think that anybody who's a master at structure would just look at that show and be like, yeah, that show nails it each and every time.Jennie NashI've not listened, but I feel like I should end our time together. I would talk to you forever about this, but I always like to leave our listeners with something specific to reflect or practice or do. And is there anything related to metaphor or practicing, finding your voice, owning your voice, that you would suggest for—for folks? You've already suggested a lot.Jennifer SeniorRead the Victorians.Jennie NashAwesome. Any particular one that you would say start with?Jennifer SeniorYeah, you know what? I find Dickens rough sledding. I like his, you know, dear friend Wilkie Collins. I think No Name is one of the greatest books ever. I would read No Name.Jennie NashAmazing. And I will add, go read Jennifer's work. We'll link to a bunch of it in the show notes. Study her and—and watch what she does and learn what she does—that there it is, a master at work, and that's what I would suggest. So thank you for joining us and having this amazing discussion.Jennifer SeniorThis has been super fun.Jennie NashAnd for our listeners, until next time, stop playing small and write like it matters.NarratorThe Hashtag AmWriting Podcast is produced by Andrew Perrella. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output, because everyone deserves to be paid for their work. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

The final finale of our first Riftlings arc! What happens when the world turtle finishes laying it's egg? Where will the Shell Islanders go? What's Jella figured out about the Skreegulls, and what's happening with the rest of the Leviathans around the Riftlands?FIND OUT! Plus, some hints about our next arc - and info about how to enter to win a free game as a gift!

What if you never had to "recruit" again? In this episode of PT Pintcast, Will Humphreys shares how physical therapy clinic owners can build teams through connection, vision, and emotion — not just job postings. You'll learn how to write job ads that feel like love letters, how to use intentional friction to filter out bad fits, and why creating safety is your most powerful leadership tool.About the Guest:Will Humphreys is a PT, entrepreneur, author, and founder of Freedom Through Profits, where he helps practice owners grow profitable businesses they love. He previously built and exited a successful clinic group and now teaches others how to scale with systems, purpose, and heart.Will's Ultimate PT OT SLP Summit: https://www.summit.virtualrockstar.com/What You'll Learn:Why hiring isn't a numbers game — it's a connection gameThe neuroscience of storytelling in businessHow to lead with authenticity and build loyaltyTools to create an emotional brand that stands out in PTLinks + Mentions:???? Will Humphreys on YouTube: https://www.youtube.com/@willhumphreys???? Reach out to Will: https://freedomthroughprofits.com???? More from PT Pintcast: https://www.ptpintcast.com???? Get Will's Free Hiring Email Template: https://freedomthroughprofits.com/hiring-letter???? Book Mention: Start With Why by Simon Sinek

Comedian Ana Gasteyer discusses her live show "Ana Gasteyer: Sugar & Booze Holiday Spectacular," which will include performances of holiday classics and her own original holiday songs. Gasteyer will be at Town Hall on December 15 and at the Westport Country Playhouse on December 22.

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Being vulnerable in a relationship is the strongest thing you can do.Text me at 972-426-2640 so we can stay connected!Support me on Patreon!Twitter:  @elliottspeaksInstagram: @elliottspeaks Text me at 972-426-2640 so we can stay connected!Support me on Patreon!Twitter: @elliottspeaksInstagram: @elliottspeaks

Paul McGuire Grimes is a film critic and media personality. He joins Scott Korzenowski to talk about the implications of Netflix acquiring Warner Brothers for almost $83 billion dollars. Paul discusses the changes to the business, to the production of art itself and the merging of differing content models that are unique to each platform. They also touch on the legal and administrative options the government has in the approval process for deals of this magnitude.

In this episode, Karol sits down with Stu Burguiere to unpack his unconventional journey into media, the evolution of radio and podcasting, and why great storytelling still wins. Stu shares his trademark humor and contrarian thinking, offering predictions on future health trends, reflections on technology’s impact on family life, and practical advice on staying grounded in a fast-moving world. Whether you’re a media junkie, a curious creator, or just someone who loves a good laugh with real insight, this conversation delivers. The Karol Markowicz Show is part of the Clay Travis & Buck Sexton Podcast Network - new episodes debut every Wednesday & Friday.See omnystudio.com/listener for privacy information.

