Podcasts about writers

In this episode of the Game Deflators Podcast, John and Ryan dive into a packed week of gaming chatter. They kick things off with their latest pickups and what's been spinning in their consoles, including early impressions of the charming new adventure Plucky Squire. The conversation heats up as they break down the Xbox Developer Direct 2026, spotlighting standout announcements and examining how Ubisoft's recent wave of project cancellations could reshape the industry. Amid the news roundup, the duo tackles one of the week's biggest talking points: rumors that the PlayStation 6 may launch as a hybrid console, blending traditional power with portable flexibility. They explore what this could mean for Sony's strategy and how it might shift the competitive landscape. To wrap things up, John and Ryan jump into a deep-dive inflation–deflation challenge featuring Final Fantasy XIII, dissecting its combat, visuals, legacy, and whether its current market value holds up today. 00:00 Introduction to the Game Deflators Podcast 01:54 Game Pickups and Current Playthroughs 05:20 Challenges in Prince of Persia 07:30 Exploring Plucky Squire 10:51 Nostalgia and Movie References 12:21 Speedrunning and Game Challenges 17:09 Discussion on Game Licensing and Pricing 20:45 The Future of Portable Consoles 29:19 Xbox Developer Direct 2026 Insights 38:46 The Evolution of Pokémon Games 42:48 Excitement for Fable's Return 45:36 The Future of Fable: Choice and Consequence 47:35 Ubisoft's Project Cancellations and Studio Closures 49:55 The Downward Spiral of Ubisoft: Management Issues 54:32 Final Fantasy XIII: A Mixed Legacy   Find us on TheGameDeflators.com Twitter - www.twitter.com/GameDeflators Facebook - www.facebook.com/TheGameDeflators Instagram - www.instagram.com/thegamedeflators   The views and opinions expressed on this channel are solely those of the author. The content within these recordings are property of their respective Designers, Writers, Creators, Owners, Organizations, Companies and Producers. Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted. Permission for intro and outro music provided by Matthew Huffaker http://www.youtube.com/user/teknoaxe 2_25_18

Translator, performance artist, writer, and educator Haleh Liza Gafori on translating Rumi with fidelity and music, and what his poetry can teach us about liberation, attention, and love.You'll learn:Habits Haleh uses to re-centre and get quiet enough to work. How she learned to trust sound and rhythm first, and let meaning arrive through the ear. The moment she realised she needed to make her own translations, and what triggered that decision. A simple test for “is this translation working?”, including why one wrong image can flip the whole poem. Principles Haleh uses to keep translations clear, musical, and emotionally true in English. What an editor can mean by “find your voice,” and how to develop a consistent voice as a translator. How to work with old texts honestly, including naming what doesn't align with your ethics today. What Rumi can teach modern readers about attention, ego, and compassion in daily life. How love shows up in Rumi as a discipline, not a vibe, and why that matters in hard times. What Haleh is building next, and how teaching can deepen (not dilute) your creative practice. About Haleh Liza Gafori:Haleh Liza Gafori is a New York City-born translator, performance artist, writer, and educator of Persian descent. A 2024 MacDowell fellow, she has translated the poetry of the Persian mystic and sage Rumi. Her book of translations, Gold: Poems by Rumi, was published by New York Review Books in 2022. Her second volume of translations, Water: Poems by Rumi, was released in 2025, also by NYRB Classics. Supported by an NYSCA grant, Gafori has created a musical and cross-media performance based on the book, and has presented her work through performances, lectures, and workshops at institutions such as Lincoln Center, Stanford University, the Academy of American Poets, and Sarah Lawrence College. Her book of translations Gold has been incorporated into curricula at universities across the country. For show notes, transcripts and to attend our live podcasts visit: podcast.londonwriterssalon.com.For free writing sessions, join free Writers' Hours: writershour.com.*FOLLOW LONDON WRITERS' SALONTwitter: twitter.com/​​WritersSalonInstagram: instagram.com/londonwriterssalonFacebook: facebook.com/LondonWritersSalonIf you're enjoying this show, please rate and review this show!

Send us a textWhat happens in Vegas stays in Vegas? Not today. Welcome, everyone, to part one of my interview with retired Las Vegas Metropolitan Police Department Sergeant Jenn Benjamins. The conclusion of this interview will be next Sunday!Jenn Benjamins is a retired sergeant from the Las Vegas Metropolitan Police Department with nearly 22 years of real-world experience in patrol, case investigations, and covert/undercover operations.She began her career in patrol before moving into Community Oriented Policing, serving in one of the newest area commands in the oldest, most historic parts of Las Vegas. Her interest in undercover work led her to the Vice Section, where she refused to be limited by traditional expectations. While excelling in female undercover roles, Jenn was determined - and succeeded - in working undercover alongside her male counterparts. She went on to develop a specialized training program within the Vice Section, implement policy, and conduct department-wide training on vice crimes and related laws.Throughout her career, Jenn worked a wide variety of undercover assignments throughout Las Vegas, collaborating not only with specialized units such as narcotics but also with federal partners, including the ATF, DEA, and FBI. Recognizing a critical need, Jenn founded Covert Blue, where she makes it her mission to provide specialized training for women in undercover roles - programs that build technical expertise while also addressing the unique dynamics and challenges women face in the field.Please enjoy this eye-opening, entertaining, and informative interview with someone who has lived a life that is found more often in movies and books.  In today's episode, we discuss:·      Where and how she got interested in law enforcement. ·      Why be a cop in Vegas?·      Jenn's experience in the police academy being one of the few females in her class.·      Her first day of field training.·      An armed suspect firing at an airship on her first assignment.·      Her first day going out solo when she finished field training. ·      First time riding the lightning (Taser) during training.·      Jenn's crazy pepper spray story.·      How soon she started doing undercover work. Was she ready?·      Her first time being an undercover prostitute and an interesting question she didn't know how to answer.·      Arresting pimps and other prostitutes for pandering. All of this and more on today's episode of the Cops and Writers podcast.Check out Jenn's website!Visit the Cops & Writers Website!Support the show

When writer Rachel Eliza Griffiths married Salman Rushdie in 2021, she expected her wedding  day to be joyful. But the joy was invaded by tragedy, when she got the news her best friend had died. Eleven months later, Rushdie was stabbed and nearly killed onstage. Griffiths describes that year in her new memoir, ‘The Flower Bearers.'Also, we hear from Pulitzer Prize–winning playwright Quiara Alegría Hudes, writer of ‘In the Heights,' ‘Water by the Spoonful,' and the memoir ‘My Broken Language.'  Her new novel, ‘The White Hot,' tells the story of a young mother who buys a one-way bus ticket and leaves her 10 year-old daughter behind. Plus, film critic Justin Chang reviews ‘Sound of Falling,' which is shortlisted for an Oscar for Best International Feature.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Charlotte and Jo spring into the new year with a conversation about ancient poetry: Beowulf, The Iliad, and Dante's Inferno as translated by Mark Musa, Mary Jo Bang, and Danny Lavery. They're then joined by the wise and wonderful Hanif Abdurraqib who—after sharing a scoop about what series of book he reads every year (!)—reflects on the formative impacts of his encounter with Gloria Naylor's The Women of Brewster Place. Other titles discussed: Toni Morrison's Jazz, Bebe Moore Campbells' Your Blues Ain't Like Mine, Lloyd Alexander's The Chronicles of Prydain. Hanif Abdurraqib is a writer from the east side of Columbus, Ohio.Danny Lavery's translations of The Inferno can be found here.Please consider supporting our work on Patreon, where you can access additional materials and send us your guest (and book!) coverage requests. Questions and kind comments can be directed to readingwriterspod at gmail dot com.Charlotte Shane's most recent book is An Honest Woman. Her essay newsletter, Meant For You, can be subscribed to or read online for free. Her social media handle is @charoshane.  Jo Livingstone is a writer who teaches at Pratt Institute.To support the show, navigate to https://www.patreon.com/ReadingWritersAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Outlouders, welcome to the third and final instalment of our Summer Book Club where we’re going out strong.

Writers of the Future first readers Leah Ning, Martin Shoemaker, Eric James Stone, and Coordinating Judge Jody Lynn Nye answer questions submitted by Contest entrants on what is looked for in stories submitted to the Contest. What excites them. What turns them off. What determines an Honorable Mention, Silver Honorable Mention, and Finalist. How stories are handled in genres that aren't their favorite. And dozens of other questions.

We welcome author Shelley Dark to the show! After a lifetime raising cattle on Queensland's Granite Belt, Shelley and her husband swapped the bush for the Sunshine Coast of Queensland Australia. She's an award-winning Australian author who travels as often as she can and enjoys iPhone photography. She's a member of the ALLWRiTE Club and Writers on the Coast Noosa—a generous community of writers whose work and thinking continually stretches her own.Her books include Hydra in Winter (2024), awarded a Gold Medal at the Global Book Awards 2025 (Biographical—Traveler & Explorer), about her trip to the Greek island of Hydra to uncover her husband's ancestor, Ghikas Voulgaris—Australia's first Greek convict pioneer. And Son of Hydra (2025), awarded a Silver Medal at the Global Book Awards 2025 (Historical Fiction), inspired by his extraordinary life. Next will come Daughter of Cork, the story of his Irish wife, along with another exciting new narrative non-fiction. Her short fiction appears in anthologies. Join us in getting to know Shelley!WebsiteFacebookInstagramSon of Hydra on AmazonHear more on GreekAF!

On today's program, Cities Church in Minneapolis is considering legal options after protestors stormed its church service Sunday in response to the government's immigration measures in the city. We'll have details. And, philanthropists are turning to family offices to manage their wealth—but what are they, why have they grown so much in the past decade, and how will it impact ministries? We'll take a look.  Plus, Missouri passed a law to hold boarding schools accountable after several were shut down over allegations of neglect and abuse. Now, another ministry is fighting that law, saying its broad requirements are infringing on its religious freedom. But first, Apologia Church in Arizona is suing a former member for defamation. The former member made videos, claiming church leadership mishandled confidential marriage counseling information. The producer for today's program is Jeff McIntosh. We get database and other technical support from Stephen DuBarry, Rod Pitzer, and Casey Sudduth. Writers who contributed to today's program include Bob Smietana, Jessica Eturralde, Kim Roberts, Tony Mator, Christina Darnell, and Warren Smith. You've been listening to the MinistryWatch podcast. Until next time, may God bless you.

More title nerdery, more poetic mischief! In this episode we keep digging into poem titles with Dante Di Stefano—how a title frames the reader, flips the meaning, or sets the trap door. We continue to unpack Dante's Poets & Writers essay. Warning: you may immediately rename a draft of your own!At the table:Katie DozierTimothy GreenDante Di StefanoBrian O'SullivanDick Westheimer

Welcome to the Writers Series on Voices on the Side! As part of celebrating my upcoming book - Mom, Unfiltered: Maternal Mental Health and Finding Freedom through Motherhood - I'll be focusing the podcast on conversations with fellow writers. From authors to essayists to journalists and professors, we are going to be talking about all things writing. In this first episode of the series, Joon Ae takes the position of host and interviewer and asks me about the book and how I became a writer. If you have a favorite writer you'd love to hear from or a specific question you're wondering about, leave it for me in the reviews (Apple) or comments (Spotify). Joon Ae websiteLeah website

This week Andrew talks with New York Times bestselling author Sarah McCoy.  Sarah shares a behind-the-scenes look at her creative process as well as many of the moments & experiences that have shaped her personally and professionally. You'll hear about Sarah's now decade-plus long pen pal relationship with former actress Dolores Hart – and the profound impact the correspondence has had on both of their lives. This conversation is a powerful reminder of what's possible when we seek connection, follow our curiosities, & lift others up along the way. ** Follow Andrew **Instagram: @AndrewMoses123X: @andrewhmosesSign up for e-mails to keep up with the podcast at everybodypullsthetarp.com/newsletterDISCLAIMER: This podcast is solely for educational & entertainment purposes. It is not intended to be a substitute for the advice of a physician, psychotherapist, or other qualified professional.

