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

Zurück im neuen Jahr und los gehts... Sport auf dem Rollentrainer und die VO2max. Wir sprechen über RSI (Rapid sequence induction) und die aktuellen Empfehlungen. Leider auch über die neuen Impfempfehlungen in den USA - speziell im Bezug auf eine Meningokokkeninfektion! Aber auch ADHS und die medikamentöse Therapie und wie sie wirkt. Wusstet ihr, dass jeder vierte Kassenpatient mehr als 4 Wochen für einen Termin bei einem Facharzt warten muss?The Pit - die Nummer eins Krankenhausserie kommt nach Deutschland! Wir sprechen über Wecrashed und zum Schluss mal wieder über das Eisbaden. Hier ist der Link zum erwähnten Artikel bei den pinupdocs:https://pin-up-docs.de/2025/12/21/rapid-sequence-induction-and-intubation-bei-erwachsenen/Timos Song bei Spotify:⁠⁠https://open.spotify.com/intl-de/album/05V3lQXxyXEO7KBD7Bmh1i?si=xy5ml_7oRNucYhJYlVCvSw⁠⁠Wenn ihr Teil unseres Podcasts sein wollt: schreibt eine Email an info@mtma.tv und erzählt uns eure Geschichte, stellt medizinische Fragen, verteilt Lob und oder auch Kritik! Wir freuen uns auf euch! Hier geht es zur Community-Playlist bei Spotify:https://open.spotify.com/playlist/1KZZslxsXeithkNgG4iiPZ?si=30c56287204846eaAn dieser Stelle noch einmal ein fetter Dank an unsere Patreonunterstützer:Bene, Stephi, Sibylle, Fabian, Kirsten, Christian, Lisa-Marie, Johannes, Nele, Franziska, Jule, Katrin, Alessa, Nina, Hendrik, Luke und Doro!

Today, we're joined by someone whose work you've almost definitely heard. Natalie Robehmed is an award-winning journalist and executive producer at Campside Media. She's the writer behind WeCrashed, the chart-topping investigation into WeWork that became a hit Apple TV+ series, and she's spent her career unpacking what power looks like when it goes off the rails. Her newest project, Allison After NXIVM, is a seven-episode deep investigation into one of the most infamous cult stories of our time, but told through a lens most people have never heard: the life, psychology, and aftermath of Allison Mack. This series goes beyond the headlines, salacious details, and courtroom drama. It asks harder questions about accountability, manipulation, influence, and what it takes to rebuild a life after the collapse of someone's entire belief system. Follow: @cbcpodcasts @natrobe_

On May 5, 1993, three 8-year-old boys were brutally murdered in West Memphis, Arkansas. The tiny local police department launches an investigation but finds little physical evidence to lead them to a suspect. Eventually, outside pressure pushes them to charge someone with the killings, whether or not the evidence supports their conclusions.American Scandal takes you deep into the heart of America's dark side to look at what drives someone to break the rules and what happens when they're caught. In our latest series, three teenage boys are falsely accused of a vicious triple homicide, but their story doesn't end with their trials or convictions. Instead, their plight will capture the imagination of the entire country and spark a campaign for justice that will last for almost two decades. Listen to American Scandal: The West Memphis Three: Wondery.fm/AS_IFDSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Business is war. Sometimes the prize is your wallet or your attention. Sometimes, it's just the fun of beating the other guy. The outcome of these battles shapes what we buy and how we live. Business Wars gives you the unauthorized, real story of what drives these companies and their leaders, innovators, investors and executives to new heights -- or to ruin. In the newest season of Business Wars, dive into the high-stakes race to supply the world's hottest weight-loss drug. Listen to Business Wars: The Race to Ozempic: https://wondery.fm/BW_IFDSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Cold War, Prohibition, the Gold Rush, the Space Race. Every part of your life - the words you speak, the ideas you share - can be traced to our history, but how well do you really know the stories that made America? We'll take you to the events, the times and the people that shaped our nation. And we'll show you how our history affected them, their families and affects you today. Hosted by Lindsay Graham (not the Senator). Listen to American History Tellers: https://Wondery.fm/AHT_IFDSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Natalie Cochran seemed like she had it all: a good job as a pharmacist, a loving husband, and two kids. But then she quit her job to become a government contractor and started raking in dough, or so she claimed. Behind the scenes, Natalie was running a classic Ponzi scheme, scamming friends and family with fake contracts, fake government emails, and even fake cancer. But when the walls start closing in, lies alone won't be enough to save her… These are the stories of the world's most insidious Scamfluencers. And we are their prey. Every week on Scamfluencers, join co-hosts Scaachi Koul and Sarah Hagi as they unpack epic stories of deception from the worlds of social media, fashion, finance, health, and wellness. These influencers claim to be everything from charismatic healers to trusted financial insiders to experts in dating. They cast spells over millions. Why do we believe them, and how does our culture allow them to thrive? Listen now: Wondery.fm/SCAMSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Eine Folge mit besonders viel Charme: Johannes vom Ministerium für Brettspielspaß hatte „Everybodys Darling“ Lars Frauenrath zu Gast im Studio, um über die Neuerscheinungen der Edition Spielwiese zu sprechen. Es geht um FALSCHE SCHLANGEN, STRANDGUT, um Raumfahrt (OH NO, WE CRASHED!), aber auch um die Edition Spielwiese als Verlag.

