Podcasts about writers

Want more? Join the Frightday Society, at http://thefrightdaysociety.org This week we talk all things Scream, connections to the franchise's history, the minds behind it, & the controversial pivot of Kevin Williamson's Scream VII. And we do it with our good pals Heather Hynes, and Ramsey Ess of the podcast If You're Listening. "One person's mission to force her friend to listen to all the music he missed in high school." https://www.ifyourelistening.com/  https://podcasts.apple.com/us/podcast/if-youre-listening/id1271263096 https://www.patreon.com/cw/ifyourelistening As a Society Member, you'll have access to all Screamium content (Behind the Screams, It's Been a Weird Week, A Conversation With..., Toast to Toast PM with Wine Kelly, Cinema Autopsy, the Writers' Room, bonus episodes of Captain Kelly's Cryptids & Conspiracies, Byron's Serial Corner, and so much more! You'll also be part of our interactive community dedicated to the advancement of horror, hauntings, cryptids, conspiracies, aliens, and true crime. All things frightening. Keep our mini-fridges full of blood...I mean...not blood...normal things that people drink...by going to http://shop.frightday.com Theme music by Yawns Produced by Byron McKoy Follow us in the shadows at the following places:  @byronmckoy @kellyfrightday @frightday This is an Audio Wool Original.

Acclaimed short fiction writers Sarah Hall, Jonathan Escoffery, and Niamh Mulvey on building immersive worlds in compressed spaces, grounding stories in real human stakes, and writing openings and endings that transform both character and reader.   Timestamps: 00:01:06 Sarah Hall (from Episode 161) 00:14:43 Jonathan Escoffery (from Episode 56) 00:26:42 Niamh Mulvey (previously unreleased conversation) You'll learn: Sarah Hall's “keyhole” approach to short stories — and how the unseen world beyond the scene gives a story its depth. Why trusting your preoccupations beats forcing a theme, and how over-awareness of your own subject can kill the fiction. A technique for thickening a thin first draft: telescope into your character's childhood, then out to their future. Why Jonathan Escoffery believes stories without real-world stakes will lose to equally crafted stories that engage with the world, every time. How Escoffery pairs imagination with lived emotional experience to make unfamiliar settings resonate — and why personal growth feeds artistic growth. What choosing a linked story collection over a novel taught Escoffery about pacing, pause, and propulsive energy. Why Niamh Mulvey thinks showing off your best writing in an opening is a mistake — and what to do instead (start specific, name a character, put two people in relation). A prompt for finding your story's urgency: ask “why this moment?” and aim for the energy of really good gossip. How character desire shapes place and plot at the same time, so setting becomes what your character wants rather than backdrop. Mulvey's “third element” — a character, object, or event seeded early that can emerge later to unlock your ending. Resources & Links: Join our LWS community! Sarah's full episode and notes Jonathan's full episode and notes If I Survive You by Jonathan Escoffery Hearts and Bones: Love Songs for Late Youth by Niamh Mulvey The Amendments by Niamh Mulvey Sombrero Fallout by Richard Brautigan   About Sarah Hall: Sarah Hall is one of the UK's most talented authors. Twice nominated for the Man Booker Prize, the first and only writer to win the BBC National Short Story Award twice, she has written ten highly acclaimed novels and short story collections. About Jonathan Escoffery: Jonathan Escoffery is the author of the linked story collection If I Survive You, a New York Times and Booklist Editor's Choice, an IndieNext Pick, and a National Bestseller. His stories have appeared in The Paris Review, Oprah Daily, Electric Literature, Zyzzyva, AGNI, Pleiades, American Short Fiction, Prairie Schooner, Passages North, and elsewhere. About Niamh Mulvey: Niamh Mulvey is from Kilkenny, Ireland. Her short fiction has been published in The Stinging Fly, Banshee and Southword and was shortlisted for the Seán O'Faoláin Prize for Short Fiction 2020. Her short story collection Hearts and Bones: Love Songs for Late Youth was published by Picador. The Amendments is her first novel. 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 a textWelcome everyone, to the conclusion of my interview with Professor and El Paso County Sheriff's Department Investigator Jennifer Bucholtz. Jennifer Bucholtz is a former U.S. Army Counterintelligence Agent, and a decorated veteran of the Iraq and Afghanistan wars. She holds a bachelor's degree in criminal justice from Northern Arizona University, a master's degree in criminal justice from the City University of New York's John Jay College of Criminal Justice, and a master's degree in forensic science from National University. Ms. Bucholtz has an extensive background in U.S. military and Department of Defense counterintelligence operations. Ms. Bucholtz is currently an adjunct faculty member at AMU and teaches courses in criminal justice and forensic sciences. Additionally, she is a cold case investigator for her local sheriff's office, host of AMU's investigative podcast “Break The Case,” and founder of the 501(c)3 nonprofit, Break The Case. Please enjoy this eye-opening and fascinating interview with someone who has done so many incredible things and continues to serve her community.  In today's episode, we discuss:·      Meeting Lt. Joe Kenda. ·      Why is she so interested in cold cases?·      The Steven Avery case.·      The Rebecca Gould murder. Was her killer a serial killer? All the missteps of the original detectives and how she overcame those errors. ·      Why does she still communicate with her murderer?·      Her company, Break The Case.org.·      The Debbie Sue Williamson case.·      What is her criteria for taking a case?·      Forensic and investigative science has never been better. Why are clearances not keeping up with the science? ·      What's in the future of cold cases? DNA keeps getting better, and perhaps using AI as a tool, not a replacement for humans. All of this and more on today's episode of the Cops and Writers podcast.Visit Break the Case!Visit the Cops & Writers Website!Check out my newest book! Police Stories: The Rookie Years - True Crime, Chaos & Life as a Big City Cop!My first week as a rookie cop, I had to decide whether to pull the trigger on a man running at me with a butcher knife. He'd just killed his brother over the last hot dog.That was my introduction to policing in Milwaukee.From Wall Street Journal-featured author Patrick O'Donnell comes a memoir of rookie years on Milwaukee's streets.Support the show

"All I wanted was time" - Tracey Emin, Strozzi Gallery DocumentaryToday I share a travel story for International Women's Day about a glorious art and life moment in Florence from 2025.  There are beautiful things that happen along the way that stay with you. I reflect on my experience and joy while walking in the Centro Storico of Florence and discovering that there was an exhibition of Tracey Emin's work on that week at the Palazzo Strozzi. It had been a long time since I had seen her work and remembered her brilliant exhibition in Sydney in the early 2000s. Today I honour Women and Art and the creative genius of Tracey Emin. I describe the effect of seeing her work in real life as "subtle and profound" and always significant. When you see Emin's work in real life you don't forget. You remember everything.These days the Palazzo Strozzi has some wonderful exhibitions - Mark Rothko opens next week and more recently there was Fra Angelico.  So make time to see what is happening at The Strozzi Gallery if you visit Firenze.And they have a nice cafe downstairs too that you can enjoy in the renaissance court yard. Enjoy, Michelle xA Florentine Cafe & Musings on Women and Art in ItalyShownotes A Writer in Italy InstagramSubstack - At My TableMichelle's BooksMusical Scores by Richard Johnston© 2026  A Writer In Italy - travel, books, art and lifeMusic Composed by Richard Johnston © 2026Support the show