Interview with Adrian Tchaikovsky about his latest book 'Made Things'In this conversation, Adrian Tchaikovsky discusses the themes of perspectives in literature, particularly how different creatures and their experiences shape narratives. He also delves into the concepts of authority and power within storytelling, emphasising the importance of these elements in understanding the natural world.You can buy Made Things here: https://uk.bookshop.org/a/16356/9781035078073AndYou can contact Philippa at: Email quickbookreviews@outlook.comInstagram: https://www.instagram.com/quick_book_reviewsThreads: @quick_book_reviewsTikTok: https://www.tiktok.com/@quickbookreviewsX: https://x.com/quickbookrevie3Bluesky: https://bsky.app/profile/quickbookreviews.bsky.social Hosted on Acast. See acast.com/privacy for more information.

Hello to you listening in Den Hague, the Netherlands!Coming to you from Whidbey Island, Washington this is Stories From Women Who Walk with 60 Seconds for Story Prompt Friday and your host, Diane Wyzga.Who is Saint Nicholas? Little is known about the historical Saint Nicholas who was born during the third century in the village of Patara in Asia Minor on what is now the southern coast of Turkey.  The earliest accounts of his life were written centuries after his death. Click HERE to learn more. But it is believed the life and deeds of St. Nicholas gave rise to the Christmas character we know as Santa Claus.From a very early age I remember how my family celebrated December 6th as the Feast of Saint Nicholas; a reminder that Christmas is on its way and someone is watching us - from a distance - to be sure we stay on the nice side of naughty. On the night of December 5th each child put a pair of shoes outside their bedroom door. On the morning of the 6th there was a small gift in the shoes left by Saint Nicholas himself, reminding us to be of love a little more careful than anything else this season.Story Prompt: What one tradition or ritual do you continue at this time of year?  Who might it remind you of? What special meaning does it hold for you? Write that story and tell it out loud!You're always welcome: "Come for the stories - Stay for the magic!" Speaking of magic, I hope you'll subscribe, share a 5-star rating and nice review on your social media or podcast channel of choice, bring your friends and rellies, and join us! You will have wonderful company as we continue to walk our lives together. Be sure to stop by my Quarter Moon Story Arts website, check out the Services, arrange a no-obligation Discovery Call, and stay current with me as "Wyzga on Words" on Substack.Stories From Women Who Walk Production TeamPodcaster: Diane F Wyzga & Quarter Moon Story ArtsMusic: Mer's Waltz from Crossing the Waters by Steve Schuch & Night Heron MusicALL content and image © 2019 to Present Quarter Moon Story Arts. All rights reserved.  If you found this podcast episode helpful, please consider sharing and attributing it to Diane Wyzga of Stories From Women Who Walk podcast with a link back to the original source.

We'd love to hear from you about this episode.If you heard Volume 1 of this amazing episode, you'll know the 2025 Annual Wellness Summit was held in August in beautiful Austin, Texas. Attendees heard from so many amazing speakers and industry leaders about different ways to bolster wellness in ourselves and those we serve.Mark had another opportunity to sit down and chat with many of the folks that impacted this amazing event. .Join us in the second part of this incredible compilation as we speak with spiritual wellness expert Bobby Ansari, health journalists and top-tier storytellers Sandy Cohen and Leo Smith, Travel Influencer and world-changer Jeff Jenkins, and Wellness Alliance Executive Director Ryan Picarella. These conversations cover some of our favorite topics including: spiritual wellness, the art and power of storytelling, being bold and finding our way together, and ways to implement wellness strategies into daily life.The 2026 Annual Wellness Summit will be held in Nashville and SURE to be an incredible time. Music City never disappoints. Sit back, pour some hot cocoa, and let these experts help you find ways to finish the year happy, healthy, and well. Please subscribe, rate, and leave a review anywhere you listen to this podcast. We are trying to get these fantastic guest conversations to as many people as possible.Stay tuned. Season Four is right around the corner...We appreciate you all. Be Well -NOW Wellness Alliance: https://www.wellnessalliance.org/homeAnnual Wellness Summit: https://www.wellnessalliance.org/education-and-events/annual-wellness-summit International Foundation of Employee Benefits (IFEBP)- https://www.ifebp.orgBobby Ansari's website: roseofjerichowellness.comSandy Cohen Instagram: @thesandycohenLeo Smith: https://www.linkedin.com/in/leo-smith-543a8812/Jeff Jenkins Website: http://chubbydiaries.comJeff Jenkins Instagram and TikTok: @chubbydiariesJeff is partnering with Destination Channel, follow his adventures over there in the coming months: https://www.thedestinationchannel.com* The unbelievable Shawn Bell produces the Nature of Wellness Podcast, making us sound good.** The NOW theme song was penned, performed, produced, and provided by the dynamic duo of Phil and Niall Monahan.   *** This show wouldn't exist without our amazing guests and all of you who listen. Please like, subscribe, follow, and review to help us get these important messages out to more folks who can benefit from them. Nature DisturbedMother Nature is one weird ladyListen on: Apple Podcasts Spotify