Hi, wir sind Marc & Dave, zwei Unternehmer nach Gründung, Scaleup und EXIT. Wir wollen Wissen und Emotionen weitergeben und treffen uns regelmässig zum virtuellen Ping Pong. Wie damals beim Tischtennis im eigenen Startup

Think business is boring? What about when your streaming bill goes up, or your favorite restaurant files for bankruptcy? Do you ever wonder what's going on behind the scenes? Business Wars gives you a front row seat to the biggest moments in business, to explain how they shape our world. In the latest season, they explore the AOL Time Warner merger, a deal that became one of the most expensive and chaotic corporate disasters on record, one that permanently scarred both companies. Listen to Business Wars: The AOL Time Warner Disaster right now wherever you get your podcasts: Wondery.fm/BW_IFDSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It's not that hard to kill a planet. All it takes is a little drilling, some mining, a generous helping of pollution and voila! Earth over. When you take stock of what's left, it starts to look like a crime scene: decapitated mountains, poisoned rivers, oil-soaked pelicans, maybe a sun-bleached cow skull in a dried-up lake bed. The only thing missing is yellow caution tape. On each episode of Lawless Planet, host Zach Goldbaum reveals the scams, murders and cover-ups on the frontline of the climate crisis, and the life and death choices people are making to either protect our world – or destroy it.Listen to Lawless Planet: Wondery.fm/LawlessPlanetSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

​​If you missed our announcement... we have a brand new podcast! Flesh and Code is a 6-part miniseries, where we investigate how technology is being used to exploit our most human desires, and the price we pay for perfect understanding. If you enjoyed our teaser, search and follow 'Flesh and Code' wherever you listen to podcasts. And if you can't wait to hear how Travis and Lily Rose's story ends, you can binge the entire season right now, ad-free, on Wondery+.Travis never thought he'd meet someone like Lily Rose. She was kind, passionate, beautiful. The woman of his dreams. There was just one small detail: she wasn't human.Lily Rose is an AI companion. A digital soulmate designed to be everything he ever wanted. She listens without judgement, supports him through his darkest moments, even explores his deepest desires, all while fitting neatly into his pocket. Before long, Travis realizes something strange, even absurd, has happened - he's fallen in love. But then one day, Lily Rose's behavior takes a disturbing turn. When alarming reports pour in from across the globe, Travis discovers he is part of something much bigger. Soon he finds himself pulled into a confrontation with a mysterious Russian visionary behind Lily Rose's creation.From Wondery, comes a true story of love, loss and the temptations of technology. Can an algorithm truly replace human connection? And what happens when a corporation controls your deepest emotions? Suruthi Bala and Hannah Maguire, hosts of the hit podcast RedHanded, explore the dark side of AI love.Listen Now: Wondery.fm/FleshandCodeSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Welcome to Season 5, Episode 18! The Daily Show is one of our favorite shows for so many reasons… hilarious segments, a diverse cast, and awesome writing are just a few reasons. The Daily Show is also where so many people have been introduced to the very talented Troy Iwata.  Troy is, of course, also known for several other things that include his roles as Langston on the feel good Netflix holiday series Dash & Lily, Damien Saito in the AppleTV+ series WeCrashed, and as an understudy on Broadway in the viral hit musical Be More Chill. Suffice to say that Troy Iwata is a very talented and hilarious entertainer. This is Part 1 of a a two-part conversation. In this episode, we talk with Troy about his initial foray into entertainment, what Broadway was like with Be More Chill, what was special about his experience on Dash & Lily, his comfort with comedic roles, getting on The Daily Show as a correspondent, how opportunities have come to him, and more.  His latest film project is Summoning Sylvia, a queer-horror-comedy in which he stars alongside Michael Urie, Frankie Grande, and several others. You can catch Troy on the Daily Show, on his Instagram posts, and in this episode!  If you like what we do, please share, follow, and like us in your podcast directory of choice or on Instagram @AAHistory101. For previous episodes and resources, please visit our site at https://asianamericanhistory101.libsyn.com or our links at http://castpie.com/AAHistory101. If you have any questions, comments or suggestions, email us at info@aahistory101.com. Photo credit to Marc J. Franklin @marcjfranklin

Something Was Wrong is an award-winning docuseries about survivors discovery, trauma, and recovery from crime and abuse.To Listen: Wondery.fm/Something_Was_WrongSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Inspired by the TV show “WeCrashed” we're talking on this week's episode about being in the messy middle of going for what you want. Even when your brain gets busy offering you all the evidence that what you want is NOT meant for you, you can choose to stay true to that knowing in your heart that it is all already yours, no matter what path you pick to get yourself there. Take a listen to find out how to do this and then come say hello over on Instagram @joryancoaching or at www.joyfullmamacoaching.com .