Kavita Das is a an author and mother who has worked for social change for close to fifteen years, addressing issues ranging from community and housing inequities, to public health disparities, to racial injustice. Her first book Poignant Song: The Life and Music of Lakshmi Shankar tells the life story of Grammy-nominated Hindustani singer Lakshmi Shankar.Kavita has been a regular contributor to NBC News Asian America, Los Angeles Review of Books, and The Rumpus. In addition, her work has been published in Salon, WIRED, Poets & Writers, Catapult, LitHub, Tin House, Longreads, Kenyon Review, The Washington Post, The Atlantic, Guernica, McSweeney's, Fast Company, Quartz, Colorlines, Romper, and elsewhere. Kavita created the popular “Writing About Social Issues” nonfiction seminar, which inspired Craft and Conscience, and has taught at the New School and continues to teach across multiple venues and serve as a guest lecturer. Kavita Das is currently a Masters in Fine Arts candidate in creative nonfiction and screenwriting at Antioch University where she is the Eloise Klein Healy Scholar. Previously, she received a B.A. in Urban Studies from Bryn Mawr College. She lives in her hometown of New York City and tries to keep up with the city that never sleeps and her six-year-old daughter Daya.

Stranger Things Season Finale Review through a writer's eyes and a fan's heart.In this episode of Unwritten Chapters I break down what the Stranger Things finale does right and what most people miss on a first watch. Not plot trivia. Not outrage. The craft. The choices. The emotional beats that land hardest when you've lived through stress grief addiction recovery or the kind of work that makes you carry other people's pain.If you're a first responder a veteran a trauma literate human who is burnt out but still trying to stay soft this one is for you.I talk about:Why the ending hits so deep when you're exhaustedWhat the finale reveals about grief hope and survivalThe writing moves that make it workWhat I would steal as an author and what I would changeWhy this story connects with mental health and recoveryIf you love Stranger Things and you're also a writer reader creative or just someone trying to make sense of life after hard years you'll feel seen here.Drop a comment with the moment that got you. I read them all.

On a new episode of "The Show," Joel Sherman & Jon Heyman are joined by Dylan Hernandez & Jack Harris, our Dodgers writers for the new California Post. Joel & Jon talk to them about coming aboard The Post, if the Dodgers have an unlimited budget and if there's a scenario where this season goes poorly for LA. Plus, Joel & Jon grade the Mets pivot from Kyle Tucker to Bo Bichette and Luis Robert Jr, discuss why there's no other place that makes nearly as much sense for Cody Bellinger as the Yankees (recorded before he re-signed) & dive into the Hall of Fame results. 0:00 Intro 1:57 Grading Mets Pivot From Kyle Tucker To Bo Bichette 8:50 Kyle Tucker Signs With Dodgers 12:25 Mets Trade For Luis Robert Jr. 17:17 Yankees-Cody Bellinger Update 20:14 California Post Dodgers Writers Dylan Hernandez + Jack Harris Join The Show! 52:57 Hit Or Error - Hall Of Fame Learn more about your ad choices. Visit megaphone.fm/adchoices

Click Here to ask your book writing and publishing questions!An elementary school librarian by day. A writer by night (and other spare moments). Somewhere in between, a whole book got written.In episode 154, I'm joined by Cassie Miller, author of the upcoming young adult contemporary sports romance Meet Me Under the Lights (Viking, March 2026). We talk about how she balanced teaching, writing, and real life long enough to finish a novel—and then had the courage to send it into the traditional publishing world.Cassie walks through her querying experience with refreshing honesty. The waiting. The no's. The small wins that kept her going. And the moment it shifted from “maybe someday” to seeing her story become a real book.We also dig into what helped her stay grounded while juggling deadlines and expectations, and why writing while working full-time didn't disqualify her from success. Instead, it helped shape it.This conversation isn't about overnight breakthroughs or perfectly optimized writing schedules. It's about showing up consistently, trusting the work, and letting progress count even when it feels slow.*****READY TO FINALLY BE IN THAT "CAN'T STOP WRITING" FLOW?Grab the free nonfiction or memoir kickstart that's helped hundreds of authors get out of their heads and into the flow: 

In this Self-Publishing Advice Conference highlight, Orna Ross revisits classic book marketing must-dos and updates them for 2025. Grounded in ALLi's Reach More Readers guidebook and the organization's Ethical AI policy, the session cuts through content overload, shifting algorithms, rising ad costs, email deliverability problems, and growing concerns about reader trust. Ross offers a human-first, values-based approach to marketing that helps author-publishers make clear, ethical choices without burning out. Writers leave with a simple mini-audit of their current marketing and a short, realistic upgrade list to help them reach more readers on their own terms. This is a post from SelfPubCon (The Self-Publishing Advice Conference), an online author event run free twice yearly in association with the Alliance of Independent Authors. Find more author advice, tips, and tools at our Self-publishing Author Advice Center, with a huge archive of nearly 2,000 blog posts and a handy search box to find key info on the topic you need. And, if you haven't already, we invite you to join our organization and become a self-publishing ally. You can do that at http://allianceindependentauthors.org.

If writing has felt Not Great for you lately, the solution isn't necessarily to push yourself to feel amazing. There's a middle step in the process – going from bad to neutral – that is often overlooked but incredibly powerful. Today, I'm breaking down why neutral thoughts can be so helpful and how you can implement them into your writing life. *** To celebrate hitting 200+ episodes, I have some exciting things in store for you! Revise a Book with Me: I'm offering an unprecedented behind-the-scenes look into how I navigate the emotional highs and lows of revising a book under deadline. Experience the unedited, unvarnished truth of working as a full-time author – the good, the bad, and the weird. Learn more and join the experience here. Free Coaching Giveaway: Simply leave a review of this podcast wherever you listen to it, email a screenshot to isasterling@gmail.com, and you'll be entered to win a free 30-minute coaching call with me! I'm choosing one winner per 10 entries, so your odds are great! Deadline for entries is January 25, 2026. *** You deserve to love your author career. I can help with that. Learn more about private coaching opportunities here: http://www.isabelsterling.com/academy Looking for even more author advice and notifications about upcoming workshops? Sign up for my weekly Real Talk for Writers newsletter by clicking here. DM me on Instagram & let me know what you thought of this episode!

The Vancouver organization Rungh has conducted several Wikipedia Edit-a-thon events and, in 2024, they launched Rungh Wikipedia Scholars. The program focuses on researching and creating Wikipedia entries about BIPOC artists and communities. Kika Memeh is a Vancouver-based Nigerian writer, journalist, and interdisciplinary producer. She is one of 2025's Rungh Wikipedia Scholars. She talks about her research into the artist Chloe Onari and the goals of the Rungh program.

Anna Rollins joins Let's Talk Memoir for a conversation about the relationship between evangelical purity culture and diet culture, incorporating research and reporting into personal narrative, the intricate connections between religion, God, and body shame, fearing our own desires, extreme thinking, body dysmorphia, viewing our bodies as suspect, the physical effects of belief systems, writing memoir plus, tying our work to the culture, learning how to pitch and get bylines, the logistics of placing short pieces in large outlets, religion on our own terms, rejecting scripts, and her new memoir Famished: On Food, Sex, and Growing Up as a Good Girl. Info/Registration for Ronit's 10-Week Memoir Class Memoir Writing: Finding Your Story https://www.pce.uw.edu/courses/memoir-writing-finding-your-story   This episode is brought to you by Prose Playground. If you've been writing for years but haven't published, have tons of ideas but can't get them on the page, if you have a book coming out, or you're simply curious about writing, join Prose Playground—an active, supportive writing community for writers at every level. Visit www.ProsePlayground.com to sign up free.   Also in this episode: -church hurt -publishing scores of stand alone essays -tuning into the newscycle and calendar to sell our work   Books mentioned in this episode: Before and After the Book Deal by Courtney Maum Writing That Gets Noticed by Estelle Erasmus The Byline Bible by Susan Shapiro The Creative Act by Rick Rubin A Swim in the Pond in the Rain by George Saunders   Anna Rollins is the author of Famished: On Food, Sex, and Growing Up as a Good Girl. Her groundbreaking debut memoir examines the rhyming scripts of diet culture and evangelical purity culture, both of which direct women to fear their own bodies and appetites. Her writing has appeared in outlets like The New York Times, Slate, Electric Literature, Salon, Joyland, and more. She's also written scholarly articles about composition and writing center studies. She's an award-winning instructor who taught English in higher education for nearly 15 years. She is a 2025 West Virginia Creative Network Literary Arts Fellow. A lifelong Appalachian, she lives with her husband in West Virginia where they're raising their three small children.   Connect with Anna: Website: http://annajrollins.com Substack: http://annajrollins.substack.com Instagram: http://instagram.com/annajrollins Book: https://amzn.to/3Lu6uHR   – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, Poets & Writers, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories.  She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and teaches memoir through the University of Washington's Online Continuum Program and also independently. She launched Let's Talk Memoir in 2022, lives in Seattle with her family of people and dogs, and is at work on her next book. More about Ronit: https://ronitplank.com Subscribe to Ronit's Substack: https://substack.com/@ronitplank   Follow Ronit: https://www.instagram.com/ronitplank/ https://www.facebook.com/RonitPlank https://bsky.app/profile/ronitplank.bsky.social

Andrea Bartz is a journalist and the New York Times bestselling author of the Reese's Book Club pick We Were Never Here, The Spare Room, The Lost Night, and The Herd. Her thrillers have been optioned by Netflix, Hulu, and other production companies, and more than half a million copies of her books have been sold worldwide. Her work has appeared in The New York Times, Marie Claire, Vogue, and she's held editorial positions at Glamour, Psychology Today, and Self. She was also a lead plaintiff in the landmark class-action lawsuit Bartz v. Anthropic, which was the first major win for creatives against an AI company as well as the largest copyright recovery in history. She lives with her girlfriend and pets in Brooklyn and the Hudson Valley. Her latest novel isThe Last Ferry Out, published in May. Andrea joined Barbara to talk about prologues, writing as an intuitive pantser, literary vs. genre fiction, the Anthropic class action lawsuit, and much more. For more information on Writers on Writing and to become a supporter, visit our Patreon page. For a one-time donation, visit Ko-fi. You can find hundreds of past interviews on our website. You can help out the show and indie bookstores by buying books at our bookstore on bookshop.org. It's stocked with titles by our guest authors, as well as our personal favorites. And on Spotify, you'll find an album's worth of typewriter music like what you hear on the show. It's perfect for writing. Look for the artist, Just My Type. Email the show at writersonwritingpodcast@gmail.com. We love to hear from our listeners! (Recorded January 19, 2026) Host: Barbara DeMarco-BarrettHost: Marrie StoneMusic: Travis Barrett (Stream his music on Spotify, Apple Music, Etc.)

A fun rant about the people who feed our brain every day with what's their mind. People write for many reasons...many find it satisfying. Maybe true, but I think being an editor is more rewording. What are you writing today?