In this engaging conversation, Andrew Rubin discusses his debut novel 'Hell or High Winter', a contemporary urban fantasy that retells the myth of Hermes and Persephone. He shares insights into his creative process, the importance of comedy in storytelling, and the transition from screenwriting to novel writing. Rubin also reflects on the impact of technology and AI on human connection and creativity, as well as the significance of mental health themes in his work. The discussion highlights the challenges and joys of writing, the role of feedback, and the evolving landscape of storytelling in the modern world.https://www.hellorhighwinter.com/Send us a message (I'm not able to reply)Support the showPage Chewing Blog Page Chewing Forum Film Chewing PodcastSpeculative Speculations Podcast Support the podcast via PayPal Support the show by using our Amazon Affiliate linkJoin Riverside.fm Co-Hosts: Jarrod Varsha Chris Jose Carl D. Albert (author) Thomas J. Devens (author) Alex French (author) Intro and Outro Music by Michael R. Fletcher (2024-Current)

Join me on this darkest of nights for another tale at the Firepit at the heart of the forest at the Time between Times . Tonight at this darkest of times we travel to the black woods of Wales for a tale that will chill you to the bone . Relax and enjoy the Dark Lady of Midwinter www.welshstoryteller.comMy Ko-fi page www.ko-fi.com/owenstatonMy Patreonwww.patreon.com/owenstaton7Please do not listen whilst operating heavy machinery or driving Take care my friends . The light is coming Owen x

367 - Once heard, you won't forget this tender, unsung Yuletide story. Not rockets to Mars, it's the softer side of Bradbury. Tuck in as he carries us through his own memories and longing.

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

It's Friday and we're back with another Stoppage Time with Uncle Rob! This week, we dive into one big theme that kept showing up in every conversation I had: the power of telling your unique story.From my chat with LA startup lawyer Alex Bruno to conversations with founders, mentees, and friends, I was reminded that even in an era dominated by AI, our humanity and our personal stories remain our greatest advantage.In this episode, I reflect on why storytelling matters more than ever—how it shapes trust, influences business decisions, and opens doors we didn't even know existed. I also share how Diana and I are rethinking our own story as The Storytellers Company moves into 2026, and why so many leaders struggle to communicate the vision they see so clearly in their own minds.If you're building something, leading a team, or simply trying to better express who you are and what you stand for, this episode will push you to think deeper about your story and how you choose to tell it.Thanks for spending your Friday with me. Peace, love, joy… and clarity on your story.Chapters00:00 The Power of Storytelling in Business05:58 Connecting Through Humanity and Technology11:38 Embracing Your Unique Narrative

Today's trip through the Cabinet will take you on journeys both short and long. But the destinations are equally curious. Order the official Cabinet of Curiosities book by clicking here today, and get ready to enjoy some curious reading! See omnystudio.com/listener for privacy information.