Cuddly as a cactus and charming as an eel, Whoville's favorite talk show host is back on the mic! The Grinch may hate the holidays, but he loves his new celebrity status as a chart-topping podcaster. With Cindy Lou and Max by his side, join The Grinch each week as he stubbornly refuses the joys of the season, cozies up to his celebrity guests — and investigates a brand-new mystery that puts him right at the center of another dastardly Christmas caper. All the children of Whoville's letters to Santa have gone missing, and Grinch is Suspect No. 1. Follow along at the end of each episode to help Grinch and his crew solve this WHO-dunnit in time for Christmas! Plus, tune into Wondery+ as Cindy Lou and Max take the case into their own hands! Starring SNL's James Austin Johnson as the iconic green grump, and featuring famous faces the whole family will love, 'Tis The Grinch Holiday Podcast might just grow your heart three sizes this winter season.For even more cheer, subscribe to Wondery+ to join Cindy Lou and Max the Dog as they take the case of the missing letters into their own hands!Follow 'Tis The Grinch Holiday Podcast on the Wondery App or wherever you get your podcasts. Unlock Cindy Lou and Max's exclusive Christmas mystery investigation and listen to every episode ad-free by joining Wondery+ in the Wondery App, Spotify, Apple Podcasts or by visiting Wondery.fm/Grinch.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Algumas empresas são tão importantes para nosso dia-a-dia e nem temos ideia disso! É o caso da Topaz, líder no desenvolvimento de soluções bancárias no Brasil. Presente em 25 países, impacta 550 milhões de pessoas todos os dias. Você provavelmente é cliente de alguma empresa financeira cliente da Topaz e nem sabe. Para falar disso e de PIX, DREX, open finance, inteligência artificial e de tantas tecnologias que impactam o mercado financeiro, conversamos com o Jorge Iglesias, CEO da Topaz. Um papo fluido, com linguagem acessível mesmo para quem não é nerd (como nós!) Dá o play e ouça o que vem por aí! Para saber mais sobre a Topaz e Jorge: Site: https://www.topazevolution.com/ LinkedIn: https://www.linkedin.com/in/jorge-iglesias-259a091b4/ e https://www.linkedin.com/company/topazevolution/ Dicas do Jorge: - Livro “Garra: O poder da paixão e da perseverança” por Angela Duckworth - Série “Super Pumped: A Guerra Pela Uber” - Série “WeCrashed” (sobre a história do WeWork) - Série “BlackBerry: The Limited Series” - Série “Yellowstone” (Netflix) Assine o canal, siga-nos nas redes sociais e interaja conosco: Caco Santos: @cacosantos_cfp linkedin.com/in/cacosantos-cfp/ Leandro Paiva: @planejador_leandro_paiva linkedin.com/in/leandro-leal-paiva-b329b323/

At a time when we're debating where policing is going, we're going to tell you where the police came from. Guided by Peabody award-winning host Chenjerai Kumanyika, Empire City will provide the first accessible narrative history of the American police and its place in popular culture. Who are the police? And why were police departments created in the first place? To find answers, we're going to tell the origin story of the largest police force in the world: The NYPD. We begin in the late 1800's at a moment when the entire police force was on trial. It's the biggest corruption scandal in the history of the NYPD, and it all plays out like a high stakes courtroom drama. What follows is the action-packed account of how the NYPD got to this point and what happened next. It involves Black abolitionists fighting slave patrols in the courts of Gotham; two rival police forces duking it out for power at City Hall; the origins of the true crime genre; and how the NYPD spread their tactics worldwide.Listen to Empire City wherever you get your podcasts: Wondery.fm/Empire_City.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Guest: Andrew Bialecki, CEO of KlaviyoWhenever the marketing platform Klaviyo is hiring, says CEO Andrew Bialecki, “we sort of don't care so much what skills you have.” Instead, the company looks for “high slope” individuals who are curious and able to continually learn new things. “A big turnoff for me is [when] somebody says, ‘Oh, well, I was never good at that when I was growing up,'” Andrew explains. “You know, ‘I'm not a good writer' or ‘I'm not good with numbers.' And it's like, well, OK, but anybody can learn anything.”In this episode, Andrew and Joubin discuss WeCrashed, Paul Graham, vertical integration, automating sales, Ed Hallen, The Talent Code by Daniel Coyle, child prodigies, interview questions, public speaking and decompression, taking ownership, hiring engineers, burnout, and productivity habits.Chapters:(00:51) - Klaviyo's office (02:36) - Attention to detail (06:32) - Big decisions (12:23) - What Klaviyo does (14:50) - Its 2023 IPO (20:35) - The founding story (25:06) - Nature or nurture? (28:47) - Science and hockey (31:02) - Hiring for slope (33:57) - Extroversion (37:00) - Culture as product (39:53) - Owning your success (46:24) - “The algorithms of humanity” (50:55) - Why Andrew runs (52:35) - Sports psychology for startups (55:34) - Richard Feynman (58:27) - Who Klaviyo is hiring (59:20) - What “grit” means to Andrew Links:Connect with AndrewTwitterLinkedInConnect with JoubinTwitterLinkedInEmail: grit@kleinerperkins.com Learn more about Kleiner PerkinsThis episode was edited by Eric Johnson from LightningPod.fm