Charlotte and Jo go deep on jealousy, self-hatred, love, and vulnerability in a conversation that touches on A Separate Peace, The Go-Between, Beowulf, and more. Then the canny and intrepid Maya Binyam joins for a discussion about the category of little girlhood, ambiguity in fiction, and female desire.Maya Binyam is the author of Hangman. Her writing has appeared in the New Yorker, the Paris Review, Best American Short Stories, and elsewhere. She is a 2025 - 2026 Rome Prize Fellow at the American Academy in Rome. Please consider supporting our work on Patreon, where you can access additional materials and send us your guest and book coverage requests! Books discussed on all seasons of the podcast are aggregated here on Bookshop. Questions and comments can be directed to readingwriterspod at gmail dot com. Outro music by Marty Sulkow and Joe Valle.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, and 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

Send a textIn this episode of The Savvy Scribe, Janine sits down with Shaun Chavis, a former journalist, editorial director, and content marketing consultant, to talk about who actually hires nurse writers. Shaun shares her perspective from years of hiring health professionals for editorial and content marketing roles in media and health tech companies.If you're a nurse curious about freelance writing—or a beginner who hasn't landed your first client yet—this episode pulls back the curtain on what hiring managers look for, why nurses are highly valued in health content, and how to position your expertise to attract the right opportunities.What You'll Learn in This EpisodeWho actually hires nurse writers in today's content landscapeWhy nurses often have an advantage over generalist health writersHow clinical experience helps writers interpret studies and explain health topics clearlyWhat hiring managers look for when reviewing pitches and writing samplesWhy subject matter expertise makes writing faster and more valuableHow to evaluate startups as potential writing clientsThe difference between transactional marketing and long-term content strategyWhy writers should think of articles as long-term business assetsHow clear, plain language improves health communicationHow platforms like Substack are creating new opportunities for writers and brandsWelcome to the Savvy Scribe Podcast, I'm so glad you're here! Before we start the show, if you're interested, we have a free Facebook group called "Savvy Nurse Writer Community"I appreciate you following me and listening today. I would LOVE for you to subscribe: ITUNESAnd if you love it, can I ask for a

My guest today on the Online for Authors podcast is Elyse Seal, a fiction book coach. Elyse helps authors get unstuck and finish their novels without spending years rewriting the same draft. With five years of experience and training from Author Accelerator, she specializes in sci-fi and fantasy authors. She helps writers build solid story foundations before they write and coaches them through editing in layers, big picture first, then scenes, then language. Her approach is candid and collaborative. She challenges authors to go deeper into character development and examine whether each scene is doing the heavy lifting it needs to do. Because every word matters. Authors hire her for clarity, accountability, and expert guidance toward the finish line.   According to Elyse's website, “you'll stop second-guessing and start writing with purpose, direction, and the confidence that your story matters. Whether you're just starting with an idea, deep in your first draft, or stuck after many revisions, I've got you.   “Writing is hard, but it's not because you're doing it wrong.  You just need a plan, support, and someone who gets it.”   Subscribe to Online for Authors to learn about more great books! https://www.youtube.com/@onlineforauthors?sub_confirmation=1   You can follow Author Elyse Seal Website: https://www.elysesealcoaching.com/ IG @elyse.j.seal FB: @Elyse Seal   Teri M Brown, Author and Podcast Host: https://www.terimbrown.com FB: @TeriMBrownAuthor IG: @terimbrown_author X: @terimbrown1   Want to be a guest on Online for Authors? Send Teri M Brown a message on PodMatch, here: https://www.podmatch.com/member/onlineforauthors   #elyseseal #bookcoach # #terimbrownauthor #authorpodcast #onlineforauthors #characterdriven #researchjunkie #awardwinningauthor #podcasthost #podcast #readerpodcast #bookpodcast #writerpodcast #author #books #goodreads #bookclub #fiction #writer #bookreview

On today's program, Global Outreach Developments International—which goes by the name G.O.D. International—is in the hot seat after a lawsuit claims the Nashville-based ministry and its former leader engaged in sex trafficking and forced labor. We'll have details. Also, the Evangelical Council for Financial Accountability is rolling out its new LeaderCare standard—we have compiled practical steps to help ministries develop their own plan and come into compliance with the new standard. Plus, U.S. Senator Ted Cruz proposes taking Trey's Law to the federal level, making non-disclosure agreements in cases of child sexual abuse unenforceable. And, U.S. Foreign Missions faces a time of upheaval—although elsewhere, cross-cultural ministry remains robust. But first, a prominent North Carolina pastor and leader with the Acts 29 Network has been removed from leadership after confessing to an ‘inappropriate relationship.' Tyler Jones is vice president for Acts 29 and founder of Vintage Church in Raleigh, N.C. Last month, he confessed the inappropriate relationship to the Vintage Church elders…who then voted to remove Jones from his role, effective immediately. Acts 29 also dismissed him from his VP position. 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 Isaac Wood, Kim Roberts, Jessica Eturralde, and Richard Ostling. A special thanks to Religion UnPlugged for contributing material for this week's podcast.

Lively discussion this week as the LA Kings fire Jim Hiller, Elliotte Friedman says something gross, we play a very fun game, and we continue learning about all-time jerk Alan Eagleson!Benjamin welcomes SJ, Trevor, and Madison to the Neutral Zone Hotel02:00 The LA Kings fire Jim Hiller (finally)17:57 Discussing the gross thing Elliotte Friedman said on HNIC29:43 Let's play Connexions!1:03:40 Episode 4 of Hockey's Greatest Bastards - The Life and Crimes of Alan EaglesonNeutral Zone Hotel is a production of the Neutral Zone Hotel Team.More information is available at https://neutralzonehotel.comLogo design by Emily Mowbray.We're available on YouTube and all the major podcast platforms.You can follow us on social media if you're so inclined: Bluesky: @neutralzonehotel.bsky.socialYou can join our Discord server at https://neutralzonehotel.com/discord