Photographs preserve what daily life cannot—moments that would otherwise fade into obscurity. In today's show, we explore this topic through a nexus of American culture, popular folklore, and photographic archives in a chat with Alan Govenar and Adam Forgash, two photographers and visual historians who are passionate about unearthing and preserving forgotten stories. Coming from different backgrounds, Alan's formal training and experience with the non-profit Documentary Arts complements Adam's hands-on skills hunting for treasures and selling vintage photographica at New York's Chelsea Flea Market. A few of the points they discuss include: the central role of the community photographer in twentieth-century life, the cultural significance of Route 66 as a favored connection point, the painstaking process of resurrecting century-old portraits from damaged glass plates, and much more. As Adam notes about these rescued portraits now titled "Faces of the Mother Road," "I've had these kinds of collections over the last 30 years and kind of let them go, but this one, I knew there was something special about it. So, as soon as I realized what I was looking at, I stopped. I put it in climate control storage. I got archival paper to put it in. I started a numbering system.  "It feels pretty good," he adds, "to get more serious about my craft, realizing that I am a photo historian, even though I don't have a degree." Guests: Alan Govenar & Adam Forgash Episode Timeline: 3:07: Alan Govenar's early connections to photography and his introduction to Stoney, the hunchbacked tattoo artist who jumpstarted his photo career. 8:33: The role various media has played in Alan's work as an interdisciplinary artist and how changes to media has influenced his storytelling. 11:37: Adam Forgash describes New York's Chelsea Flea Market and the treasure trove of 8,000 glass negatives he discovered there. 16:18: A peek into the Texas African American Photography Archive, and the era of the community photographer. 22:02: Storytelling within a historical context and a photographer's accountability in reverse engineering a story from vestiges of the past. 27:01: Adam's accidental discovery of a second half to SJ Tyler's archive and tracking down information about the photographer. 30:49: Connecting the story of SJ Tyler's portrait studio to an exhibit celebrating the centennial of Route 66. 32:28: Episode Break 33:47: Making distinctions between Alan's formal education in folklore and Adam's schooling at the hands of New York's Chelsea flea market crowd.  40:23: Adam's approach to beginning this project, and how SJ Tyler's collection differed from past archives he's worked on. 42:52: Connections between Tyler's photographs and the significance of travel on Route 66, plus Adam's relationship to Tulsa. 44:26: Placing photographic stories in a wider historical context and their connection to the communities being served. 49:54: Funding and sponsorship for large photographic projects and the benefits to working with a registered non-profit as a pass-through organization. Guest Bios: Alan Govenar is an acclaimed photographer, filmmaker, writer and folklorist. A 2010 Guggenheim Fellow and the author of more than 40 books, Alan is also founder and president of the organization Documentary Arts, which he created to spotlight marginalized voices and cultures, through projects such as the Texas African American Photography Archive. As a filmmaker, Alan has produced and directed documentaries in association with NOVA, ARTE, and PBS. And as a playwright, he has written and produced musicals that have been performed from New York City to major venues across Europe. This year marks some major milestones in Alan's career, with a photography retrospective at the Center for Photography at Woodstock, a new documentary film premiering at New York's Cinema Village, and the publication of three new books, including Kinship & Community, released by Aperture.  Adam Forgash is a photographer, filmmaker, photo history specialist, and proud former Oklahoman. In 2023, while foraging for visual treasures at New York's famed Chelsea Flea Market, Adam happened upon the archive of the undiscovered portrait photographer Sidney J Tyler. From 1913 to 1943, Tyler operated a photo studio in Afton, Oklahoma, making portraits of everyday subjects as they passed through the region, during a break in their travels along Route 66, otherwise known as the "Mother Road". This once-lost visual history of northeast Oklahoma features working-class people of all races and communities, including the famed Tuskegee airmen.  After two years of intensive research into Tyler's archive, Adam's project, now titled Faces of the Mother Road: The Lost Portraits of S.J. Tyler - A Route 66 Story, is poised to make a lasting impact on Oklahoma's visual and historical narrative, just in time for the centennial of Route 66 in 2026. Stay Connected: Alan Govenar Documentary Arts Website: https://www.docarts.com/  Adam Forgash Website: https://adamforgash.com/  Adam Forgash Instagram: https://www.instagram.com/adamforgash/ Credits: Host: Derek Fahsbender Senior Creative Producer: Jill Waterman Senior Technical Producer: Mike Weinstein Executive Producer: Richard Stevens  