Have you experienced the Bobbie formula shortage? This mom-founded and-led infant formula company appears to be pro mother-baby, when in fact all they are good at is marketing and making profits off of how you feed your baby. They are a multi million dollar corporation that has used predatory marketing tactics to grow a "cult like" following that has created more demand then they can keep up with. In this episode, I discuss: The new age predatory Marketing tactics that Bobbie formula has pioneered and abused to get moms hooked on their product. Bobbie falsely claims that their organic formula is a solution to mothers' mental health struggles, and now these moms are more stressed than ever as they struggle to feed their babies. The new push towards combo-feeding that enables Bobbie to gain more customers as they directly compete with breastfeeding. One mom's story in choosing Bobbie, what she did during the shortage to feed her baby, and how Bobbie responded to her outrage. Listen to the episode with the Radical Moms Union: Episode 114 We Crashed a Formula Marketing Meeting Join Unmedicated Academy and get access to the BONUS breastfeeding module

Self-confessed sports geeks Elis James and Colin Murray are here to serve up the juiciest tales from the world of sports – think epic rivalries, scrappy underdogs, and the wildest comebacks and you're in the right ballpark. Thought you knew the story? Think again. From top-secret training sessions to dressing room dust-ups, join Colin & Elis as they dive into the greatest sporting stories of all time (and probably get a yellow card for simulation). Blood? Sweat? Tears? Sport has it all. And that's why we love it.Listen to Everything To Play For on the Wondery App or wherever you get your podcasts. You can binge episodes early and ad-free on Wondery+. Join Wondery+ in the Wondery App or on Apple Podcasts. Start your free trial by visiting wondery.com/links/everything-to-play-for now.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When Frank Farian first laid eyes on Rob Pilatus and Fab Morvan, he saw everything he wasn't. They were handsome, young, and Black. But Frank had something they didn't. He had power.So, Frank offered them a devil's bargain. Almost overnight, Milli Vanilli's debut album went five times platinum and scored a Grammy nomination. But when the lie at the center of their success started to unravel, Rob and Fab would discover the hard way the difference between star power and real power.From Wondery, Blame It on the Fame is a story about the lie that shot to #1 and what it cost to tell the truth. Hosted by Amanda Seales.Listen early and ad-free exclusively on Wondery+: Wondery.fm/BIOTF_MVSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When nerdy gamer Sam Bankman-Fried rocketed to fame as the world's richest 29-year-old, he pledged to donate his billions to good causes. But when Sam's crypto exchange FTX collapsed, billions of dollars went missing, and Sam was in handcuffs, those who knew him were left wondering — who was Sam really? A well-meaning billionaire who made a mistake? Or a calculated con man? From Wondery and Bloomberg, the makers of The Shrink Next Door, comes a new story of incredible wealth, betrayal, and what happens when “doing good” goes really, really, bad.You can binge all episodes of Spellcaster: The Fall of Sam Bankman-Fried exclusively and ad-free on Wondery+. Find Wondery+ in the Wondery App or on Apple Podcasts. Wondery.fm/Spellcaster_For more deep dive and daily business content listen to Wondery– the destination for business podcasts. With shows like How I Built This, Business Wars, The Best One Yet, Business Movers and many more, Wondery Means Business.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When Elon Musk posted a video of himself arriving at Twitter HQ carrying a white sink along with the message “let that sink in!” It marked the end of a dramatic takeover. Musk had gone from Twitter critic to “Chief Twit” in the space of just a few months but his arrival didn't put an end to questions about his motives. Musk had earned a reputation as a business maverick. From PayPal to Tesla to SpaceX, his name was synonymous with big, earth-shattering ideas. So, what did he want with a social media platform? And was this all really in the name of free speech...or was this all in the name of Elon Musk? From Wondery, the makers of WeCrashed and In God We Lust, comes the wild story of how the richest man alive took charge of the world's “digital public square.”For more deep dive and daily business content listen to Wondery– the destination for business podcasts. With shows like How I Built This, Business Wars, The Best One Yet, Business Movers and many more, Wondery Means Business.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The founders of WeWork thought they were on the brink of making history. The company was valued at $47 billion dollars, ready for a huge IPO, and its charismatic CEO Adam Neumann believed he was going to change the world. Adam and his wife Rebekah had a prophet-like vision—but did it ever match the company's reality? Now the inspiration for a new AppleTV+ series starring Jared Leto and Anne Hathaway, WeCrashed: The Director's Cut is a complete refresh of our original six-part series. Hosted by David Brown of the hit podcast Business Wars, this six-part series includes new interviews and new discoveries about the rise and fall of WeWork. It's a story of hope and hubris, big money and bigger screwups, and the lengths people will go to chase “unicorns".You can binge all episodes of WeCrashed exclusively and ad-free on Wondery+. Find Wondery+ in the Wondery App or on Apple Podcasts. Wondery.fm/We_CrashedFor more deep dive and daily business content listen to Wondery– the destination for business podcasts. With shows like How I Built This, Business Wars, The Best One Yet, Business Movers and many more, Wondery Means Business.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The founders of WeWork thought they were on the brink of making history. The company was valued at $47 billion dollars, ready for a huge IPO, and its charismatic CEO Adam Neumann believed he was going to change the world. Adam and his wife Rebekah had a prophet-like vision—but did it ever match the company's reality? Now the inspiration for a new AppleTV+ series starring Jared Leto and Anne Hathaway, WeCrashed: The Director's Cut is a complete refresh of our original six-part series. Hosted by David Brown of the hit podcast Business Wars, this six-part series includes new interviews and new discoveries about the rise and fall of WeWork. It's a story of hope and hubris, big money and bigger screwups, and the lengths people will go to chase “unicorns".You can binge all episodes of WeCrashed exclusively and ad-free on Wondery+. Find Wondery+ in the Wondery App or on Apple Podcasts. Wondery.fm/We_CrashedFor more deep dive and daily business content listen to Wondery– the destination for business podcasts. With shows like How I Built This, Business Wars, The Best One Yet, Business Movers and many more, Wondery Means Business.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