We're living in a storytelling moment deeply fascinated by darkness—and for good reason. Stories have always helped us metabolize fear, trauma, and moral failure. But darkness is not meant to be the destination. In this episode, I explore why writers need a sense of wonder in fiction, not as escapism or denial, but as a way of completing the story arc. Wonder is what allows stories to move through the descent rather than getting stuck there and to imagine a future still worth moving toward. This is a reflection on how stories work psychologically and culturally, why so many books already carry hope with quiet integrity, and how writers (often without realizing it) contribute to building meaning, courage, and care through the stories they tell. In This Episode, We Explore: Why dark stories play an essential role in storytelling The danger of getting stuck in the descent Why stories must complete the arc The sense of wonder in fiction as moral imagination How stories help us imagine a future worth moving toward Links & Resources

What if the most transformative thing you can do for your writing craft and author business is to face what you fear? How can you can find gold in your Shadow in the year ahead? In this episode, I share chapters from Writing the Shadow: Turn Your Inner Darkness Into Words. In the intro, curated book boxes from Bridgerton's Julia Quinn; Google's agentic shopping, and powering Apple's Siri; ChatGPT Ads; and Claude CoWork. Balancing Certainty and Uncertainty [MoonShots with Tony Robbins]; and three trends for authors with me and Orna Ross [Self-Publishing with ALLi Podcast]; plus, Bones of the Deep, Business for Authors, and Indie Author Lab. This show is supported by my Patrons. Join my Community at Patreon.com/thecreativepenn  Joanna Penn writes non-fiction for authors and is an award-winning, New York Times and USA Today bestselling author of thrillers, dark fantasy, and memoir as J.F. Penn. She's also an award-winning podcaster, creative entrepreneur, and international professional speaker. What is the Shadow? The ‘creative wound' and the Shadow in writing The Shadow in traditional publishing The Shadow in self-publishing or being an indie author The Shadow in work The Shadow in money You can find Writing the Shadow in all formats on all stores, as well as special edition, workbook and bundles at www.TheCreativePenn.com/shadowbook Writing the Shadow: Turn Your Inner Darkness Into Words The following chapters are excerpted from Writing the Shadow: Turn Your Inner Darkness Into Words by Joanna Penn. Introduction. What is the Shadow? “How can I be substantial if I do not cast a shadow? I must have a dark side also if I am to be whole.” —C.G. Jung, Modern Man in Search of a Soul We all have a Shadow side and it is the work of a lifetime to recognise what lies within and spin that base material into gold. Think of it as a seedling in a little pot that you're given when you're young. It's a bit misshapen and weird, not something you would display in your living room, so you place it in a dark corner of the basement. You don't look at it for years. You almost forget about it. Then one day you notice tendrils of something wild poking up through the floorboards. They're ugly and don't fit with your Scandi-minimalist interior design. You chop the tendrils away and pour weedkiller on what's left, trying to hide the fact that they were ever there. But the creeping stems keep coming. At some point, you know you have to go down there and face the wild thing your seedling has become. When you eventually pluck up enough courage to go down into the basement, you discover that the plant has wound its roots deep into the foundations of your home. Its vines weave in and out of the cracks in the walls, and it has beautiful flowers and strange fruit. It holds your world together. Perhaps you don't need to destroy the wild tendrils. Perhaps you can let them wind up into the light and allow their rich beauty to weave through your home. It will change the look you have so carefully cultivated, but maybe that's just what the place needs. The Shadow in psychology Carl Gustav Jung was a Swiss psychologist and the founder of analytical psychology. He described the Shadow as an unconscious aspect of the human personality, those parts of us that don't match up to what is expected of us by family and society, or to our own ideals. The Shadow is not necessarily evil or illegal or immoral, although of course it can be. It's also not necessarily caused by trauma, abuse, or any other severely damaging event, although again, it can be. It depends on the individual. What is in your Shadow is based on your life and your experiences, as well as your culture and society, so it will be different for everyone. Psychologist Connie Zweig, in The Inner Work of Age, explains, “The Shadow is that part of us that lies beneath or behind the light of awareness. It contains our rejected, unacceptable traits and feelings. It contains our hidden gifts and talents that have remained unexpressed or unlived. As Jung put it, the essence of the Shadow is pure gold.” To further illustrate the concept, Robert Bly, in A Little Book on the Human Shadow,uses the following metaphor: “When we are young, we carry behind us an invisible bag, into which we stuff any feelings, thoughts, or behaviours that bring disapproval or loss of love—anger, tears, neediness, laziness. By the time we go to school, our bags are already a mile long. In high school, our peer groups pressure us to stuff the bags with even more—individuality, sexuality, spontaneity, different opinions. We spend our life until we're twenty deciding which parts of ourselves to put into the bag and we spend the rest of our lives trying to get them out again.” As authors, we can use what's in the ‘bag' to enrich our writing — but only if we can access it. My intention with this book is to help you venture into your Shadow and bring some of what's hidden into the light and into your words. I'll reveal aspects of my Shadow in these pages but ultimately, this book is about you. Your Shadow is unique. There may be elements we share, but much will be different. Each chapter has questions for you to consider that may help you explore at least the edges of your Shadow, but it's not easy. As Jung said, “One does not become enlightened by imagining figures of light, but by making the darkness conscious. The latter procedure, however, is disagreeable and therefore not popular.” But take heart, Creative. You don't need courage when things are easy. You need it when you know what you face will be difficult, but you do it anyway. We are authors. We know how to do hard things. We turn ideas into books. We manifest thoughts into ink on paper. We change lives with our writing. First, our own, then other people's. It's worth the effort to delve into Shadow, so I hope you will join me on the journey. The creative wound and the Shadow in writing “Whatever pain you can't get rid of, make it your creative offering.” —Susan Cain, Bittersweet  The more we long for something, the more extreme our desire, the more likely it is to have a Shadow side. For those of us who love books, the author life may well be a long-held dream and thus, it is filled with Shadow. Books have long been objects of desire, power, and authority. They hold a mythic status in our lives. We escaped into stories as children; we studied books at school and college; we read them now for escape and entertainment, education and inspiration. We collect beautiful books to put on our shelves. We go to them for solace and answers to the deepest questions of life. Writers are similarly held in high esteem. They shape culture, win literary prizes, give important speeches, and are quoted in the mainstream media. Their books are on the shelves in libraries and bookstores. Writers are revered, held up as rare, talented creatures made separate from us by their brilliance and insight. For bibliophile children, books were everything and to write one was a cherished dream. To become an author? Well, that would mean we might be someone special, someone worthy. Perhaps when you were young, you thought the dream of being a writer was possible — then you told someone about it. That's probably when you heard the first criticism of such a ridiculous idea, the first laughter, the first dismissal. So you abandoned the dream, pushed the idea of being a writer into the Shadow, and got on with your life. Or if it wasn't then, it came later, when you actually put pen to paper and someone — a parent, teacher, partner, or friend, perhaps even a literary agent or publisher, someone whose opinion you valued — told you it was worthless. Here are some things you might have heard: Writing is a hobby. Get a real job. You're not good enough. You don't have any writing talent. You don't have enough education. You don't know what you're doing. Your writing is derivative / unoriginal / boring / useless / doesn't make sense. The genre you write in is dead / worthless / unacceptable / morally wrong / frivolous / useless.  Who do you think you are? No one would want to read what you write. You can't even use proper grammar, so how could you write a whole book? You're wasting your time. You'll never make it as a writer. You shouldn't write those things (or even think about those things). Why don't you write something nice? Insert other derogatory comment here! Mark Pierce describes the effect of this experience in his book The Creative Wound, which “occurs when an event, or someone's actions or words, pierce you, causing a kind of rift in your soul. A comment—even offhand and unintentional—is enough to cause one.” He goes on to say that such words can inflict “damage to the core of who we are as creators. It is an attack on our artistic identity, resulting in us believing that whatever we make is somehow tainted or invalid, because shame has convinced us there is something intrinsically tainted or invalid about ourselves.” As adults, we might brush off such wounds, belittling them as unimportant in the grand scheme of things. We might even find ourselves saying the same words to other people. After all, it's easier to criticise than to create. But if you picture your younger self, bright eyed as you lose yourself in your favourite book, perhaps you might catch a glimpse of what you longed for before your dreams were dashed on the rocks of other people's reality. As Mark Pierce goes on to say, “A Creative Wound has the power to delay our pursuits—sometimes for years—and it can even derail our lives completely… Anything that makes us feel ashamed of ourselves or our work can render us incapable of the self-expression we yearn for.” This is certainly what happened to me, and it took decades to unwind. Your creative wounds will differ to mine but perhaps my experience will help you explore your own. To be clear, your Shadow may not reside in elements of horror as mine do, but hopefully you can use my example to consider where your creative wounds might lie. “You shouldn't write things like that.” It happened at secondary school around 1986 or 1987, so I would have been around eleven or twelve years old. English was one of my favourite subjects and the room we had our lessons in looked out onto a vibrant garden. I loved going to that class because it was all about books, and they were always my favourite things. One day, we were asked to write a story. I can't remember the specifics of what the teacher asked us to write, but I fictionalised a recurring nightmare. I stood in a dark room. On one side, my mum and my brother, Rod, were tied up next to a cauldron of boiling oil, ready to be thrown in. On the other side, my dad and my little sister, Lucy, were threatened with decapitation by men with machetes. I had to choose who would die. I always woke up, my heart pounding, before I had to choose. Looking back now, it clearly represented an internal conflict about having to pick sides between the two halves of my family. Not an unexpected issue from a child of divorce. Perhaps these days, I might have been sent to the school counsellor, but it was the eighties and I don't think we even had such a thing. Even so, the meaning of the story isn't the point. It was the reaction to it that left scars. “You shouldn't write things like that,” my teacher said, and I still remember her look of disappointment, even disgust. Certainly judgment. She said my writing was too dark. It wasn't a proper story. It wasn't appropriate for the class. As if horrible things never happened in stories — or in life. As if literature could not include dark tales. As if the only acceptable writing was the kind she approved of. We were taught The Prime of Miss Jean Brodie that year, which says a lot about the type of writing considered appropriate. Or perhaps the issue stemmed from the school motto, “So hateth she derknesse,” from Chaucer's The Legend of Good Women: “For fear of night, so she hates the darkness.” I had won a scholarship to a private girls' school, and their mission was to turn us all into proper young ladies. Horror was never on the curriculum. Perhaps if my teacher had encouraged me to write my darkness back then, my nightmares would have dissolved on the page. Perhaps if we had studied Mary Shelley's Frankenstein, or H.P. Lovecraft stories, or Bram Stoker's Dracula, I could have embraced the darker side of literature earlier in my life. My need to push darker thoughts into my Shadow was compounded by my (wonderful) mum's best intentions. We were brought up on the principles of The Power of Positive Thinking by Norman Vincent Peale and she tried to shield me and my brother from anything harmful or horrible. We weren't allowed to watch TV much, and even the British school drama Grange Hill was deemed inappropriate. So much of what I've achieved is because my mum instilled in me a “can do” attitude that anything is possible. I'm so grateful to her for that. (I love you, Mum!) But all that happy positivity, my desire to please her, to be a good girl, to make my teachers proud, and to be acceptable to society, meant that I pushed my darker thoughts into Shadow. They were inappropriate. They were taboo. They must be repressed, kept secret, and I must be outwardly happy and positive at all times. You cannot hold back the darkness “The night is dark and full of terrors.” —George R.R. Martin, A Storm of Swords It turned out that horror was on the curriculum, much of it in the form of educational films we watched during lessons. In English Literature, we watched Romeo drink poison and Juliet stab herself in Zeffirelli's Romeo and Juliet. In Religious Studies, we watched Jesus beaten, tortured, and crucified in The Greatest Story Ever Told, and learned of the variety of gruesome ways that Christian saints were martyred. In Classical Civilisation, we watched gladiators slaughter each other in Spartacus. In Sex Education at the peak of the AIDS crisis in the mid-'80s, we were told of the many ways we could get infected and die. In History, we studied the Holocaust with images of skeletal bodies thrown into mass graves, medical experiments on humans, and grainy videos of marching soldiers giving the Nazi salute. One of my first overseas school field trips was to the World War I battlegrounds of Flanders Fields in Belgium, where we studied the inhuman conditions of the trenches, walked through mass graves, and read war poetry by candlelight. As John McCrae wrote: We are the Dead. Short days agoWe lived, felt dawn, saw sunset glow,Loved and were loved, and now we lie, In Flanders fields. Did the teachers not realise how deeply a sensitive teenager might feel the darkness of that place? Or have I always been unusual in that places of blood echo deep inside me? And the horrors kept coming. We lived in Bristol, England back then and I learned at school how the city had been part of the slave trade, its wealth built on the backs of people stolen from their homes, sold, and worked to death in the colonies. I had been at school for a year in Malawi, Africa and imagined the Black people I knew drowning, being beaten, and dying on those ships. In my teenage years, the news was filled with ethnic cleansing, mass rape, and massacres during the Balkan wars, and images of bodies hacked apart during the Rwandan genocide. Evil committed by humans against other humans was not a historical aberration. I'm lucky and I certainly acknowledge my privilege. Nothing terrible or horrifying has happened to me — but bad things certainly happen to others. I wasn't bullied or abused. I wasn't raped or beaten or tortured. But you don't have to go through things to be afraid of them, and for your imagination to