In this episode of Partnering Leadership, Mahan Tavakoli hosts Andrea Sampson, an expert in strategic storytelling and the co-founder of Talk Boutique. Andrea Sampson talks about the fascinating intersection of brain science and storytelling, emphasizing why humans are hardwired to respond to stories. As an experienced speaker's coach for TEDx Toronto and a thought leader in her own right, Andrea shares her journey from the advertising world to helping change-makers communicate their ideas effectively.Andrea highlights the critical role storytelling plays in leadership and organizational success. She explains how stories, unlike mere data, engage multiple parts of the brain, making messages more memorable and impactful. Leaders are often trained to prioritize facts and figures, but Andrea argues that integrating storytelling into their communication strategies can significantly enhance their influence and connection with their audience.Throughout the conversation, Andrea underscores the importance of starting with a clear strategic message before crafting the narrative. She shares practical insights on how leaders can identify and refine their core messages, ensuring that their stories are not only engaging but also aligned with their organizational goals. By drawing on examples from iconic brands like Apple and Disney, Andrea illustrates how a singular focus can drive brand consistency and loyalty.Moreover, Andrea addresses the challenge of vulnerability in leadership. She advocates for sharing stories from a place of scars rather than wounds, enabling leaders to convey authenticity and empathy without retraumatizing themselves or their audience. Actionable Takeaways:Discover the Brain Science Behind Storytelling: Understand why humans are neurologically hardwired to respond to stories and how this can be leveraged in leadership.Engage Multiple Parts of the Brain: Learn how integrating sensory details into your narratives can make your messages more memorable.Start with a Strategic Message: Hear why it's crucial to begin with a clear idea before crafting your story to ensure alignment with your goals.Embrace Vulnerability: Find out how sharing stories from a place of scars rather than wounds can enhance authenticity and connection.Consistency is Key: Learn from iconic brands like Apple and Disney on the importance of maintaining a singular focus in your storytelling.The Role of Community in Thought Leadership: Understand the importance of building a supportive community to amplify your personal brand and core message.Overcome Storytelling Fears: Hear how leaders can overcome the fear of storytelling by refining their skills and embracing their unique experiences.Practical Storytelling Techniques: Discover actionable tips on how to use storytelling to deliver difficult messages and inspire your team.Connect with the Andrea Sampson:Talk Boutique Website Andrea Sampson LinkedIn Connect with Mahan Tavakoli: Mahan Tavakoli Website Mahan Tavakoli on LinkedIn Partnering Leadership Website

Where should you post if you want to build an audience? Substack delivers unbeatable audience-building tools... but it has some drawbacks. Bluesky is active... but small. Webtoon is terrific... if you're doing the style and content that their users prefer. Patreon has recently added features to promote discoverability and reader-retention. And the legacy social-media platforms — Twitter, Instagram, and Facebook — have been failing creators for years now. Brad and Dave share actionable advice to help you navigate it all.Today's ShowWhat's the best platform for audience building?How to launch a comic in 2026How important is "local"?HuionHuion is sponsoring today's show, and they're offering additional discounts on the following products when you use the discount code: ComicLabKamvas 22 Plus — A luxurious large-screen, high-resolution digital pen display with an etched glass surface that simulates the texture of paper while it protects your eyes from harmful glare.Kamvas 13 (Gen 3) — With a large 13.3-inch screen and an FHD (1920X1080) resolution, this model ensuring seamless collaboration with your laptop. The durable back cover also offers superior protection while ensuring interface stability.Huion Note — You found your new on-the-go brainstorming tool. With writing synchronizing, offline storage, document management, one-click PDF sharing, and portable A5 size, Huion Note will redefine what a new generation of notebooks can do.TakeawaysPsychographics can create connections beyond demographics.Comics can resonate with audiences from different backgrounds.Humor-based storytelling appeals to a wide range of people.Unexpected fan interactions can reveal common interests.Shared love for specific genres can unite diverse individuals.The beauty of human connection lies in shared experiences.Comics can transcend geographical and demographic barriers.Character-based narratives foster deeper audience engagement.Understanding audience psychographics enhances storytelling.Diversity in readership enriches the comic experience.   You get great rewards when you join the ComicLab Community on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.If you'd like a one-on-one consultation about your comic, book it now!Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.