In this episode of the GaryVee Audio Experience, I talk about the two most critical actions you must take in 2026 to double your revenue: embracing AI and leveraging "unscalable" old-school practices. I argue that Google AdWords is dying and that every piece of content you make today is being indexed by AI bots that will eventually recommend services to customers. I also share the simple, guaranteed analog strategy of reaching out to every former client you've ever had.  You'll learn about:The Imminent Impact of AI on Every BusinessWhy Google AdWords is the New Yellow PagesHow to Test Your Ads for Free Before Paying for MediaThe Barbell Effect: Extreme Tech Meets Extreme AnalogThe Importance of Content Volume and FormSubstack: The New Platform for Writers to Generate RevenueThe Guaranteed Way to Become "Top of Mind" with Former Clients

Welcome to another wildly unpredictable hour of The Other Side of Midnight with Lionel. In this episode, Lionel dives deep into the psychology of fear, questioning why adults willingly terrify themselves with horror classics like Dracula and The Exorcist. Things get weird when caller Toni reveals her bizarre Florida living situation: since bear spray is illegal, she deals with a garbage-eating black bear named "Teddy". The show then takes a hard left turn into the terrifying rise of Artificial Intelligence. Lionel sounds the alarm on AI-generated journalism, questions whether President Biden is using an "auto-pen" to forge legislation, and marvels at a new Chinese electric hypercar that literally uses a sofa for a cockpit. Throw in some incredibly chaotic listener calls—including a self-proclaimed male prostitute driving with his hazard lights on to avoid AI spies, and a supposed hostage situation involving a merchant seaman—and you've got a classic, unfiltered hour of late-night radio. Learn more about your ad choices. Visit megaphone.fm/adchoices

Storytellers often try to use shame to enforce a message—but doing so quietly destroys character arc. In this episode, Zena Dell Lowe explains why shame collapses characters into moral verdicts and turns storytelling into propaganda instead of discovery.What's the difference between guilt, shame, and conviction, and why does that difference matter for writers, filmmakers, and culture itself?For writers, filmmakers, and storytellers, the misuse of shame collapses characters into verdicts instead of people. When a story tells the audience who is morally acceptable and who is not, character complexity disappears and true transformation becomes impossible.In this episode you'll discover:• The critical difference between guilt, shame, and conviction • Why shame drains human agency and moral clarity • How shame is used as a tool of cultural control • Why many modern films feel ideological instead of human • The storytelling difference between theme and propaganda • How writers accidentally destroy character arc • Why dignity—not shame—is required for transformationWe'll also examine how films like Don't Look Up, Milk, Boys Don't Cry, American Beauty, the classic It's a Wonderful Life, and the series Downton Abbey reveal the tension between human storytelling and ideological messaging.For storytellers, this raises an urgent question:Are we inviting audiences into discovery… or coercing them into agreement?Because the moment shame replaces persuasion, storytelling stops being exploration and starts becoming propaganda.And when that happens, character arc dies.If you care about great storytelling, meaningful character development, and cultural honesty, this episode is for you.About The Storyteller's Mission The Storyteller's Mission helps writers craft stories grounded in truth, meaning, and moral clarity — stories that shape culture rather than merely reflect it.Keywords / Topics Coveredstorytelling craft, character arc, shame vs guilt, conviction and repentance, narrative psychology, propaganda in film, ideological storytelling, writing better characters, moral complexity in storytelling, story theme vs propaganda, storytelling philosophy, film analysis, writing advice for authors, screenwriting craft, storytelling and culture.Free Resources for Writers:Seven Deadly Plot Points FREE TRAINING VIDEO Free Video Tutorial for ScreenwritingSign 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!Chapters00:00 Introduction: When arguments become shame 00:46 The real problem behind online debates 02:05 What shame is actually doing to culture 02:29 Guilt vs shame vs conviction explained Send a textSupport the show

Can I just charge you a percentage of the grant once it gets awarded? If you've worked long enough as a consultant, you've gotten that question at least once. Today we're sharing why that is against the grant professional code of ethics, and how to handle the conversation when it comes up.   JOIN THE FUNDRAISING HAYDAY COMMUNITY: Become a member of the Patreon   CHECK OUT TODAY'S SPONSOR: GrantGuru Use discount code HAYDAY963 for 20% off your subscription   SHOW NOTES: Grant Professionals Association Code of Ethics Grant Professionals Association   Association of Fundraising Professionals Code of Ethical Standards Code of Ethical Standards | Association of Fundraising Professionals

Let's Talk - MoviesEpisode 100: Reservoir Dogs (1992) - Rapid ReviewJason Connell revisits the classic 1992 film, Reservoir Dogs, with a rapid review, sharing sharp insights and impressions on why the movie still holds up today.Recorded: 02-15-26Studio: Just Curious MediaListen:BuzzsproutApple PodcastsSpotifyGoogle PodcastsAmazon MusiciHeartRadioTuneInWatch:YouTubeFollow:FacebookInstagramHost:Jason ConnellAffiliates:BuzzsproutRiversideWe Edit Podcasts#justcuriousmedia #letstalkmovies #mrjasonconnell #cinema #classicmovies #movies #moviereviews #film #filmreviews #studios #producers #directors #writers #actors #moviestars #boxoffice #reservoirdogsSend a textSupport the show

Welcome to another LEGENDARY episode of Storybeast! Our Legendaries are special guests who are an expert within their area of storytelling. In this episode, Ghabiba Weston and Courtney Shack have the pleasure of interviewing legendary Vajra Chandrasekera.Vajra Chandrasekera is from Colombo, Sri Lanka. His novels THE SAINT OF BRIGHT DOORS and RAKESFALL have between them won the Le Guin, Nebula, Ignyte, Locus, Crawford, and Otherwise awards, been selected as New York Times Notable Books of 2023 and 2024, and been nominated for many others, including the Hugo. He is one of the 2025-2026 Fellows of the Dorothy and Lewis B. Cullman Center for Scholars and Writers at the New York Public Library.In this episode, you'll hear about:how Vajra conceptualizes storylistening to your instincts and not killing your darlingsleaning into your strengths the inspiration behind THE SAINT OF BRIGHT DOORSusing the full fantasy toolkitFor more storytelling content to your inbox,⁠⁠⁠ subscribe to our newsletter. Feel free to reach out if you want to talk story or snacks!A warm thank you to Deore for our musical number. You can find more of her creative work on Spotify.As ever, thank you for listening, Beasties! Please consider leaving a review to support this podcast.Be brave, stay beastly!