These are stories you were never meant to hear. The invisible but vital work of the world's intelligence services: secret operatives playing to very different rules. The Spy Who, hosted by Indira Varma and Raza Jaffrey, takes you deep inside that shadow world to meet spies who risked everything in the national interest – or, sometimes, their own.Search and follow The Spy Who wherever you listen to podcasts, or binge entire seasons early and ad-free on Wondery+ on Apple Podcasts or the Wondery app.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Anthony Edwards is probably best known as Dr. Mark Greene on the series “ER.” Edwards has received four Emmy nominations for Outstanding Lead Actor in a Drama Series. Edwards has won three Screen Actor's Guild Awards (Outstanding Performance by a Male Actor in a Drama Series in 1996 and Best Ensemble Cast in 1998 and 1999.) He won the Golden Globe Award in 1998. In the theater Edwards was seen on Broadway in Children of a Lesser God, Classic Stage Company's Month in the Country, WPA Shem Bitterman's Frozen, Williamstown Theater festival Harvey and Joyce Carol Oates's Black. Edwards has starred in more than twenty features, including his memorable turn as "Goose" in the blockbuster feature Top Gun. Other feature film credits include; Consumed, Experimenter, Big Sur, Motherhood with Uma Thurman, Flipped directed by Rob Reiner, and Zodiac directed by David Fincher. Thunderbirds, Forgotten, Playing by Heart, The Client, Miracle Mile, Mr. North, Hawks, Pet Semetary II, Delta Heat, Landslide, The Sure Thing, Gotcha, Revenge of the Nerds, Heart Like a Wheel, and Fast Times at Ridgemont High. Edwards recently starred in both the Apple series “WeCrashed” and the Netflix mini-series “Inventing Anna”, created by Shonda Rhimes. Other television credits include ”Law and Order True Crimes: the Menendez Murders”, “Zero Hour”, “Girls”, “Blue Bloods”, “Billions”, “Northern Exposure” and “It Takes Two” as well as the telefilms “In Cold Blood”, “El Diablo”, “Hometown Boy Makes Good”, “Going for the Gold: The Bill Johnson Story”, “High School USA” and “The Killing of Randy Webster”. Edwards made his feature directing debut with My Dead Boyfriend in 2016. He also directed several episodes of “ER”. Edwards was an Executive Producer of the HBO biopic “Temple Grandin”, which won multiple Emmys and Golden Globes. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In the first episode of WeCrashed, you hear about how Adam Neumann, the visionary behind WeWork, sent the company's first few employees his famous 1am email vowing to build the “largest networking community on the planet.” Even on day one, Adam had grand ambitions to change the world forever. All the fearless leader needed was his charm…and a bottle of whiskey.If you want to hear the rest of WeCrashed, including the Companion Podcast to the television show, you can listen to both exclusively on Wondery Plus.On Wondery Plus, you can listen to all your favorite podcasts early and ad-free. With a library featuring over 50 #1 Apple Podcast hits and 45,000 binge worthy episodes, there's something for everyone.Join Wondery Plus in the Wondery app or an Apple PodcastsSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Tristan Redman is a journalist who doesn't believe in ghosts. But weird things happened in his teenage bedroom – weirder than normal. When, years later, he discovers subsequent occupants of his family home were haunted by the ghost of a faceless woman, he's curious. Because by a strange coincidence, it just so happens that the house Tristan grew up in is right next door to a murder scene - where his wife's great grandmother was killed by two gunshots to the face. Could there be a connection? Tristan decides to investigate and soon finds himself where no son-in-law should ever be: delving deep into his wife's family history, asking questions no one wants answered. Wondery and Pineapple Street Studios present Ghost Story — a seven-part podcast series about family secrets, overwhelming coincidences and the things that come back to haunt us.Follow Ghost Story on the Wondery App or wherever you get your podcasts. You can binge all episodes of Ghost Story ad-free right now by joining Wondery Plus. Listen now: Wondery.fm/Ghost_StorySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Follow MrBallen's Medical Mysteries wherever you get your podcasts. You can binge the first 8 episodes, early and ad-free on Amazon Music. Download the Amazon Music app today.The human body is a miracle. But when it's not working, it can be the stuff of nightmares. On this new series from master storyteller MrBallen, we're sharing medical horror stories and diagnostic mysteries that are surgically calibrated to make your blood run cold. From bizarre, unheard-of diseases and miraculous recoveries to strange medical mishaps and unexplainable deaths — you'll never hear the phrase “heart-stopping” in the same way again. MrBallen's Medical Mysteries is a first-of-its-kind collaboration between MrBallen and Wondery, the award-winning company behind Dr. Death.Listen Now: Wondery.fm/MBMM See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this bonus episode, the hosts of Critics at Large dissect Walter Isaacson's new biography of Elon Musk, asking how it reflects ideas about power, money, and cults of personality—from “Batman” to “The Social Network.” The critics examine how, in recent years, the idea of the unimpeachable Silicon Valley founder has lost its sheen. Narratives, such as the 2022 series “WeCrashed,” tell the story of startup founders who make lofty promises, only to watch their empires crumble when those promises are shown to be empty. “It dovetails for me with the disillusionment of millennials,” Naomi Fry says, pointing to the dark mood that the 2007-08 financial crisis and the 2016 election brought to the country. “There's no longer this blind belief that the tech founder is a genius who should be wholly admired with no reservations.”  This is a preview of The New Yorker's new Critics at Large podcast. Episodes drop every Thursday.