conjure the possibility of them. My mum doesn't read my fiction now as it gives her nightmares (Sorry, Mum!). I know she worries that somehow she's responsible for my darkness, but I've had a safe and (mostly) happy life, for which I'm truly grateful. But the world is not an entirely safe and happy place, and for a sensitive child with a vivid imagination, the world is dark and scary. It can be brutal and violent, and bad things happen, even to good people. No parent can shield their child from the reality of the world. They can only help them do their best to live in it, develop resilience, and find ways to deal with whatever comes. Story has always been a way that humans have used to learn how to live and deal with difficult times. The best authors, the ones that readers adore and can't get enough of, write their darkness into story to channel their experience, and help others who fear the same. In an interview on writing the Shadow on The Creative Penn Podcast, Michaelbrent Collings shared how he incorporated a personally devastating experience into his writing:  “My wife and I lost a child years back, and that became the root of one of my most terrifying books, Apparition. It's not terrifying because it's the greatest book of all time, but just the concept that there's this thing out there… like a demon, and it consumes the blood and fear of the children, and then it withdraws and consumes the madness of the parents… I wrote that in large measure as a way of working through what I was experiencing.” I've learned much from Michaelbrent. I've read many of his (excellent) books and he's been on my podcast multiple times talking about his depression and mental health issues, as well as difficulties in his author career. Writing darkness is not in Michaelbrent's Shadow and only he can say what lies there for him. But from his example, and from that of other authors, I too learned how to write my Shadow into my books. Twenty-three years after that English lesson, in November 2009, I did NaNoWriMo, National Novel Writing Month, and wrote five thousand words of what eventually became Stone of Fire, my first novel. In the initial chapter, I burned a nun alive on the ghats of Varanasi on the banks of the Ganges River. I had watched the bodies burn by night on pyres from a boat bobbing in the current a few years before, and the image was still crystal clear in my mind. The only way to deal with how it made me feel about death was to write about it — and since then, I've never stopped writing. Returning to the nightmare from my school days, I've never had to choose between the two halves of my family, but the threat of losing them remains a theme in my fiction. In my ARKANE thriller series, Morgan Sierra will do anything to save her sister and her niece. Their safety drives her to continue to fight against evil. Our deepest fears emerge in our writing, and that's the safest place for them. I wish I'd been taught how to turn my nightmares into words back at school, but at least now I've learned to write my Shadow onto the page. I wish the same for you. The Shadow in traditional publishing If becoming an author is your dream, then publishing a book is deeply entwined with that. But as Mark Pierce says in The Creative Wound, “We feel pain the most where it matters the most… Desire highlights whatever we consider to be truly significant.” There is a lot of desire around publishing for those of us who love books! It can give you: Validation that your writing is good enough Status and credibility Acceptance by an industry held in esteem  The potential of financial reward and critical acclaim Support from a team of professionals who know how to make fantastic books A sense of belonging to an elite community Pride in achieving a long-held goal, resulting in a confidence boost and self-esteem Although not guaranteed, traditional publishing can give you all these things and more, but as with everything, there is a potential Shadow side. Denying it risks the potential of being disillusioned, disappointed, and even damaged. But remember, forewarned is forearmed, as the saying goes. Preparation can help you avoid potential issues and help you feel less alone if you encounter them. The myth of success… and the reality of experience There is a pervasive myth of success in the traditional publishing industry, perpetuated by media reporting on brand name and breakout authors, those few outliers whose experience is almost impossible to replicate. Because of such examples, many new traditionally published authors think that their first book will hit the top of the bestseller charts or win an award, as well as make them a million dollars — or at least a big chunk of cash. They will be able to leave their job, write in a beautiful house overlooking the ocean, and swan around the world attending conferences, while writing more bestselling books. It will be a charmed life. But that is not the reality. Perhaps it never was. Even so, the life of a traditionally published author represents a mythic career with the truth hidden behind a veil of obscurity. In April 2023, The Bookseller in the UK reported that “more than half of authors (54%) responding to a survey on their experiences of publishing their debut book have said the process negatively affected their mental health. Though views were mixed, just 22%… described a positive experience overall… Among the majority who said they had a negative experience of debut publication, anxiety, stress, depression and ‘lowered' self-esteem were cited, with lack of support, guidance or clear and professional communication from their publisher among the factors that contributed.” Many authors who have negative experiences around publishing will push them into the Shadow with denial or self-blame, preferring to keep the dream alive. They won't talk about things in public as this may negatively affect their careers, but private discussions are often held in the corners of writing conferences or social media groups online. Some of the issues are as follows: Repeated rejection by agents and publishers may lead to the author thinking they are not good enough as a writer, which can lead to feeling unworthy as a person. If an author gets a deal, the amount of advance and the name and status of the publisher compared to others create a hierarchy that impacts self-esteem. A deal for a book may be much lower than an author might have been expecting, with low or no advance, and the resulting experience with the publisher beneath expectations. The launch process may be disappointing, and the book may appear without fanfare, with few sales and no bestseller chart position. In The Bookseller report, one author described her launch day as “a total wasteland… You have expectations about what publication day will be like, but in reality, nothing really happens.” The book may receive negative reviews by critics or readers or more publicly on social media, which can make an author feel attacked. The book might not sell as well as expected, and the author may feel like it's their fault. Commercial success can sometimes feel tied to self-worth and an author can't help but compare their sales to others, with resulting embarrassment or shame. The communication from the publisher may be less than expected. One author in The Bookseller report said, “I was shocked by the lack of clarity and shared information and the cynicism that underlies the superficial charm of this industry.” There is often more of a focus on debut authors in publishing houses, so those who have been writing and publishing in the midlist for years can feel ignored and undervalued. In The Bookseller report, 48 percent of authors reported “their publisher supported them for less than a year,” with one saying, “I got no support and felt like a commodity, like the team had moved on completely to the next book.” If an author is not successful enough, the next deal may be lower than the last, less effort is made with marketing, and they may be let go. In The Bookseller report, “six authors—debut and otherwise—cited being dropped by their publisher, some with no explanation.” Even if everything goes well and an author is considered successful by others, they may experience imposter syndrome, feeling like a fraud when speaking at conferences or doing book signings. And the list goes on … All these things can lead to feelings of shame, inadequacy, and embarrassment; loss of status in the eyes of peers; and a sense of failure if a publishing career is not successful enough. The author feels like it's their fault, like they weren't good enough — although, of course, the reality is that the conditions were not right at the time. A failure of a book is not a failure of the person, but it can certainly feel like it! When you acknowledge the Shadow, it loses its power Despite all the potential negatives of traditional publishing, if you know what could happen, you can mitigate them. You can prepare yourself for various scenarios and protect yourself from potential fall-out. It's clear from The Bookseller report that too many authors have unrealistic expectations of the industry. But publishers are businesses, not charities. It's not their job to make you feel good as an author. It's their job to sell books and pay you. The best thing they can do is to continue to be a viable business so they can keep putting books on the shelves and keep paying authors, staff, and company shareholders. When you license your creative work to a publisher, you're giving up control of your intellectual property in exchange for money and status. Bring your fears and issues out of the Shadow, acknowledge them, and deal with them early, so they do not get pushed down and re-emerge later in blame and bitterness. Educate yourself on the business of publishing. Be clear on what you want to achieve with any deal. Empower yourself as an author, take responsibility for your career, and you will have a much better experience. The Shadow in self-publishing or being an indie author Self-publishing, or being an independent (indie) author, can be a fantastic, pro-active choice for getting your book into the world. Holding your first book in your hand and saying “I made this” is pretty exciting, and even after more than forty books, I still get excited about seeing ideas in my head turn into a physical product in the world. Self-publishing can give an author: Creative control over what to write, editorial and cover design choices, when and how often to publish, and how to market Empowerment over your author career and the ability to make choices that impact success without asking for permission Ownership and control of intellectual property assets, resulting in increased opportunity around licensing and new markets Independence and the potential for recurring income for the long term Autonomy and flexibility around timelines, publishing options, and the ability to easily pivot into new genres and business models Validation based on positive reader reviews and money earned Personal growth and learning through the acquisition of new skills, resulting in a boost in confidence and self-esteem A sense of belonging to an active and vibrant community of indie authors around the world Being an indie author can give you all this and more, but once again, there is a Shadow side and preparation can help you navigate potential issues. The myth of success… and the reality of experience As with traditional publishing, the indie author world has perpetuated a myth of success in the example of the breakout indie author like E.L. James with Fifty Shades of Grey, Hugh Howey with Wool, or Andy Weir with The Martian. The emphasis on financial success is also fuelled online by authors who share screenshots showing six-figure months or seven-figure years, without sharing marketing costs and other outgoings, or the amount of time spent on the business. Yes, these can inspire some, but it can also make others feel inadequate and potentially lead to bad choices about how to publish and market based on comparison. The indie author world is full of just as much ego and a desire for status and money as traditional publishing. This is not a surprise! Most authors, regardless of publishing choices, are a mix of massive ego and chronic self-doubt. We are human, so the same issues will re-occur. A different publishing method doesn't cure all ills. Some of the issues are as follows: You learn everything you need to know about writing and editing, only to find that you need to learn a whole new set of skills in order to self-publish and market your book. This can take a lot of time and effort you did not expect, and things change all the time so you have to keep learning. Being in control of every aspect of the publishing process, from writing to cover design to marketing, can be overwhelming, leading to indecision, perfectionism, stress, and even burnout as you try to do all the things. You try to find people to help, but building your team is a challenge, and working with others has its own difficulties. People say negative things about self-publishing that may arouse feelings of embarrassment or shame. These might be little niggles, but they needle you, nonetheless. You wonder whether you made the right choice. You struggle with self-doubt and if you go to an event with traditional published authors, you compare yourself to them and feel like an imposter. Are you good enough to be an author if a traditional publisher hasn't chosen you? Is it just vanity to self-publish? Are your books unworthy? Even though you worked with a professional editor, you still get one-star reviews and you hate criticism from readers. You wonder whether you're wasting your time. You might be ripped off by an author services company who promise the world, only to leave you with a pile of printed books in your garage and no way to sell them. When you finally publish your book, it languishes at the bottom of the charts while other authors hit the top of the list over and over, raking in the cash while you are left out of pocket. You don't admit to over-spending on marketing as it makes you ashamed. You resist book marketing and make critical comments about writers who embrace it. You believe that quality rises to the top and if a book is good enough, people will buy it anyway. This can lead to disappointment and disillusionment when you launch your book and it doesn't sell many copies because nobody knows about it. You try to do what everyone advises, but you still can't make decent money as an author. You're jealous of other authors' success and put it down to them ‘selling out' or writing things you can't or ‘using AI' or ‘using a ghostwriter' or having a specific business model you consider impossible to replicate. And the list goes on… When you acknowledge the Shadow, it loses its power Being in control of your books and your author career is a double-edged sword. Traditionally published authors can criticise their publishers or agents or the marketing team or the bookstores or the media, but indie authors have to take responsibility for it all. Sure, we can blame ‘the algorithms' or social media platforms, or criticise other authors for having more experience or more money to invest in marketing, or attribute their success to writing in a more popular genre — but we also know there are always people who do well regardless of the challenges. Once more, we're back to acknowledging and integrating the Shadow side of our choices. We are flawed humans. There will always be good times and bad, and difficulties to offset the high points. This too shall pass, as the old saying goes. I know that being an indie author has plenty of Shadow. I've been doing this since 2008 and despite the hard times, I'm still here. I'm still writing. I'm still publishing. This life is not for everyone, but it's my choice. You must make yours. The Shadow in work You work hard. You make a living. Nothing wrong with that attitude, right? It's what we're taught from an early age and, like so much of life, it's not a problem until it goes to extremes. Not achieving what you want to? Work harder. Can't get ahead? Work harder. Not making a good enough living? Work harder. People who don't work hard are lazy. They don't deserve handouts or benefits. People who don't work hard aren't useful, so they are not valued members of our culture and community. But what about the old or the sick, the mentally ill, or those with disabilities? What about children? What about the unemployed? The under-employed? What about those who are — or will be — displaced by technology, those called “the useless class” by historian Yuval Noah Harari in his book Homo Deus? What if