Sign up for the Chicago CWT Listener Meetup. Henry Oliver is the preeminent literary critic for non-literary nerds. His Substack, The Common Reader, has thousands of subscribers drawn in by Henry's conviction that great literature is where ideas "walk and talk amongst the mess of the real world" in a way no other discipline can match. Tyler, who has called Henry's book Second Act "one of the very best books written on talent," sat down with him to compare readings of Measure for Measure and range across English literature more broadly. Tyler and Henry trade rival readings of the play, debate whether Isabella secretly seduces Angelo, argue over whether the Duke's proposal is closer to liberation or enslavement, trace the play's connections to The Merchant of Venice and The Rape of Lucrece, assess the parallels to James I, weigh whether it's a Girardian play (Oliver: emphatically not), and parse exactly what Isabella means when she says "I did yield to him," before turning to the best way to consume Shakespeare, what Jane Austen took from Adam Smith, why Swift may be the most practically intelligent writer in English, how advertising really works and why most of it doesn't, which works in English literature are under- and overrated, what makes someone a late bloomer, whether fiction will deal seriously with religion again, whether Ayn Rand's villains are more relevant now than ever, and much more. Read a full transcript enhanced with helpful links, or watch the full video on the new dedicated Conversations with Tyler channel. Recorded January 12th, 2026. This episode was made possible through the support of the John Templeton Foundation. Other ways to connect Follow us on X and Instagram Follow Tyler on X Follow Henry on X Sign up for our newsletter Join our Discord Email us: cowenconvos@mercatus.gmu.edu Learn more about Conversations with Tyler and other Mercatus Center podcasts here. Timestamps: 00:00:00 - Intro 00:01:40 - What Shakespeare is really saying in Measure for Measure 00:29:17 - The best way to consume Shakespeare 00:32:26 - Jane Austen, Adam Smith, and Jonathan Swift 00:39:29 - Advertising that works 00:44:37 - Things that are under- and overrated in literature 00:51:24 - Late bloomers 00:58:36 - Outro  Image Credit: Sam Alburger

Diana Neunkirchner is a retired teacher living in Rougemont, North Carolina. An avid reader and writer, she is a member of the Durham Writers Group, the Writers' Inspirational Network, and the Writers' Critique Group. When she's not writing short stories, personal essays, or memoir, she is hiking along the Eno River or playing the flute at Your Saving Grace, the family farm.

Click Here to ask your book writing and publishing questions!In this episode, I'm joined by Emma Grey, whose newest novel, Start at the End, publishes on April 7, 2026. We talk about writing brave stories and building a creative life that can withstand rejection.Emma shares how vulnerability fuels her fiction. Not for shock value, but how honest emotions earn their place on the page. We talk about how she approaches structure, how she stays grounded in character, and why the process of storytelling keeps evolving right alongside the writer.We also get into rejection. The real kind, the kind that stings. Emma's take? It's part of the path, and it's not a verdict on your talent.And then there's what's next for Emma—TV adaptation plans and the shift from prose to screen. What changes? What stays? And how do you protect the emotional core of a story when new collaborators step in?If you're writing something that feels personal—or wondering whether you're resilient enough to keep going—this conversation is a must-listen. *****This episode is sponsored by Atticus, the all-in-one writing and book formatting software for self-publishing authors. From drafting to professional ebook and print layout, Atticus makes it easy to format your manuscript for KDP, IngramSpark, and beyond. Learn more at Atticus.io. WANT TO SELL MORE BOOKS (WITHOUT THE SELF-PROMO CRINGE)?The Author Visibility Bundle gives you 200+ done-for-you email templates, social media graphics, and other book promo tools designed to help authors build buzz and drive sales, without feeling pushy. 

After you've sold your debut novel, you unlock a new process in publishing: selling a novel on proposal. This most commonly happens as part of the option clause on your contract, and it's a time in your career that can come with a host of questions, fears, and anxieties. So today on the podcast, I'm breaking down what goes into a fiction proposal and how to navigate the different layers of uncertainty as you try to sell a book you haven't fully written. *** Ready to let go of burnout, build confidence, and put fun back into your fiction career? I have availability for new private clients - come work with me! Schedule a free call to discuss your goals and decide if coaching is right for you. *** Follow me behind-the-scenes as I revise my novel under deadline. Learn more here. Looking for even more author advice and notifications about upcoming workshops? Sign up for my twice-monthly newsletter, Real Talk for Writers, by clicking here. DM me on Instagram & let me know what you thought of this episode!

In this episode of Biographers in Conversation, Jacqueline Kent chats with Gabriella Kelly-Davies about Inconvenient Women: Australian Radical Writers 1900-1970. Here's what you'll discover in this episode: Jacqueline Kent traces the ‘missing generation' of Australian radical women writers, who bridged the gap between suffragists and second-wave feminism. These writers were politically active and formally transgressive, challenging norms in both their activism and subject matter. The collective-biography form enables Kent to show how these women intersected through organisations like the Fellowship of Australian Writers, the Society of Women Writers and the Commonwealth Literary Fund, creating fragile but vital support networks in otherwise isolated domestic lives. Kent insists these ‘inconvenient women' speak directly to the present, reminding listeners that structural sexism, economic inequality and workplace predation persist, even as a new generation of women refuses to accept discrimination as the norm.

Living Writers 2026-03-04 - WCBN Public Affairs Programming - T Hetzel

On this episode of Center Stage with Mark Gordon, filmmaker and journalist Roc Morin talks about Meduza, a powerful project that explores war, identity, and the strange overlap between performance and reality. Mark Gordon and Roc Morin discuss the origins of the film, the emotional and creative challenges behind it, and what drew Morin to this story in the first place. The result is a compelling conversation about documentary filmmaking, human resilience, and the role of storytelling in times of crisis.

Dorothy Roberts joins Let's Talk Memoir for a conversation about her father's interviews beginning in the 1930s with over 500 back-white couples who crossed the color line in Chicago,  moving to memoir to explore more personal experiences and feelings, growing up in a mixed race family, shifting the lens onto herself, thinking about identity, finding answers via the writing process, staying motivated and organized while working with heaps of material, the mystery in memoir, bringing the reader into the discovery process, the adventure of not knowing, looking for evidence people can love across racial boundaries, and her new book The Mixed Marriage Project: A Memoir of Love, Race and Family.   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   Also in this episode: -taking breaks -working with source material -the possibility of racial harmony in America   Books mentioned in this episode: -The Color of Water by James McBride -South to America by Imani Perry -The Warmth of Other Suns by Isabel Wilkerson -The Yellow House by Sarah M. Broom   Dorothy Roberts is the George A. Weiss University Professor of Law and Sociology at the University of Pennsylvania, where she directs the Penn Program on Race, Science, and Society. The author of five books, including Killing the Black Body, a MacArthur Fellow, and member of the American Academy of Arts and Sciences, she lives in Philadelphia, Pennsylvania.   Connect with Dorothy: Website: https://www.dorothyeroberts.com/ Get the book: https://www.simonandschuster.com/books/The-Mixed-Marriage-Project/Dorothy-Roberts/9781668068380   – 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

Larissa Pham's writing has appeared in The Nation, the New York Times Book Review, Aperture, Bookforum, Art in America, Granta, the Paris Review Daily, and elsewhere. Her essays and short fiction have been anthologized in Kink (Simon and Schuster, 2021); Wanting: Women Writing on Desire (Catapult, 2023); and Critical Hits, an anthology of writing on video games (Graywolf, 2023). She holds an MFA in fiction from Bennington. She is an Assistant Professor of Writing at the New School. Her debut novel, just published, is Discipline. Larissa joins Barbara DeMarco-Barrett to talk about plot, narrative tense, the freedom of writing without quotation marks, metafiction, revision, naming characters, themes, 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 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. You can find hundreds of past interviews on our website. (Recorded February 6, 2026) Host: Barbara DeMarco-Barrett Host: Marrie StoneMusic: Travis Barrett (Stream his music on Spotify, Apple Music, Etc.)