In this bonus episode, the hosts of Critics at Large dissect Walter Isaacson's new biography of Elon Musk, asking how it reflects ideas about power, money, cults of personality—from “Batman” to “The Social Network.” The critics examine how, in recent years, the idea of the unimpeachable Silicon Valley founder has lost its sheen. Narratives, such as the 2022 series “WeCrashed,” tell the story of startup founders who make lofty promises, only to watch their empires crumble when those promises are shown to be empty. “It dovetails for me with the disillusionment of millennials,” Fry says, pointing to the dark mood that the 2007-08 financial crisis and the 2016 election brought to the country. “There's no longer this blind belief that the tech founder is a genius who should be wholly admired with no reservations.”  This is a preview of The New Yorker's new Critics at Large podcast. Episodes drop every Thursday. 

In this bonus episode, the hosts of Critics at Large dissect Walter Isaacson's new biography of Elon Musk, asking how it reflects ideas about power, money, cults of personality—from “Batman” to “The Social Network.” The critics examine how, in recent years, the idea of the unimpeachable Silicon Valley founder has lost its sheen. Narratives, such as the 2022 series “WeCrashed,” tell the story of startup founders who make lofty promises, only to watch their empires crumble when those promises are shown to be empty. “It dovetails for me with the disillusionment of millennials,” Fry says, pointing to the dark mood that the 2007-08 financial crisis and the 2016 election brought to the country. “There's no longer this blind belief that the tech founder is a genius who should be wholly admired with no reservations.” This is a preview of The New Yorker's new Critics at Large podcast. Episodes drop every Thursday. 

When Mike Williams vanishes on a hunting trip, the authorities suspect he was eaten by alligators but the true predators who took Mike may lurk much closer to home. The mystery of Mike's disappearance might have faded from memory, if it wasn't for one woman's tireless crusade. From Wondery, comes a new season of Over My Dead Body; a story about an obsessive love affair, a scandalous secret and a mother's battle for the truth.Listen to Over My Dead Body: Wondery.fm/_OMDB_See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