we become one of these in the future? Who am I if I cannot work? The Shadow side of my attitude to work became clear when I caught COVID in the summer of 2021. I was the sickest I'd ever been. I spent two weeks in bed unable to even think properly, and six weeks after that, I was barely able to work more than an hour a day before lying in the dark and waiting for my energy to return. I was limited in what I could do for another six months after that. At times, I wondered if I would ever get better. Jonathan kept urging me to be patient and rest. But I don't know how to rest. I know how to work and how to sleep. I can do ‘active rest,' which usually involves walking a long way or traveling somewhere interesting, but those require a stronger mind and body than I had during those months. It struck me that even if I recovered from the virus, I had glimpsed my future self. One day, I will be weak in body and mind. If I'm lucky, that will be many years away and hopefully for a short time before I die — but it will happen. I am an animal. I will die. My body and mind will pass on and I will be no more. Before then I will be weak. Before then, I will be useless. Before then, I will be a burden. I will not be able to work… But who am I if I cannot work? What is the point of me? I can't answer these questions right now, because although I recognise them as part of my Shadow, I've not progressed far enough to have dealt with them entirely. My months of COVID gave me some much-needed empathy for those who cannot work, even if they want to. We need to reframe what work is as a society, and value humans for different things, especially as technology changes what work even means. That starts with each of us. “Illness, affliction of body and soul, can be life-altering. It has the potential to reveal the most fundamental conflict of the human condition: the tension between our infinite, glorious dreams and desires and our limited, vulnerable, decaying physicality.” —Connie Zweig, The Inner Work of Age: Shifting from Role to Soul The Shadow in money In the Greek myth, King Midas was a wealthy ruler who loved gold above all else. His palace was adorned with golden sculptures and furniture, and he took immense pleasure in his riches. Yet, despite his vast wealth, he yearned for more. After doing a favour for Dionysus, the god of wine and revelry, Midas was granted a single wish. Intoxicated by greed, he wished that everything he touched would turn to gold — and it was so. At first, it was a lot of fun. Midas turned everything else in his palace to gold, even the trees and stones of his estate. After a morning of turning things to gold, he fancied a spot of lunch. But when he tried to eat, the food and drink turned to gold in his mouth. He became thirsty and hungry — and increasingly desperate. As he sat in despair on his golden throne, his beloved young daughter ran to comfort him. For a moment, he forgot his wish — and as she wrapped her arms around him and kissed his cheek, she turned into a golden statue, frozen in precious metal. King Midas cried out to the gods to forgive him, to reverse the wish. He renounced his greed and gave away all his wealth, and his daughter was returned to life. The moral of the story: Wealth and greed are bad. In Charles Dickens's A Christmas Carol, Ebenezer Scrooge is described as a “squeezing, wrenching, grasping, scraping, clutching, covetous, old sinner.” He's wealthy but does not share, considering Christmas spending to be frivolous and giving to charity to be worthless. He's saved by a confrontation with his lonely future and becomes a generous man and benefactor of the poor. Wealth is good if you share it with others. The gospel of Matthew, chapter 25: 14-30, tells the parable of the bags of gold, in which a rich man goes on a journey and entrusts his servants with varying amounts of gold. On his return, the servants who multiplied the gold through their efforts and investments are rewarded, while the one who merely returned the gold with no interest is punished: “For whoever has will be given more, and they will have an abundance. Whoever does not have, even what they have will be taken from them.” Making money is good, making more money is even better. If you can't make any money, you don't deserve to have any. Within the same gospel, in Matthew 19:24, Jesus encounters a wealthy man and tells him to sell all his possessions and give the money to the poor, which the man is unable to do. Jesus says, “It is easier for a camel to go through the eye of a needle than for someone who is rich to enter the kingdom of God.” Wealth is bad. Give it all away and you'll go to heaven. With all these contradictory messages, no wonder we're so conflicted about money! How do you think and feel about money? While money is mostly tied to our work, it's far more than just a transactional object for most people. It's loaded with complex symbolism and judgment handed down by family, religion, and culture. You are likely to find elements of Shadow by examining your attitudes around money. Consider which of the following statements resonate with you or write your own. Money stresses me out. I don't want to talk about it or think about it. Some people hoard money, so there is inequality. Rich people are bad and we should take away their wealth and give it to the poor.  I can never make enough money to pay the bills, or to give my family what I want to provide. Money doesn't grow on trees.  It's wasteful to spend money as you might need it later, so I'm frugal and don't spend money unless absolutely necessary. It is better and more ethical to be poor than to be rich. I want more money. I read books and watch TV shows about rich people because I want to live like that. Sometimes I spend too much on things for a glimpse of what that might be like.  I buy lottery tickets and dream of winning all that money.  I'm jealous of people who have money. I want more of it and I resent those who have it. I'm no good with money. I don't like to look at my bank statement or credit card statement. I live off my overdraft and I'm in debt. I will never earn enough to get out of debt and start saving, so I don't think too much about it. I don't know enough about money. Talking about it makes me feel stupid, so I just ignore it. People like me aren't educated about money.  I need to make more money. If I can make lots of money, then people will look up to me. If I make lots of money, I will be secure, nothing can touch me, I will be safe.  I never want to be poor. I would be ashamed to be poor. I will never go on benefits. My net worth is my self worth. Money is good. We have the best standard of living in history because of the increase in wealth over time. Even the richest kings of the past didn't have what many middle-class people have today in terms of access to food, water, technology, healthcare, education, and more. The richest people give the most money to the poor through taxation and charity, as well as through building companies that employ people and invent new things. The very richest give away much of their fortunes. They provide far more benefit to the world than the poor.  I love money. Money loves me. Money comes easily and quickly to me. I attract money in multiple streams of income. It flows to me in so many ways. I spend money. I invest money. I give money. I'm happy and grateful for all that I receive. The Shadow around money for authors in particular Many writers and other creatives have issues around money and wealth. How often have you heard the following, and which do you agree with? You can't make money with your writing. You'll be a poor author in a garret, a starving artist.  You can't write ‘good quality' books and make money. If you make money writing, you're a hack, you're selling out. You are less worthy than someone who writes only for the Muse. Your books are commercial, not artistic. If you spend money on marketing, then your books are clearly not good enough to sell on their own. My agent / publisher / accountant / partner deals with the money side. I like to focus on the creative side of things. My money story Note: This is not financial or investment advice. Please talk to a professional about your situation. I've had money issues over the years — haven't we all! But I have been through a (long) process to bring money out of my Shadow and into the light. There will always be more to discover, but hopefully my money story will help you, or at least give you an opportunity to reflect. Like most people, I didn't grow up with a lot of money. My parents started out as teachers, but later my mum — who I lived with, along with my brother — became a change management consultant, moving to the USA and earning a lot more. I'm grateful that she moved into business because her example changed the way I saw money and provided some valuable lessons. (1) You can change your circumstances by learning more and then applying that to leverage opportunity into a new job or career Mum taught English at a school in Bristol when we moved back from Malawi, Africa, in the mid '80s but I remember how stressful it was for her, and how little money she made. She wanted a better future for us all, so she took a year out to do a master's degree in management. In the same way, when I wanted to change careers and leave consulting to become an author, I spent time and money learning about the writing craft and the business of publishing. I still invest a considerable chunk on continuous learning, as this industry changes all the time. (2) You might have to downsize in order to leap forward The year my mum did her degree, we lived in the attic of another family's house; we ate a lot of one-pot casserole and our treat was having a Yorkie bar on the walk back from the museum. We wore hand-me-down clothes, and I remember one day at school when another girl said I was wearing her dress. I denied it, of course, but there in back of the dress was her name tag. I still remember her name and I can still feel that flush of shame and embarrassment. I was determined to never feel like that again. But what I didn't realize at the time was that I was also learning the power of downsizing. Mum got her degree and then a new job in management in Bristol. She bought a house, and we settled for a few years. I had lots of different jobs as a teenager. My favourite was working in the delicatessen because we got a free lunch made from delicious produce. After I finished A-levels, I went to the University of Oxford, and my mum and brother moved to the USA for further opportunities. I've downsized multiple times over the years, taking a step back in order to take a step forward. The biggest was in 2010 when I decided to leave consulting. Jonathan and I sold our three-bedroom house and investments in Brisbane, Australia, and rented a one-bedroom flat in London, so we could be debt-free and live on less while I built up a new career. It was a decade before we bought another house. (3) Comparison can be deadly: there will always be people with more money than you Oxford was an education in many ways and relevant to this chapter is how much I didn't know about things people with money took for granted. I learned about formal hall and wine pairings, and how to make a perfect gin and tonic. I ate smoked salmon for the first time. I learned how to fit in with people who had a lot more money than I did, and I definitely wanted to have money of my own to play with. (4) Income is not wealth You can earn lots but have nothing to show for it after years of working. I learned this in my first few years of IT consulting after university. I earned a great salary and then went contracting, earning even more money at a daily rate. I had a wonderful time. I traveled, ate and drank and generally made merry, but I always had to go back to the day job when the money ran out. I couldn't work out how I could ever stop this cycle. Then I read Rich Dad, Poor Dad by Robert Kiyosaki, a book I still recommend, especially if you're from a family that values academic over financial education. I learned how to escape the rat race by building and/or accumulating assets that pay even when you're not working. It was a revelation! The ‘poor dad' in the book is a university professor. He knows so much about so many things, but he ends up poor as he did not educate himself about money. The ‘rich dad' has little formal education, but he knows about money and wealth because he learned about it, as we can do at any stage in our lives. (5) Not all investments suit every person, so find the right one for you Once I discovered the world of investing, I read all the books and did courses and in-person events. I joined communities and I up-skilled big time. Of course, I made mistakes and learned lots along the way. I tried property investing and renovated a couple of houses for rental (with more practical partners and skilled contractors). But while I could see that property investing might work for some people, I did not care enough about the details to make it work for me, and it was certainly not passive income. I tried other things. My first husband was a boat skipper and scuba diving instructor, so we started a charter. With the variable costs of fuel, the vagaries of New Zealand weather — and our divorce — it didn't last long! From all these experiments, I learned I wanted to run a business, but it needed to be online and not based on a physical location, physical premises, or other people. That was 2006, around the time that blogging started taking off and it became possible to make a living online. I could see the potential and a year later, the iPhone and the Amazon Kindle launched, which became the basis of my business as an author. (6) Boring, automatic saving and investing works best Between 2007 and 2011, I contracted in Australia, where they have compulsory superannuation contributions, meaning you have to save and invest a percentage of your salary or self-employed income. I'd never done that before, because I didn't understand it. I'd ploughed all my excess income into property or the business instead. But in Australia I didn't notice the money going out because it was automatic. I chose a particular fund and it auto-invested every month. The pot grew pretty fast since I didn't touch it, and years later, it's still growing. I discovered the power of compound interest and time in the market, both of which are super boring. This type of investing is not a get rich quick scheme. It's a slow process of automatically putting money into boring investments and doing that month in, month out, year in, year out, automatically for decades while you get on with your life. I still do this. I earn money as an author entrepreneur and I put a percentage of that into boring investments automatically every month. I also have a small amount which is for fun and higher risk investments, but mostly I'm a conservative, risk-averse investor planning ahead for the future. This is not financial advice, so I'm not giving any specifics. I have a list of recommended money books at www.TheCreativePenn.com/moneybooks if you want to learn more. Learning from the Shadow When I look back, my Shadow side around money eventually drove me to learn more and resulted in a better outcome (so far!). I was ashamed of being poor when I had to wear hand-me-down clothes at school. That drove a fear of not having any money, which partially explains my workaholism. I was embarrassed at Oxford because I didn't know how to behave in certain settings, and I wanted to be like the rich people I saw there. I spent too much money in my early years as a consultant because I wanted to experience a “rich” life and didn't understand saving and investing would lead to better things in the future. I invested too much in the wrong things because I didn't know myself well enough and I was trying to get rich quick so I could leave my job and ‘be happy.' But eventually, I discovered that I could grow my net worth with boring, long-term investments while doing a job I loved as an author entrepreneur. My only regret is that I didn't discover this earlier and put a percentage of my income into investments as soon as I started work. It took several decades to get started, but at least I did (eventually) start. My money story isn't over yet, and I keep learning new things, but hopefully my experience will help you reflect on your own and avoid the issue if it's still in Shadow. These chapters are excerpted from Writing the Shadow: Turn Your Inner Darkness Into Words by Joanna Penn  The post Writing The Shadow: The Creative Wound, Publishing, And Money, With Joanna Penn first appeared on The Creative Penn.