Let's Talk - MoviesEpisode 99: Basic Instinct (1992) - Rapid ReviewJason Connell revisits the classic 1992 film, Basic Instinct, with a rapid review, sharing sharp insights and impressions on why the movie still holds up today.Recorded: 02-15-26Studio: Just Curious MediaListen:BuzzsproutApple PodcastsSpotifyGoogle PodcastsAmazon MusiciHeartRadioTuneInWatch:YouTubeFollow:FacebookInstagramHost:Jason ConnellAffiliates:BuzzsproutRiversideWe Edit Podcasts#justcuriousmedia #letstalkmovies #mrjasonconnell #cinema #classicmovies #movies #moviereviews #film #filmreviews #studios #producers #directors #writers #actors #moviestars #boxoffice #basicinstinctSend a textSupport the show

Inspiration doesn't always find authors at their desk, and it doesn't give a darn about deadlines. Where does a creative go when the muse is silent? Nick Petrie's back at the Writing Table. He shares his secrets to writing adventure-filled thrillers and provides accessible tactics everyone can use to to refill their creative well. *Plus* a peek at what goes into his Peter Ash novels. This is a fun episode, y'all. Nick Petrie received his MFA in fiction from the University of Washington and won a Hopwood Award for short fiction while an undergraduate at the University of Michigan. His story “At the Laundromat” won the 2006 Short Story Contest in The Seattle Review, and his  first novel, The Drifter, won the ITW Thriller and Barry Awards. It was also nominated for Edgar, Anthony, and Hammett Awards. He won the 2016 Literary Award from the Wisconsin Library Association and was named one of Apple's 10 Writers to Read in 2017. Light It Up was named the Best Thriller of 2018 by Apple Books. Light it Up, The Wild One and The Price You Pay were shortlisted for the Barry Award. A husband and father, he has worked as a carpenter, remodeling contractor, and building inspector.  He lives in Milwaukee, where he is hard at work on the next Peter Ash novel. His latest novel is THE DARK TIME. Learn more at nickpetrie.com Special thanks to NetGalley for early previews. Intro reel, Writing Table Podcast 2024 Outro RecordingFollow the Writing Table: @writingtablepodcastEmail questions or tell us who you'd like us to invite to the Writing Table: writingtablepodcast@gmail.com.

Our two new books... STORY QUESTIONS is currently 10% off! - https://payhip.com/b/ZTvq9 and 17 Steps To Writing A Great Main Character - https://payhip.com/b/kCZGd See the video version of this podcast on YouTube here: https://www.youtube.com/watch?v=I59sqnnDUJU Producer Troy DeVolld (1970-2024), widely regarded as a leading authority on the reality television production process, boasts some four dozen credits spanning THE OSBOURNES to Food Network's BIG BAD BUDGET BATTLE and bestselling books REALITY TV: AN INSIDER'S GUIDE TO TELEVISION'S HOTTEST MARKET and AND ANOTHER THING: A BEGINNER'S GUIDE TO THE TELEVISION NOTES PROCESS. He's contributed to or been quoted in publications like TIME and NEWSWEEK and been seen on TODAY and SHOWBIZ TONIGHT. He's a 1996 graduate of Full Sail University and the ninth inductee into its Hall of Fame. BUY THE BOOK - Reality TV - An Insider's Guide to TV's Hottest Market: 2nd Edition https://amzn.to/3fphKW9 MORE VIDEOS WITH TROY DEVOLLD http://bit.ly/1VR02cb CONNECT WITH TROY DEVOLLD https://www.troydevolldbooks.com http://www.imdb.com/name/nm0222864 / storytroy / realitytvtroy SUPPORT FILM COURAGE BY BECOMING A MEMBER https://www.youtube.com/channel/UCs8o1mdWAfefJkdBg632_tg/join SUPPORT FILM COURAGE BY BECOMING A PATRON https://www.patreon.com/filmcourage ►BOOKS WE RECOMMEND: STORY QUESTIONS: How To Unlock Your Story One Question At A Time https://payhip.com/b/ZTvq9 THE NUTSHELL TECHNIQUE: Crack the Secret of Successful Screenwriting https://amzn.to/2X3Vx5F THE STORY SOLUTION: 23 Actions All Great Heroes Must Take http://amzn.to/2gYsuMf SAVE THE CAT! The Last Book on Screenwriting You'll Ever Need https://amzn.to/3dNg2HQ THE ANATOMY OF STORY: 22 Steps To Becoming A Master Storyteller http://amzn.to/2h6W3va THE ART OF DRAMATIC WRITING - Lajos Egri https://amzn.to/3jh3b5f ON WRITING: A Memoir of the Craft https://amzn.to/3XgPtCN THE WAR OF ART: Break Through the Blocks and Win Your Inner Creative Battles http://amzn.to/1KeW9ob

Joining me for this episode is Internationally renowned animal behaviorist and bestselling author, Patricia McConnell. We have a chat about her first novel, Away To Me. Away To Me is full of all the things a good mystery should have – a senseless murder, a heroine and (of course) a canine companion. Learn what it takes to write a stunning book of fiction from one of the best non-fiction writers around. Enjoy!EPISODE NOTES: Patricia McConnell - Away To MeBecome a supporter of this podcast: https://www.spreaker.com/podcast/animal-writes-animal-writers-and-best-selling-authors-pets-animals--6666984/support.