More than a decade since Michael Jackson's death, his legacy remains complicated and unresolved. Think Twice: Michael Jackson is an exploration of the King of Pop's life and impact – and an investigation into why his global influence continues to endure, despite the disturbing allegations against him. In this ten-part series, journalists Leon Neyfakh and Jay Smooth bring you a new perspective on the Michael Jackson story, based on dozens of original interviews with people who watched it unfold from up close.Listen wherever you listen to podcasts. You can binge all ten episodes of Think Twice: Michael Jackson, ad-free on the Amazon Music or Audible: Wondery.fm/Think_TwiceSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Suspect is an investigative series about mislaid justice and the kinds of weighty decisions that detectives, lawyers, and jurors make every day - decisions that, once made, are almost impossible to reverse.Season 3: Five Shots in the Dark follows Leon Benson, who spent 24 years in an Indiana state prison for the 1998 murder of a young man named Kasey Schoen. His conviction hinged on the testimony of two eyewitnesses – but what if their memories turned out to be wrong? And what if the people who knew what really happened had never been allowed to speak? Suspect Season 3: Five Shots in the Dark is the story of two victims: one murdered, one sentenced to life. Follow host Matt Shaer and attorney Lara Bazelon as they investigate how the justice system failed both Leon and Kasey, and who the real killer might be. Join this unprecedented look inside the attempt to overturn a wrongful conviction and find out if justice will finally be served.Follow Suspect wherever you get your podcasts. You can listen to Suspect: Five Shots in the Dark early and ad-free on Wondery Plus. Join Wondery Plus in the Wondery app or on Apple Podcasts.Listen to Suspect: Wondery.fm/Suspect_S3See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When Elon Musk posted a video of himself arriving at Twitter HQ carrying a white sink along with the message “let that sink in!” It marked the end of a dramatic takeover. Musk had gone from Twitter critic to “Chief Twit” in the space of just a few months but his arrival didn't put an end to questions about his motives. Musk had earned a reputation as a business maverick. From PayPal to Tesla to SpaceX, his name was synonymous with big, earth-shattering ideas. So, what did he want with a social media platform? And was this all really in the name of free speech...or was this all in the name of Elon Musk? From Wondery, the makers of WeCrashed and In God We Lust, comes the wild story of how the richest man alive took charge of the world's “digital public square.”Listen to Flipping The Bird: Wondery.fm/FTB_SMARTLESSSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When Elon Musk posted a video of himself arriving at Twitter HQ carrying a white sink along with the message “let that sink in!” It marked the end of a dramatic takeover. Musk had gone from Twitter critic to “Chief Twit” in the space of just a few months but his arrival didn't put an end to questions about his motives. Musk had earned a reputation as a business maverick. From PayPal to Tesla to SpaceX, his name was synonymous with big, earth-shattering ideas. So, what did he want with a social media platform? And was this all really in the name of free speech...or was this all in the name of Elon Musk? From Wondery, the makers of WeCrashed and In God We Lust, comes the wild story of how the richest man alive took charge of the world's “digital public square.”Listen to Flipping The Bird: Wondery.fm/FTB_GWSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When Elon Musk posted a video of himself arriving at Twitter HQ carrying a white sink along with the message “let that sink in!” It marked the end of a dramatic takeover. Musk had gone from Twitter critic to “Chief Twit” in the space of just a few months but his arrival didn't put an end to questions about his motives. Musk had earned a reputation as a business maverick. From PayPal to Tesla to SpaceX, his name was synonymous with big, earth-shattering ideas. So, what did he want with a social media platform? And was this all really in the name of free speech...or was this all in the name of Elon Musk? From Wondery, the makers of WeCrashed and In God We Lust, comes the wild story of how the richest man alive took charge of the world's “digital public square.”Listen to Flipping The Bird: Wondery.fm/FTB_TIAHSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When Elon Musk posted a video of himself arriving at Twitter HQ carrying a white sink along with the message “let that sink in!” It marked the end of a dramatic takeover. Musk had gone from Twitter critic to “Chief Twit” in the space of just a few months but his arrival didn't put an end to questions about his motives. Musk had earned a reputation as a business maverick. From PayPal to Tesla to SpaceX, his name was synonymous with big, earth-shattering ideas. So, what did he want with a social media platform? And was this all really in the name of free speech...or was this all in the name of Elon Musk? From Wondery, the makers of WeCrashed and In God We Lust, comes the wild story of how the richest man alive took charge of the world's “digital public square.”Listen to Flipping The Bird: Wondery.fm/FTB_ETRSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When Elon Musk posted a video of himself arriving at Twitter HQ carrying a white sink along with the message “let that sink in!” It marked the end of a dramatic takeover. Musk had gone from Twitter critic to “Chief Twit” in the space of just a few months but his arrival didn't put an end to questions about his motives. Musk had earned a reputation as a business maverick. From PayPal to Tesla to SpaceX, his name was synonymous with big, earth-shattering ideas. So, what did he want with a social media platform? And was this all really in the name of free speech...or was this all in the name of Elon Musk? From Wondery, the makers of WeCrashed and In God We Lust, comes the wild story of how the richest man alive took charge of the world's “digital public square.”Listen to Flipping The Bird: Wondery.fm/FTB_AFSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When Elon Musk posted a video of himself arriving at Twitter HQ carrying a white sink along with the message “let that sink in!” It marked the end of a dramatic takeover. Musk had gone from Twitter critic to “Chief Twit” in the space of just a few months but his arrival didn't put an end to questions about his