Ella Quittner is a journalist, screenwriter, and humorist who writes about obsession, culture, and food. She's the author of a terrific new cookbook, Obsessed with the Best: 100+ Methodically Perfected Recipes Based on 20+ Head-to-Head Tests. On this very fun episode we talk about those tests, and finding the absolute best recipes for biscuits, pancakes, cookies, yellow cake, roasted chicken, and so much more. We also talk about her writing, and unique journey to cookbook authordom.  Subscribe to This Is TASTE: ⁠⁠Apple Podcasts⁠⁠, ⁠⁠Spotify⁠⁠, ⁠⁠YouTube⁠⁠  Learn more about your ad choices. Visit megaphone.fm/adchoices

What if better writing doesn't start with a prompt, but with what's already living in a child's mind? On this episode of The Brainy Moms Podcast, Dr. Amy and Sandy sit down with Andrew Pudewa, founder of the Institute for Excellence in Writing, to trace a surprising line from Suzuki violin training to strong language skills. Andrew shares how deep listening, memorized repertoire, and deliberate repetition lay the groundwork for fluent expression—whether you're bowing a cello or crafting a paragraph. Input shapes output: the richer the vocabulary and sentence patterns a child absorbs, the more creative and confident their writing becomes.We unpack the twin engines of memory and imagination and why they share the same neural real estate. That insight reframes everything from read-alouds to comprehension: prior knowledge often outweighs decoding when it comes to understanding, and books ask kids to co-create mental imagery word by word. Andrew contrasts that with today's “cartoons on steroids,” where hypervisual stimulation, thin language, and passive consumption blunt attention and displace inner pictures. The fix isn't anti-tech dogma; it's smarter sequencing—long-form stories first, screen adaptations second, and daily habits that favor focus over flicker.Then we tackle AI. Yes, modern tools can collect and polish at lightning speed, but only students who know the underlying process will use them well. Andrew argues for paper-first drafting to recruit more of the brain—motor planning, spatial processing, and the intuitive, artistic networks that spark better ideas. From there, we walk through his step-by-step method for transforming reluctant writers: start with short source texts, build keyword outlines, ask structured story questions, and move toward inventive writing that recombines known elements. Along the way, parents become coaches who prize process over product and help kids stack small wins into lasting confidence.If you wonder about about attention, language, handwriting, and how to raise resilient thinkers in an AI world, this conversation offers clear tools and a hopeful roadmap. Subscribe, share with a friend who's teaching a reluctant writer, and leave a review telling us one change you'll try this week. ABOUT US:The Brainy Moms is a parenting podcast hosted by cognitive psychologist Dr. Amy Moore and Sandy Zamalis. Dr. Amy and Sandy have conversations with experts in parenting, child development, education, homeschooling, psychology, mental health, and neuroscience. Listeners leave with tips and advice for helping parents and kids thrive. If you love us, add us to your playlist and follow us on social media! CONNECT WITH US:Website: www.TheBrainyMoms.com Email: BrainyMoms@gmail.com Social Media: @TheBrainyMoms Subscribe to our free monthly newsletter Visit our sponsor's website: www.LearningRx.com

Show Notes:This week I had the opportunity to speak with filmmakers Ken Arnold and Dan DeLuca about their newest film, A Town Called Purgatory. They told me where the idea for the horror western came from, how they ended up filming in Austria, and how they honored the Navajo lore that they used in the story. They also told me what horror western they'd pair their movie with and Dan revealed his nightly monster movie ritual, and more! You can watch A Town Called Purgatory on VOD now!Ken & Dan's Socials: A Town Called Purgatory trailer: https://www.youtube.com/watch?v=HZqc35RXHNo IG: https://www.instagram.com/atowncalledpurgatory/ Ken's IG: https://www.instagram.com/kenarnoldactor/ Dan's IG: https://www.instagram.com/contenderfilms/ Who's There? Socials:Bluesky: https://bsky.app/profile/whostherepc.bsky.social Instagram: https://www.instagram.com/whostherepcTwitter: https://www.twitter.com/whostherepcLetterboxd: https://letterboxd.com/thatgirlallison/ Email: whostherepc@gmail.com Website: https://www.whostherepodcast.com Join the Email List: https://mailchi.mp/4a109b94d3bc/newsletter-signup

Writer and editor Mason Currey on what artists' routines can teach us about focus, discipline, procrastination, and building a sustainable creative life.You'll learn:What led Mason to writing, and the early pressures that shaped his relationship with the work.Why he started Daily Routines as a side project, and what he was trying to solve with it.The moment the blog went viral, and what changed when an audience arrived.What it took to turn a quote-collecting blog into a book, including the research and structure behind it.Why routines work best when they're personal and flexible rather than prescriptive.Ideas for protecting your best hours, including Nicholson Baker's “double morning.”The difference between physical routine and creative routine, and why both matter.A realistic way to design an hour of writing, including what to do when “nothing happens.”What Worm Zooms are, and why “small progress” can be a powerful creative philosophy.The question underneath every routine: how artists make time for the work while paying the bills.Resources and Links:

Send us a textHey everyone! Today, we are going north, way north, to the last frontier, Anchorage, Alaska, with Author and retired Anchorage Police Officer Doug Fifer. And we are getting kinky. Doug Fifer is a retired Alaskan police officer who specialized in crime scene analysis, deviant sexual crimes, hostage negotiations, and various special assignments throughout his twenty-five-year career. As a highly decorated investigator, Doug has negotiated with serial killers, solved homicides, and worked real-life cases that will shock you to the core.Doug is also the author of the bestselling book, Fifty Shades of True Crime: Sex, Drugs, and Killer Kink. I thought I had been there and seen it all after 25 years as a big city cop. After this interview, I realized I haven't. Please enjoy my conversation with Doug Fifer. In today's episode, we discuss:·      When and where Doug got interested in law enforcement. ·      Growing up in the last frontier, Alaska.·      Alaska has the highest percentage of serial killers per capita of anywhere else? Why?·      Heroin and crack usage in Alaska.·      A shocking tattoo on a man who turned tricks for dope in prison.·      The Serial Killer Joshua Wait investigation. ·      Hostage negotiations, best practices for a desirable outcome. Not like on TV.·      The story of high trauma to a penis.·      Fifty Shades of True Crime: Sex, Drugs, and Killer Kink. Did his mom read this book?·       David Carradine and Auto Erotic Asphyxiation. How many cases like that did he investigate?·      Bestiality, necrophilia, and other disturbing behavior. How prevalent was that in Anchorage? The answer will surprise you. All of this and more on today's episode of the Cops and Writers podcast.Visit Doug's Website! Visit the Cops & Writers Website! Support the show

Bestselling author Michael Lewis has spent decades practicing the habits of the sharpest business thinkers: questioning assumptions, navigating past blind spots, and revealing why conventional wisdom so often leads smart people astray. Lewis is the author of a remarkable run of business bestsellers, including Liar's Poker, Moneyball, Flash Boys, The Big Short, Boomerang, The Undoing Project, and Going Infinite. Both Moneyball and The Big Short were made into Oscar Best Picture-nominated films, as was The Blind Side, another of Lewis's non-fiction classics.  In this exclusive episode of Monday Morning Radio, Lewis reflects on why true success derives from taking the long view rather than aiming for quick results, and how doing the hard, unglamorous work others avoid can create an outsized, enduring advantage.  Lewis's conversation with founding Monday Morning Radio host Dean Rotbart was recorded when the author was honored as a Business News Visionary. While the interview dates back several years, in this abridged version of their talk, the insights Lewis shares are strikingly current — offering inspired ideas that apply to entrepreneurs, executives, and business owners navigating uncertainty, disruption, and change today. [Michael Lewis will be featured in All You Can Eat Business Wisdom: Second Helpings, coming in April 2026. The anthology is the sequel of co-host Maxwell Rotbart's award winning first edition, All You Can Eat Business Wisdom: A Monday Morning Radio Anthology of Actionable Advice.] Monday Morning Radio is hosted by the father-son duo of Dean and Maxwell Rotbart. Photo Credit: Tabitha Soren Posted: January 19, 2026 Monday Morning Run Time: 49:22 Episode: 14.33 The Great Writers Series from Roy H. Williams: YouTube Shorts HemingwayTalks About Pamplona

Star Trek: Strange New Worlds Season 3 When Star Trek: Strange New Worlds premiered as a spin-off of Star Trek: Discovery, many fans were over the moon with the return to episodic televisions with tie-ins to The Original Series. For a time, it felt as if Trek's golden age was back. But as the series evolved, the producers and writers began to see it as a playground for experimental storytelling within the Roddenberry framework. In this episode of The Ready Room, hosts C Bryan Jones and Larry Nemecek look back at Season 3 and ask how well the limited 10-episode canvas was used and how the writers' strike impacted the quality of the stories and continuity of the stories as we examine each episode one by one. Chapters Intro (00:00:00) Initial Thoughts (00:01:16) The Writers' Strike (00:10:42) There Are Ten Slots (00:16:08) Writing for a Wrap-up? (00:27:57) "Hegemony, Part 2" (00:31:27) "Wedding Bell Blues" (00:39:01) "Shuttle to Kenfori" (00:52:42) "A Space Adventure Hour" (00:57:58) "Through the Lens of Time" (01:10:19) "The Sehlat Who Ate Its Tail" (01:23:11) "What Is Starfleet?" (01:31:39) "Four-and-a-Half Vulcans" (01:36:45) "Terrarium" (01:48:06) "New Life and New Civilizations" (01:54:46) Final Thoughts (02:06:50) Closing (02:19:21) Hosts C Bryan Jones and Larry Nemecek Production C Bryan Jones (Editor and Producer) Matthew Rushing (Executive Producer)