Hey Friends~  When your children start telling you stories, have you ever wondered how to keep that creativity going?  How about when what they tell is outlandish, imaginative, and there is no logic at all, have you been concerned you should stop it?  It's easy to shut them down in our fast-paced analytical, task-oriented mind.    How do you engage your children in a way that expands their ideas and expression when you can't really relate to WHAT they are saying but you want to relate to THEM!    Today's guest does a fabulous job to demonstrate HOW she uses story creation with kids.  She exemplifies how to be curious and validate your child's creativity, even when your kids are a bit too silly for your liking.  She gives us a format, an example, and a description, which gives you intention for letting your interaction build your child's language, confidence, and connection. If you have a child with big ideas or struggles with confidence or language, this episode is for you!  Always cheering you on!  Dinalynn CONTACT the Host, Dinalynn:  hello@thelanguageofplay.com   ABOUT THE GUEST:   The Story Creator. I guide children and adults to gain self-confidence through playing with their imagination, creating stories with my published books, Story Creating Calendars and Story Creating workshops and having fun, with cuddly toys. CONTACT THE GUEST:   www.clairemillerauthor.co.uk  Get Free downloadable worksheets on her website!  Linkedin, Facebook and Instagram: search Claire Miller Story Creator A BIG THANK YOU TO OUR SPONSORS!   Cindy Howard  Lightening Admin VA   cindy@lightningadminva.com  Make life lighter and get for yourself, a personal Virtual Assistant! Toothpillow.com use the promo code Language of Play to waive the online evaluation fee and get $200 off treatment! Full Episode about Jaw & Airway - listen to Episode 242. YOUR NEXT STEPS: Book a call to discuss your concerns:  https://calendly.com/hello-play/strategy-session Have a Question or Comment? Leave a voice message!  https://castfeedback.com/play  5 Ways To Get Your Kids To Listen Better: https://dinalynnr.systeme.io/7ca5ce43-d436ea91 Sign up for the Newsletter:  https://dinalynnr.systeme.io/newsletter-optin 21 Days of Encouragement:  https://dinalynnr.systeme.io/1-21signup   For Workshops, Speaking Events, or Partnerships:  https://calendly.com/hello-play/discovery-session ** For Speaking Engagements, Workshops, or Parent Coaching (virtual or live), contact me at hello@thelanguageofplay.com   IF YOU LIKED THIS EPISODE, YOU WILL WANT TO LISTEN TO THESE EPISODES: 95 Do You Have A Picky Eater? Have a Holiday Plan! Join For A Success Story with Everyday Parent, Kristi! 104 How Does This Gift Develop Language? 4 Tips To Quickly Evaluate A Toy 101 Need to De-Stress? Why A Return to Play Works! 126 Your Child Has Imaginary Friends? Deborah Greenhut Tells A Parent's Story To Use These Friends For Healing And Learning 242 Dr. Ben Miraglia: Sleep, Behavior & Speech Struggles? What Early Jaw Growth & Mouth Breathing Reveal   Love this podcast?  Let us know!  https://lovethepodcast.com/play Follow & subscribe in 1-click:  https://followthepodcast.com/play To SPONSOR The Language Of Play, schedule your call here:  https://calendly.com/hello-play/discovery-session To DONATE to The Language Of Play, Use this secure payment link: https://app.autobooks.co/pay/the-language-of-play

Sally Wainwright, the award-winning writer and director of the UK series "Happy Valley" and "Last Tango in Halifax," has a new show called "Riot Women," about a group of middle aged women in the north of England who form a rock band for a charity talent show. What starts out as a lark turns into something more meaningful. Wainwright discusses the show, which was recently greenlit for a second season. Riot Women premieres on BritBox January 14th.

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