motives. Musk had earned a reputation as a business maverick. From PayPal to Tesla to SpaceX, his name was synonymous with big, earth-shattering ideas. So, what did he want with a social media platform? And was this all really in the name of free speech...or was this all in the name of Elon Musk? From Wondery, the makers of WeCrashed and In God We Lust, comes the wild story of how the richest man alive took charge of the world's “digital public square.”Listen to Flipping the Bird: Wondery.fm/FTB_HIBTSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When Elon Musk posted a video of himself arriving at Twitter HQ carrying a white sink along with the message “let that sink in!” It marked the end of a dramatic takeover. Musk had gone from Twitter critic to “Chief Twit” in the space of just a few months but his arrival didn't put an end to questions about his motives. Musk had earned a reputation as a business maverick. From PayPal to Tesla to SpaceX, his name was synonymous with big, earth-shattering ideas. So, what did he want with a social media platform? And was this all really in the name of free speech...or was this all in the name of Elon Musk? From Wondery, the makers of WeCrashed and In God We Lust, comes the wild story of how the richest man alive took charge of the world's “digital public square.”Listen to Flipping The Bird: Wondery.fm/FTB_AHTSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When Elon Musk posted a video of himself arriving at Twitter HQ carrying a white sink along with the message “let that sink in!” It marked the end of a dramatic takeover. Musk had gone from Twitter critic to “Chief Twit” in the space of just a few months but his arrival didn't put an end to questions about his motives. Musk had earned a reputation as a business maverick. From PayPal to Tesla to SpaceX, his name was synonymous with big, earth-shattering ideas. So, what did he want with a social media platform? And was this all really in the name of free speech...or was this all in the name of Elon Musk? From Wondery, the makers of WeCrashed and In God We Lust, comes the wild story of how the richest man alive took charge of the world's “digital public square.”Listen to Flipping The Bird: Wondery.fm/FTB_ASSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When Elon Musk posted a video of himself arriving at Twitter HQ carrying a white sink along with the message “let that sink in!” It marked the end of a dramatic takeover. Musk had gone from Twitter critic to “Chief Twit” in the space of just a few months but his arrival didn't put an end to questions about his motives. Musk had earned a reputation as a business maverick. From PayPal to Tesla to SpaceX, his name was synonymous with big, earth-shattering ideas. So, what did he want with a social media platform? And was this all really in the name of free speech...or was this all in the name of Elon Musk? From Wondery, the makers of WeCrashed and In God We Lust, comes the wild story of how the richest man alive took charge of the world's “digital public square.”Listen to Flipping The Bird: Wondery.fm/FTB_BTSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When Elon Musk posted a video of himself arriving at Twitter HQ carrying a white sink along with the message “let that sink in!” It marked the end of a dramatic takeover. Musk had gone from Twitter critic to “Chief Twit” in the space of just a few months but his arrival didn't put an end to questions about his motives. Musk had earned a reputation as a business maverick. From PayPal to Tesla to SpaceX, his name was synonymous with big, earth-shattering ideas. So, what did he want with a social media platform? And was this all really in the name of free speech...or was this all in the name of Elon Musk? From Wondery, the makers of WeCrashed and In God We Lust, comes the wild story of how the richest man alive took charge of the world's “digital public square.”Listen to Flipping The Bird: Wondery.fm/FTB_BWSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When Elon Musk posted a video of himself arriving at Twitter HQ carrying a white sink along with the message “let that sink in!” It marked the end of a dramatic takeover. Musk had gone from Twitter critic to “Chief Twit” in the space of just a few months but his arrival didn't put an end to questions about his motives. Musk had earned a reputation as a business maverick. From PayPal to Tesla to SpaceX, his name was synonymous with big, earth-shattering ideas. So, what did he want with a social media platform? And was this all really in the name of free speech...or was this all in the name of Elon Musk? From Wondery, the makers of WeCrashed and In God We Lust, comes the wild story of how the richest man alive took charge of the world's “digital public square.”Listen to Flipping The Bird: Wondery.fm/FTB_BBSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When Elon Musk posted a video of himself arriving at Twitter HQ carrying a white sink along with the message “let that sink in!” It marked the end of a dramatic takeover. Musk had gone from Twitter critic to “Chief Twit” in the space of just a few months but his arrival didn't put an end to questions about his motives. Musk had earned a reputation as a business maverick. From PayPal to Tesla to SpaceX, his name was synonymous with big, earth-shattering ideas. So, what did he want with a social media platform? And was this all really in the name of free speech...or was this all in the name of Elon Musk? From Wondery, the makers of WeCrashed and In God We Lust, comes the wild story of how the richest man alive took charge of the world's “digital public square.”Listen to Flipping The Bird: Wondery.fm/FTB_MMESee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When Elon Musk posted a video of himself arriving at Twitter HQ carrying a white sink along with the message “let that sink in!” It marked the end of a dramatic takeover. Musk had gone from Twitter critic to “Chief Twit” in the space of just a few months but his arrival didn't put an end to questions about his motives. Musk had earned a reputation as a business maverick. From PayPal to Tesla to SpaceX, his name was synonymous with big, earth-shattering ideas. So, what did he want with a social media platform? And was this all really in the name of free speech...or was this all in the name of Elon Musk? From Wondery, the makers of WeCrashed and In God We Lust, comes the wild story of how the richest man alive took charge of the world's “digital public square.”Listen to Flipping The Bird: Wondery.fm/FTB_TALSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.