Description:  We take a bite out of books by trans & nonbinary writers! This episode originally aired as a live panel discussion for the annual Transgender Justice Teach-In and features writers, educators, and published authors Katie Barnes, Dr. Jonathan Paul Higgins, and Cody Daigle-Orians. We've pulled the discussion into audio format and revisited the lessons learned about sharing the sacred stories of trans and binary people. Panelist Bios ​​Dr. Jonathan Paul Higgins (they/them) is an educator, professor, national speaker, freelance journalist, thought leader and media critic who is passionate about television and film. Dr. Higgins is currently the inaugural Director of Strategic Media and Advocacy for Rainbow Pride Youth Alliance, while once holding roles at both Chernin and Edith Entertainment.They are the creator, executive producer and host of the Webby honored and Shorty Award Winning podcast, “Black Fat Femme Podcast'' which was developed via IHeartMedia's Next Up Initiative and named “Best Podcast to listen to” by both Ebony and Essence Magazine. Dr. Higgins holds a doctorate in educational justice and regularly writes and lectures on what liberation means for Black, queer, fat, non-binary people.Katie Barnes (they/them) is an award winning journalist covering the intersection of sports and gender. As a feature writer at ESPN, Katie has profiled women's sports superstars like Maya Moore, A'ja Wilson, and Amanda Nunes. They are a leading journalist in the coverage of legislation and policy affecting transgender and intersex athletes. Fair Play: How Sports Shape the Gender Debates is their first book. It was named a “Must-Read of 2023” by Time Magazine and received starred reviews from Booklist and Kirkus. Cody Daigle-Orians (they/them) is a writer and educator based in Columbus, Ohio. They are the creator of Ace Dad Advice, a social-media based education project which provides approachable, affirming information about the asexual, aromantic and agender communities. They are also the author of I AM ACE and THE ACE AND ARO RELATIONSHIP GUIDE, two young adult nonfiction resources, and LOVE LOOKS LIKE LOLA, the first aroace picture book for young readers, out in 2026. Find them on IG, Youtube, Tiktok @acedadadvice 

⁠Watch this episode on YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Zach, Amin and Mayes present the scribes with the weakest pen game, the worst plotting and the most nonsensical understanding of the way movies or the world works. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CINEPHOBE MERCH STORE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ - Check it out here:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://bit.ly/CTDMERCH⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join the Count The Dings Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for Rewatchingtons, Ad-Free Episodes, Extended Cold Opens and more at⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ www.patreon.com/CountTheDings⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Cinephobe is now on Youtube!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Subscribe and check out CT5s and Look At This Photograph on Video. Subscribe to Cinephobe! Then Rate 5 Stars on⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Apple⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Follow Cinephobe on Twitter, Instagram & Threads: CTD⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @countthedings⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ IG:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @cinephobepod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Threads:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @cinephobepod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  Zach Harper⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @talkhoops⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ IG:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @talkhoops⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Threads:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @talkhoops⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Amin Elhassan⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @darthamin⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ IG:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @darthamin⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Threads:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @darthamin⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  Anthony Mayes⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @cornpuzzle⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ IG:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @cornpuzzle⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Threads:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @cornpuzzle⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email: cinephobepodcast@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Bret Anthony Johnston is the author of the award-winning short story collection Corpus Christi, the novels We Burn Daylight and Remember Me Like This and the editor of Naming the World: And Other Exercises for the Creative Writer. His short stories have been published in anthologized in New Stories from the South: The Year's Best; The O. Henry Prize Stories and The Best American Short Stories. His work has been widely translated and appears in The New Yorker, The Atlantic, Esquire, The Paris Review, The New York Times Magazine and Virginia Quarterly Review. He is the Director of the Michener Center for Writers at the University of Texas at Austin. His new short story collection is Encounters with Unexpected Animals. Learn more about your ad choices. Visit megaphone.fm/adchoices

Doug Horchak discusses 2 Timothy 3:15-17—“And that from childhood you have known the Holy Scriptures, which are able to make you wise for salvation through faith which is in Christ Jesus. All Scripture is given by inspiration of God, and is profitable for doctrine, for reproof, for correction, for instruction in righteousness, that the man of God may be complete, thoroughly equipped for every good work.”

In this episode of the Game Deflators podcast, hosts John and Ryan recap their latest gaming sessions before diving into the major leadership shake‑ups happening at Microsoft's gaming division. With longtime Xbox chief Phil Spencer stepping down and former CoreAI executive Asha Sharma taking over as the new CEO of Microsoft Gaming, the hosts explore what this transition could mean for Xbox's long‑term direction. They also touch on the departure of Sarah Bond and the broader restructuring that has reshaped the upper ranks of the Xbox organization, a shift that has drawn significant attention across the industry.  The conversation connects these changes to ongoing challenges in the fighting‑game genre and how shifting leadership priorities might influence future platform strategy, content pipelines, and studio support. The episode wraps with a review of the Rambo NES game and a preview of their upcoming food‑themed gaming month.   Chapters 00:00 Introduction and Gaming Pickups 06:21 Current Games and Anime Recommendations 12:08 Discussion on Marathon and Gaming Trends 17:59 Fighting Game Strategies and Progress 22:19 AI in Gaming Reviews and Industry Changes 28:05 Microsoft's Leadership Changes and Future Directions 35:47 The Future of Xbox and AI Integration 42:41 Fighting Games: Challenges and Opportunities 50:45 Rambo: The NES Game Review 58:29 Food Month: Upcoming Game Themes   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

Memoirist and filmmaker Curtis Chin on pitching for national press, booking venues through cold emails, and making a high-volume book events strategy financially sustainable.   You'll learn:Why Curtis booked readings before his memoir released to drive pre-orders, and what that early push unlocked. How he found venues by researching programs and series online, then sending cold outreach without overcomplicating it. A practical way to define your “audience” so your outreach targets the right communities and institutions. How to write a venue email that creates urgency (a “hook” and a reason to say yes now), without sounding gimmicky. A press pitching approach that starts local, builds credibility, and then moves toward national outlets. What his spreadsheets are (and aren't) for, and a lightweight way to track outreach and payments without building a complicated system. How he initially used a publisher budget, then supplemented it with community funding when the budget wasn't enough. Why momentum compounds (your growing “resume” of events and media makes the next invitations easier), and how to lean into that effect. How he structures his day to keep writing, business logistics, and book marketing moving at the same time. How getting paid for talks changed the economics of touring, and why nonfiction subject expertise can create more paid speaking opportunities.  Resources & Links:

Send a textWelcome everyone to part one of my interview with Professor and El Paso County Sheriff's Department Investigator Jennifer Bucholtz. The conclusion of this interview will air next Sunday!Jennifer Bucholtz is a former U.S. Army Counterintelligence Agent and a decorated veteran of the Iraq and Afghanistan wars. She holds a bachelor's degree in criminal justice from Northern Arizona University, a master's degree in criminal justice from the City University of New York's John Jay College of Criminal Justice, and a master's degree in forensic science from National University. Ms. Bucholtz has an extensive background in U.S. military and Department of Defense counterintelligence operations. Ms. Bucholtz is currently an adjunct faculty member at AMU, teaching courses in criminal justice and forensic sciences. Additionally, she is a cold-case investigator for her local sheriff's office, host of AMU's investigative podcast “Break The Case,” and founder of the 501(c) (3) nonprofit, Break The Case.Please enjoy this eye opening, and fascinating interview with someone who has done so many incredible things and continues to serve her community.  In today's episode, we discuss:·      Jen's Childhood and influences. ·      Working as a corrections officer in a maximum-security prison.·      Her internship with the New York Medical Examiners' Office.·      Her first death case and autopsy.·      Joining the army and being a counterintelligence agent.·      What it was like interrogating enemies of the United States.·      Using science and intuition in her interrogations.·      Body language, micro-expressions, and other clues in interrogations.·      Her book, There is no GOAT.·      People in Afghanistan not knowing about 9/11 or Osama Bin Laden·      Post-military life and working as a contractor overseas.·      Working for the State Department, teaching Indonesian police.·      Being a college professor.·      Her interest in cold cases. All of this and more on today's episode of the Cops and Writers podcast.My first week as a rookie cop, I had to decide whether to pull the trigger on a man running at me with a butcher knife. He'd just killed his brother over the last hot dog.That was my introduction to policing in Milwaukee.From Wall Street Journal-featured author Patrick O'Donnell comes a memoir of rookie years on Milwaukee's streets.Support the show

In this episode, Stacey talks with Melanie Meehan and Maggie Roberts about their book, Foundational Skills for Writing: A Brain-Based Guide to Strengthen Executive Functions, Language, and Other Cornerstones for Writers. The discussion highlights the "Conversations with a Colleague” sections, which bring expert voices to teachers and promote classroom collaboration. Melanie and Maggie explain how graphic organizers serve as thinking tools that support executive functioning and make writing more accessible. They also discuss the connection between gross motor development and fine motor writing skills, sharing strategies for learners of all ages. The episode offers practical tips on topics like cognitive flexibility and playful sentence combining.ABOUT TODAY'S GUESTSMaggie Beattie Roberts is a national literacy consultant, author, and highly sought-after professional learning facilitator. As co-author of DIY Literacy: Teaching Tools for Differentiation, Rigor, and Independence (2016; with Kate Roberts), Maggie continues to empower educators with tools that enhance student learning and independence. Her forthcoming book, Unboxing the Curriculum, helps educators and school leaders navigate prepackaged curriculum and tailor it to their students' needs. Learn more about Maggie's work at kateandmaggie.com Melanie Meehan opened The Writing Clinic, an in-person and online center for inspiring and nurturing competent, confident, and joyful young writers, after retiring from her public school position as an Elementary Curriculum Coordinator. Melanie's published works include Every Child Can Write (2019), The Responsive Writing Teacher (2021), and Answers to Your Biggest Questions About Teaching Elementary Writing (2022), all published by Corwin Press. GO DEEPERLandmark College in Putney, VTPurchase Foundational Skills for Writing: A Brain-Based Guide to Strengthen Executive FuncSend a textPlease subscribe to our podcast and leave us ratings/reviews on your favorite listening platform.You may contact us directly if you want us to consult with your school district. Melanie Meehan: meehanmelanie@gmail.com Stacey Shubitz: stacey@staceyshubitz.com Email us at contact@twowritingteachers.org for affiliate or sponsorship opportunities.For more about teaching writing, head to the Two Writing Teachers blog.

Jo takes us on a whirlwind tour of their recent reading, including Mary Helen Washington's Paule Marshall: A Writer's Life, and Charlotte explains why Susanna Moore's In the Cut is one of the most thrilling novels she's ever encountered. Then, the profoundly thoughtful Jamie Hood joins to explore the many boyfriends and political disappointments of Doris Lessing's The Golden Notebook. Jamie Hood is the author, most recently, of Trauma Plot: A Life, the hybrid pandemic diary how to be a good girl, the semi-monthly, Proust-infused newsletter, regards, marcel, and a book of love poems, forthcoming in 2026. She has written extensively on books, feminism, #MeToo, and other political matters for many publications, some of them even prestigious. She lives in Brooklyn.Please consider supporting our work on Patreon, where you can access additional materials and send us your guest and book coverage requests! Questions and comments can be directed to readingwriterspod at gmail dot com. Outro music by Marty Sulkow and Joe Valle.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, and 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

Douglas Bruton, Carolyn Trant, and quality vs quantity – welcome to episode 147 or Tea or Books?! In the first half, we discuss quality vs quantity in our reading goals (inspired by this Guardian article). In the second half, we

In this episode, Lisa Mangum, a veteran editor and author, shares her extensive experience in publishing. She has worked as an editor at Deseret Book since 1997, and became the editorial manager at Shadow Mountain in 2014. She has authored four bestselling YA novels—including the Hourglass Door trilogy and After Hello—plus short stories, novellas, and a craft book inspired by Supernatural. She also edits anthologies for WordFire Press and teaches at writing conferences, including her unique UVU writing weekends in Capitol Reef National Park. The discussion centers on her book “Write Fearless. Edit Smart. Get Published.” emphasizing why even self-published or indie authors benefit from professional editing. Lisa explores key storytelling elements: the distinction between plot and story, various plot types, and narrative perspectives. She compares first-person, second-person, third-person limited, and third-person omniscient viewpoints, highlighting their relative strengths, challenges, and the genres where each thrives most effectively.

Fan fiction, where fans reimagine their favorite characters in new – often steamy – stories, is reshaping mainstream literature, television and film. This year alone, three novels spun from fan-written romances between Harry Potter characters have hit national bestseller lists. And on the popular fanfic site Archive of Our Own, you'll find everything from Star Wars-inspired romances to a zombie apocalypse featuring the Car Talk guys. We're tracing how communities of queer, female, and frequently thirsty fans became a force too big for publishers and Hollywood executives to ignore. Guests: E. Alex Jung, features writer, Vulture and New York Magazine Candice Lim, writer, producer and former co-host, Slate's ICYMI podcast Domee Shi, film director and creative vice president, Pixar; her films include "Turning Red," "Elio" and the animated short film "Bao" Disclaimer: Suicide and suicidal ideation comes up in conversation during this podcast episode. If you are in crisis, please call, text or chat with the Suicide and Crisis Lifeline at 988, or contact the Crisis Text Line by texting TALK  to 741741. Learn more about your ad choices. Visit megaphone.fm/adchoices

On today's program, families who lost children at Camp Mystic last year are suing Texas state officials for licensing the camp despite its lack of an evacuation plan. We'll have details. And, fundraising on commission—it may seem like a win-win scenario, but experts say the ethical issues outweigh any benefits. We'll take a look. Plus, the United Methodist Committee on Relief is closing down one of its central hubs where Methodists have been assembling relief kits since 1996 to send across the country after disasters. But first, more controversy at Bethel Church in Redding, California. 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, Stacey Horton, Isaac Wood, David Roach, Diana Chandler, and Makella Knowles. A special thanks to Baptist Press for contributing material for this week's podcast. Until next time, may God bless you.