This week, we invite the esteemed Peter Dekom to provide an in-depth analysis of the intense bidding wars between Netflix and Paramount, emphasizing the challenges and opportunities confronting the entertainment industry today. How do these dynamics influence writers, creators, and the future of storytelling?Executive Producer Kristin OvernCreator/Executive Producer Sandy AdomaitisProducer Terry SampsonMusic by Ethan StollerCheck out our fantastic sponsor, Novelium:https://novelium.so

Anna and Geoff discuss the cancellation of Adelaide Writers' Week 2026 amid the controversy after the Adelaide Festival Board disinvited Palestinian-Australian writer Dr Randa Abdel-Fatteh.  Among the authors who withdrew from Writers' Week was Richard Flanagan, who wrote this article (sorry for the paywall).  Director Louise Adler resigned with this letter to the Guardian. Since we recorded this episode, the new Board has retracted the decision and apologised to Dr Abdel-Fatteh.   In other book news, Random House has dropped David Walliams, as discussed on this episode of The Rest is Entertainment podcast.   Our book of the week is THE SAFEKEEP by Yael van der Wouden, a debut novel set in 1960s Netherlands which was shortlisted for the 2024 Booker Prize and won the 2025 Women's Prize.   Coming up: SEASCRAPER by Benjamin Wood. Follow us! Email: Booksonthegopodcast@gmail.com Instagram: @abailliekaras  Substack: Books On The Go Credits Artwork: Sascha Wilkosz

In this episode, hosts Alex Simmons and Chris Ryan dive deep into the ever-evolving challenges and strategies behind promoting your work as a writer. Drawing on their own publishing journeys—spanning traditional and indie paths—they share honest insights, mishaps, and lessons learned about building visibility, reaching readers, and navigating the business side of a creative life.Alex and Chris also spotlight four standout examples—from solo creators like Damon Manx and Rebecca Cuthbert, to the collaborative energy of the Horror Writers Association and Black Nerd Problems. For a list of the tips from this episode, CLICK HERE.Have any questions, comments, or suggestions?Then, please leave them in the Comments Section.Write: TTDSOnAir@gmail.comAnd follow us on ...⁠⁠⁠⁠⁠⁠@Tell The Damn Story⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠www.TellTheDamnStory.comwww.Facebook.com/Tell The Damn Story⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube.com/ Tell The Damn Story⁠⁠⁠⁠⁠⁠⁠⁠If you're enjoying these episodes, please take a moment to show your support by clicking on the link to ... ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Me A Coffee⁠⁠⁠⁠!⁠⁠⁠⁠

In this host-only bonus episode, Charlotte and Jo discuss some of their most memorable reads of 2025. Authors discussed include Shon Faye, Sarah Schulman, Ai Yazawa, Marjane Satrapi, Ariana Reines, Kyung-Ran Jo, and more.Please consider supporting us on Patreon, where you can access additional materials and send us your guest (and book!) coverage requests. Questions and kind comments can be directed to readingwriterspod at gmail dot com. Charlotte Shane's most recent book is An Honest Woman. Her essay newsletter, Meant For You, can be subscribed to or read online for free. Her social media handle is @charoshane.  Jo Livingstone is a writer who teaches at Pratt Institute. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

From January 17-19, we're hosting the Teacher Winter Talks event on the Teacher Approved podcast feed. Grab your free ticket for the full experience: https://www.secondstorywindow.net/teacherwintertalks✨ Each session will be available for 24 hours. Upgrade to the Max Pass to get lifetime access to all the sessions, plus over $500 worth of mid-year bonus resources like templates, workshops, and bundles!About the Session: Got students who freeze up the moment they hear "time to write"? Courtney Bluem shares research-backed strategies to motivate even your most reluctant writers during the mid-year slump. Her secret weapon is a 10-minute daily routine that actually works: familiar text, partner talk, and one focused writing move. By responding to ideas before mechanics and offering simple supports like sentence stems and student choice, Courtney shows how writing can start to feel safe, doable, and even meaningful. If getting your kids to put pencil to paper feels like pulling teeth lately... this session might be exactly the reset you need.Links/Resources:Free Week of RACES Writing Lessons: https://createinspireteach.com/wtu-free-week/Create Inspire Teach: https://createinspireteach.com/Share your takeaways and join the summit fun in the Teacher Winter Talks Facebook group!Teacher Winter Talks is sponsored by the Teacher Approved Club and Fashion Fix.

Our favourite reads of the year! Welcome to episode 146. We turn the whole episode over to our run-down of our ten favourite books from a year in reading. As has become a tradition, we will then choose one book

Kevin J. Anderson is one of the rarest of creatives. As a writer, he started from the bottom and worked his way up to become an internationally bestselling author of over 190 books, 58 of which have been national or international bestsellers. He then became a publisher – Wordfire Press. Following this, he co-created the Superstars Writing Workshop. He is now also the director of a Publishing Graduate Program at Western Colorado University—the subject of this interview. Kevin has also been a Writers of the Future judge for over 25 years and a very trusted partner helping with the growth of the Contest.

After making a splash at Cannes, THE CHRONOLOGY OF WATER is finally getting released to theaters around the US. It's a faithful film adaptation of the memoir by Lidia Yuknavitch, and we're joined by both a memoirist and a filmmaker to discuss it all — Roxane Gay (HUNGER, BAD FEMINIST, and much more) and Alain Martin (The Forgotten Occupation). Then we'll name some of our favorite memoir adaptations, and some memoirs we'd like to see adapted to film  What's Good?Alonso - The Hunger: Film Writing 2012-2024 by Melissa AndersonDrea - TasteBuds NYC videosRoxane - Heated Rivalry book seriesAlain - LA trip (for local premiere of The Forgotten Occupation!)Kevin - Buzz Ballz for DreaITIDICGolden Globes 2026 HappenedAlamo Drafthouse Shifting from Pen-and-Paper to Mobile Menu OrderingStaff PicksAlonso - The SwimmerDrea - Sound of FallingAlain - Nouvelle VagueRoxane - HeddaKevin - Cedar Rapids Follow us on BlueSky, Facebook, Instagram, or LetterboxdWithKevin AveryDrea ClarkAlonso DuraldeProduced by Marissa FlaxbartSr. Producer Laura Swisher

On today's program, the pastor of Arise Vineyard in California has resigned after old allegations resurfaced of inappropriate behavior. We'll have details. And, medical debt continues to be a growing burden for many American families—but churches are partnering to help pay it off. We'll take a look. Plus, a Baptist news publication is sued for defamation by a former college professor who says he was falsely accused of sexual abuse. But first, a Florida woman is charged for impersonating the father of a Camp Mystic victim to raise money through a GoFundMe page. The complaint identifies Maitlin White, who used Matthew Childress' name and his daughter's picture to start a GoFund Me campaign to raise money. Childress lost his daughter Chloe during the July 4 floods that swept through Camp Mystic last year, killing 27 campers and counselors. The producer for today's program is Jeff McIntosh. We get database and other technical support from Stephen DuBarry, Rod Pitzer, and Casey Sudduth. Writers who contributed to today's program include Kim Roberts, Daniel Ritchie, Isaac Wood, Jessica Eturralde, Bob Smietana, Joseph Abboud, Kelly Van Duine—and you, Warren. A special thanks to Chimes, the student-run news publication for Biola University, for contributing material for this week's podcast. Until next time, may God bless you.

William McInnes joins Bern Young on Nightlife to talk about his latest book, "It's a Scorcher - Tales of the Australian Summer."

Brent Crane is being chased through a mall in the Philippines. He's on the trail of Page Turner, the company that has been accused of stealing $44 million from hopeful writers in one of the most brazen scams the book publishing world has ever seen.Chameleon is a production of Campside Media and Audiochuck.Follow Chameleon on Instagram @chameleonpod  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Discover how three Notes to Novel™ students stopped guessing their way through drafting and built steady, sustainable momentum toward a finished first draft.In this short bonus episode, I'm sharing three real case studies from past Notes to Novel students who were all stuck in different ways but wanted the same thing: to finish their first draft. You'll hear how each writer went from stalled, inconsistent drafting to steady momentum once they stopped overthinking and started working with a clear story structure and scene-level direction. These aren't theories or abstract tips. They're real examples of what changes when writers have a proven process that they can trust.Here's what we cover:[03:56] How Lindsay went from 25,000 words in six months to a 100,000-word draft after finding the missing piece that finally made her story flow.[08:47] Why Alison kept putting finished drafts in a drawer, and the realization that finally explained why her scenes weren't working.[10:40] How Sharon, a first-time novelist, set a realistic goal of 6,000 words per week and finished her entire first draft two days ahead of schedule, stress-free. [13:18] The drafting strategy that keeps you moving forward with confidence instead of second-guessing every scene you writeReady to stop stalling and start finishing? Join Lindsay, Alison, Sharon, and hundreds of other writers who've discovered that drafting doesn't have to feel like a slog. You just need the right roadmap. Get on the waitlist for the next open enrollment of my Notes to Novel course and get my complete, step-by-step framework for writing a story that works. Doors open January 22nd—don't miss your chance to turn your ideas into a finished draft you're proud of.

a16z cofounders Marc Andreessen and Ben Horowitz join a16z general partner Erik Torenberg and Not Boring founder Packy McCormick for a conversation on how the media and information ecosystem has changed over the past decade. The discussion breaks down the shift toward a more open and decentralized speech environment, the rise of writer- and creator-led platforms like Substack, and the erosion of centralized media gatekeepers. Marc and Ben also tie these dynamics to their investing worldview, outlining how supply-driven markets, major technological step changes, and reputation-driven venture platforms shape outcomes in the AI era.Timecodes: 00:00  Introduction00:46  How the media ecosystem is changing4:20  Why a16z invested in Substack6:28  Supply-driven markets and new content creation8:07  Why writers felt trapped by media companies10:09  Databricks and the 10x cloud multiplier13:58  Long-form podcasting proves demand15:40  What the new fund signals about the future16:24  AI as a universal problem solver18:49  Why market sizing is broken20:45  Go-to-market, policy, and platform power22:37  Turning inventors into confident CEOs25:58  Borrowing power to scale faster27:29  Building dreamers, not killing dreams30:46  Reputation as a core competitive advantage35:57  Taking arrows in public38:56  Avoiding big company failure modes40:39  Autonomous teams inside a16z41:54  Venture capital as the last job46:01  Why intangibles matter more than ever48:17  Original thinkers with charisma50:06  Why Zoomers are differentResources: https://www.notboring.co/p/a16z-the-power-brokershttps://www.a16z.news/p/firm-fundFollow Marc Andreessen on X: https://twitter.com/pmarcaFollow Ben Horowitz on X: https://twitter.com/bhorowitzFollow Erik Torenberg on X: https://twitter.com/eriktorenbergFollow Packy McCormick on X: https://twitter.com/packyM Stay Updated:If you enjoyed this episode, be sure to like, subscribe, and share with your friends!Find a16z on X: https://twitter.com/a16zFind a16z on LinkedIn: https://www.linkedin.com/company/a16zListen to the a16z Podcast on Spotify: https://open.spotify.com/show/5bC65RDvs3oxnLyqqvkUYXListen to the a16z Podcast on Apple Podcasts: https://podcasts.apple.com/us/podcast/a16z-podcast/id842818711Follow our host: https://twitter.com/eriktorenberg](https://x.com/eriktorenbergPlease note that the content here is for informational purposes only; should NOT be taken as legal, business, tax, or investment advice or be used to evaluate any investment or security; and is not directed at any investors or potential investors in any a16z fund. a16z and its affiliates may maintain investments in the companies discussed. For more details please see a16z.com/disclosures.  Stay Updated:Find a16z on XFind a16z on LinkedInListen to the a16z Show on SpotifyListen to the a16z Show on Apple PodcastsFollow our host: https://twitter.com/eriktorenberg Please note that the content here is for informational purposes only; should NOT be taken as legal, business, tax, or investment advice or be used to evaluate any investment or security; and is not directed at any investors or potential investors in any a16z fund. a16z and its affiliates may maintain investments in the companies discussed. For more details please see a16z.com/disclosures. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Free Video Tutorial for ScreenwritingWhat makes the stakes in a story truly matter?In this episode of The Storyteller's Mission, Zena Dell Lowe explains how to raise the stakes in your story without relying on gimmicks, artificial tension, or repetitive plot devices. This episode explores why high stakes are always tied to character, relationship, and consequence—and how meaningful escalation creates pressure that drives transformation.From moral weight to relational cost to progressively harder choices, this conversation reframes how writers should think about stakes at every level of storytelling. Whether you're working on a novel, screenplay, or short story, this episode provides a practical and timeless approach to making your story resonate more deeply with an audience.Watch this episode on YouTube Sign up for The Storyteller's Digest, my exclusive bi-monthly newsletter for writers and storytellers. Each edition delivers an insightful article or practical writing tip straight from me, designed to help you master your craft and tell compelling stories.The Storyteller's Mission Podcast is now on YouTube.  Subscribe to our channel and never miss a new episode or announcement.Support the Show!Contact us for anything else!Send us a textSupport the show

In episode 1989, Jack and guest co-host Mort Burke are joined by comedian, Blake Wexler, to discuss… At Least Zohran Is Getting Busy, The Trump Administration Wants Us To Believe That They Havana Syndrome-d Venezuela, Finally An App To Ensure You’re Not Dead, Now Stranger Things Fans Are Convinced That ChatGPT Wrote The Finale and more! US used powerful mystery weapon that brought Venezuelan soldiers to their knees during Maduro raid: witness account This Pain-Inducing Acoustic Device Used to Control Crowds in Azerbaijan Might Be U.S.-Made How to Dodge the Sonic Weapon Used by Police Are You Dead?: The viral Chinese app for young people living alone An App Called ‘Are You Dead?’ Is Climbing the Apple Charts A record share of Americans is living alone Why humans are increasingly choosing to live alone Rising numbers of people found long after death in England and Wales – study The Backlash Against Netflix’s ‘Stranger Things 5’ Documentary, Explained Stranger Things Fan Tweet: "is that a f**kin chatgpt tab i see" LISTEN: Victory Lap by Fred again.., Skepta, PlaqueboymaxSee omnystudio.com/listener for privacy information.

Listen to a replay of 2025's other 3rd most popular episode (it was a statistical tie)! Bestselling author and literary agent Betsy Lerner spoke with me about being a “late bloomer,” what 35 years in publishing has taught her, and portraying mental illness in her debut novel SHRED SISTERS. Betsy Lerner is the author of the popular advice book to writers, The Forest for the Trees, and the memoirs Food and Loathing and The Bridge Ladies. With Temple Grandin, she is the also co-author of the New York Times bestseller Visual Thinking: The Hidden Gifts of People Who Think in Pictures, Patterns and Abstractions. Her debut novel, Shred Sisters, is described as “... an intimate and bittersweet story exploring the fierce complexities of sisterhood, mental health, loss and love.” The book was longlisted for The Center for Fiction First Novel Prize, a New York Times Notable Book of 2024, and a New York Times Book Review Editors' Choice and Best Book of the Year So Far, among many other accolades. Betsy received an MFA from Columbia University in Poetry and was selected as one of PEN's Emerging Writers. She also received the Tony Godwin Publishing Prize for Editors. After working as an editor for 15 years, she became an agent and is currently a partner with Dunow, Carlson and Lerner Literary Agency. [This episode is sponsored by Ulysses. Go to⁠⁠ ⁠ulys.app/writeabook⁠⁠⁠ to download Ulysses, and use the code FILES at checkout to get 25% off the first year of your yearly subscription."] [Discover⁠ The Writer Files Extra⁠: Get 'The Writer Files' Podcast Delivered Straight to Your Inbox at⁠ writerfiles.fm⁠] [If you're a fan of The Writer Files, please⁠ click FOLLOW to automatically see new interviews⁠. And drop us a rating or a review wherever you listen] In this file Betsy Lerner and I discussed: Getting kicked out of film school How "No Bad Dogs" inspired her to write The Forest for the Trees about writer personalities Working with punk rock icon Patti Smith The secrets behind her writing process Why she wants to have dinner with filmmaker Greta Gerwig And a lot more! Show Notes: ⁠betsylerner.com⁠ ⁠Dunow, Carlson & Lerner Literary Agency⁠ ⁠Shred Sisters by Betsy Lerner⁠ (Amazon) ⁠The Forest for the Trees: An Editor's Advice to Writers by Betsy Lerner⁠ (Amazon) ⁠Betsy Lerner Amazon Author Page⁠ ⁠Kelton Reid on Twitter Learn more about your ad choices. Visit megaphone.fm/adchoices

Since when did cosy chats about books suck up quite so many headlines? Adelaide Writers' Week is the longest-running literary event in Australia and this week it collapsed under the weight of its own controversy. So, Em asks Holly and Jessie, what are writers' festivals for, anyway? Jennifer Lawrence re-homed her dogs after she had a baby and Jessie wants to know why nobody warned her that talking about that will ruin her life. And Jessie would know. When does a situationship become a boy/girlfriend? And when does a boy/girlfriend become a partner? And does anyone (apart from Raye) like the word husband? Thanks to Timothée Chalamet and Kylie Jenner, we have a new commitment ladder for relationships in 2026. Also, the job choice that can predict your age and stage. And the new endo test that could change everything for women tired of waiting for an answer about why they're in agony. Oh, and did Holly just get fleeced by Harry Styles? SUBSCRIBE here: Support independent women's media What To Listen To Next: Listen to our latest episode: Why Mia Really Left... And Why She's Back Listen: Our Notes On The Golden Globes & Hollywood's 'Toxic Mums' Group Listen: One Of Us Has No Charisma & The New Dating Vocabulary Listen: The Fingering Renaissance Listen: Mel Robbins Knows Exactly What's Wrong With You & The Exact Science To Keep You Enjoying Your Job Listen: The Six Roles In Every Family. Which One Are You? Listen: Ugly Female Friendships & There's A Reason You're Stuck Listen: Is It OK To Flirt Outside Of Your Relationship? Connect your subscription to Apple Podcasts Discover more Mamamia Podcasts here including the very latest episode of Parenting Out Loud, the parenting podcast for people who don't listen to... parenting podcasts. MOVE by Mamamia is the app that helps you fit movement into your every day. Whether you have 10 minutes, or 45, we've got the workout that fits your time, space and body. Get $20 off an annual subscription until the end of January when you use code OUTLOUD at checkout. Start your free trial today. SUBSCRIBE here: Support independent women's media Watch Mamamia Out Loud: Mamamia Out Loud on YouTube What to read: 'It makes zero sense on paper. But I've finally figured out why Kylie and Timothée work.' Jennifer Lawrence and Robert Pattinson's movie is torture to watch. That's the point. Timothée Chalamet, Taylor Swift, and the age of the ego. Hey, didn't we already have the debate about working from home? THE END BITS: Check out our merch at MamamiaOutLoud.com GET IN TOUCH: Feedback? We’re listening. Send us an email at outloud@mamamia.com.au Share your story, feedback, or dilemma! Send us a voice message. Join our Facebook group Mamamia Outlouders to talk about the show. Follow us on Instagram @mamamiaoutloud and on Tiktok @mamamiaoutloudBecome a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

Visiting the Museum of Literature Ireland (MoLI) Dublin didn't earn its UNESCO City of Literature designation by accident. This is a city shaped – physically, culturally, and emotionally – by writers. Their words echo through streets, pubs, libraries, and public spaces, forming part of everyday life rather than sitting quietly on a shelf. One of the best places to understand how writers shaped Dublin – and why literature still matters here – is the Museum of Literature Ireland, known simply as MoLI. MoLI Exhibition; photo credit: MoLI, used with permission This article is based on podcast episode 3220featuring David Cleary, CEO and Director of the Museum of Literature Ireland (MoLI).Use the player below to listen or scroll to continue reading the article and get resource links. Why Writers Matter in Dublin In Dublin, writers aren't treated as distant historical figures. They're part of the city's identity. As MoLI director David Cleary explains, Irish literature captures people first – their voices, humor, contradictions, and daily lives – and that human focus is what gives Irish writing its global reach. The rhythm and cadence of Irish writing are shaped by history, by language, and by place. Even when written in English, the influence of Irish language and speech patterns gives Irish literature a distinct flow that feels different on the page. First copy of Ulysses What MoLI Shows That Other Museums Don't MoLI focuses on writers as people, not just their most famous works. Visitors see: Drafts, notebooks, and creative planning How writers developed ideas and structure The trial-and-error behind finished books A highlight for many visitors is the first printed copy of Ulysses, paired with James Joyce's handwritten preparation notes – a reminder that even the most celebrated writers wrestled with their work. A Broader View of Irish Writing Rather than focusing only on literary “greats,” MoLI shows the range of Irish writing: Poets, playwrights, novelists, and children's authors Irish-language and English-language writers Contemporary voices alongside historic figures Rotating exhibitions explore different genres and themes, reinforcing the idea that Irish literature is living, evolving, and accessible. MoLI from St. Stephen's Green; photo credit: MoLI, used with permission Newman House — Place Matters MoLI is housed in Newman House, a set of Georgian buildings dating to the 1730s. Writers didn't just pass through here – they studied here. Figures like James Joyce, Maeve Binchy, and Flann O'Brien walked these same floors. That connection between place and writing is intentional, the building itself reinforces how closely literature and location are intertwined in Dublin. Behind the museum is MoLI's reader's garden, with access to the Iveagh Gardens – a quiet, green space that encourages slowing down and engaging with words rather than rushing on to the next sight. Planning a Visit to MoLI Booking: Recommended but not required Time needed: 1–2 hours Experience: Self-guided Location: St Stephen's Green (easy to pair with nearby attractions) Visit the Museum of Literature Ireland website for more information and follow on Instagram, TikTok, and Facebook for more inspiration. MoLI works especially well as a flexible stop – something that adds depth to a Dublin day without feeling overwhelming. in the Long Room at Trinty College Three More Writer-Focused Stops in Dublin To continue exploring Dublin through its writers, consider adding: Trinity College Long Room – A visually stunning library tied to Ireland's literary heritage (only available with a Book of Kells Experience ticket) The Palace Bar – A longtime gathering place for writers and journalists Independent bookshops like The Winding Stair, where Irish writing is still very much alive MoLI makes it clear that Dublin isn't just a city with famous books – it's a city shaped by the people who wrote them. Visiting the Museum of Literature Ireland adds context to everything else you see in Dublin, from street names to pub conversations, and helps explain why words still matter so much here. The post Dublin – A City Shaped by Writers appeared first on Ireland Family Vacations.