I am Rolf Claessen and together with my co-host Ken Suzan I welcome you to Episode 172 of our podcast IP Fridays. Today's interview guests are Co-Founder & CEO of Inception Point AI, Jeanine Whright, and Mark Stignani, who is Partner & Chair of Analytics Practice at Barnes & Thornburg LLP. https://www.linkedin.com/in/jeaninepercivalwright https://www.linkedin.com/in/markstignani Inception Point AI But before the interview I have news for you: The Unified Patent Court (UPC) ruled on Feb 19, 2026, that specialized insurance can cover security for legal costs. This is vital for firms, as it eases litigation financing and lowers financial hurdles for patent lawsuits by removing the need for high liquid assets to enforce rights at the UPC. On Feb 12, 2026, the WIPO Coordination Committee nominated Daren Tang for a second six-year term as Director General. Tang continues modernizing the global IP system, focusing on SMEs, women, and digital transformation. His confirmation in April is considered certain. An AAFA study from Feb 4 reveals 41% of tested fakes (clothing/shoes) failed safety standards. Many contained toxic chemicals like phthalates, BPA, or lead. The study highlights that counterfeiters increasingly use Meta platforms to sell unsafe imitations directly to consumers. China's CNIPA 2026 report announced a crackdown on bad-faith patent and trademark filings. Beyond better examination quality, the agency will sanction shady IP firms and stop strategies violating “good faith” to make China’s IP system more ethical and innovation-friendly. Now, let's hear the interview with Jeanine Whright and Mark Stignani! How AI Is Rewiring Media & Entertainment: Key Takeaways from Ken Suzan's Conversation with Jeanine Wright and Mark Stignani In this IP Fridays interview, Ken Suzan speaks with two repeat guests who look at the same phenomenon from two angles: Jeanine Wright, Co-Founder & CEO of Inception Point AI, as a builder of AI-native entertainment, and Mark Stignani, Partner and Chair of the Analytics Practice at Barnes & Thornburg LLP, as a lawyer advising clients who are trying to use AI without stepping into a legal (or ethical) crater. What emerges is a clear picture: generative AI is not just “another tool.” It is rapidly becoming the default infrastructure for creative work—while the rules around ownership, consent, and accountability lag behind. 1) What “AI-generated personalities” really are (and why that matters) Jeanine's company is not primarily “cloning” real people. Instead, Inception Point AI creates original, fictional personalities—characters with backstories, ambitions, and evolving arcs—then deploys them into the world as podcast hosts and content creators (and eventually actors and musicians). Her key point: the creative work still starts with humans. Writers and creators define the concept, tone, audience, and story engine. What AI changes is speed, cost, and iteration—and therefore what is economically feasible to produce. 2) The “generative content pipeline” isn't a magic button A recurring misconception Ken raises is the idea that someone “pushes a button” and content pops out. Jeanine explains that real production looks more like a hybrid studio: A creative team defines character, voice, format, and storyline. A technical team builds what she calls an “AI orchestration layer” that combines multiple models and tools. The “stack” differs by format: the workflow for a long-form audio drama is different from a short-form beauty clip. This matters because it reframes AI content not as a single output, but as a pipeline decision: which tools, which data sources, which QA, and which governance steps are used—and where human review happens. 3) The biggest legal questions: origin, liability, ownership, and contracts Mark doesn't name a single “top issue.” He describes a cluster of problems that repeatedly show up in client conversations: Training data and “origin story” Clients keep asking: Can I legally use AI output if the tool was trained on copyrighted works? Even if the output looks new, the unease is about whether the tool's capabilities are built on unlicensed inputs. Liability for unintended harm Mark flags risk from AI content that inadvertently infringes, defames, or carries bias. The legal exposure may not match the creator's intent. Ownership and protectability He points to a big gap: many jurisdictions are still reluctant to grant classic IP rights (copyright or patent-style protection) to purely AI-generated material. That creates uncertainty around whether businesses can truly “own” what they produce. Old contracts weren't written for AI A final, practical point: many agreements—talent contracts, author clauses, data licenses—predate generative AI and simply don't address it. That leads to disputes about scope, permissions, and—crucially—indemnities. 4) Are we at a tipping point? The “gold rush” vs. “next creative era” views Jeanine frames AI as “the world's most powerful creative tool”—comparable to previous step-changes like animation, special effects, and CGI. For her, the strategic implication is simple: creators who learn to use AI well will expand what they can build and test, faster than ever. Mark's metaphor is more cautionary: he calls the moment a “gold rush” where technology is sprinting ahead of law. Courts are getting flooded with foundational disputes, while legislation is fragmented—he notes that states may move faster than federal frameworks, and that labor agreements (e.g., union protections) will be a key pressure point. 5) Democratization: more creators, more niche content, more experimentation One of the most concrete themes is access. Jeanine argues AI will: Lower production barriers for independent filmmakers and storytellers. Reduce the need for “hit-making only” economics that dominate Hollywood. Make micro-audience content commercially viable. Her example is intentionally niche: highly localized, specialized content (like a “pollen report” for many markets) that would never have made financial sense before can now exist—and thrive—because the production cost drops and personalization scales. 6) Likeness, consent, and “digital performers”: what happens when AI resembles a real actor? Ken pushes into a sensitive area: what if someone generates a performance that closely resembles a living actor without consent? Mark outlines the current (imperfect) toolbox—because, as he emphasizes, most laws weren't built for this scenario. He points to practical claims that may come into play in the U.S., such as rights of publicity and false endorsement-type theories, and notes that whether something is parody or “too close” can become a major fault line. Jeanine explains her company's operational approach: They focus on original personalities, designed “from scratch.” They build internal checks to avoid misappropriating known names, likenesses, or recognizable identities. If they ever work with real people, the model would be licensing their likeness/voice. A subtle but important business point also appears here: Jeanine expects AI-native characters themselves to become licensable assets—meaning the entertainment economy may expand to include “celebrity rights” for fully synthetic personalities. 7) Ethics: the real line is “deception,” not “AI vs. human” The ethical core of the conversation is not “AI is bad” or “AI is good.” It's how AI is used—especially whether audiences are misled. Mark highlights several ethical risks: Misuse of tools to manipulate faces and content (“AI slop” and political misuse). Displacement of creative workers without adequate transition support. A concern that AI often optimizes toward “statistical averages,” potentially flattening originality. Jeanine agrees ethics must be designed into the system. She describes regular discussions with an ethicist and emphasizes a principle: transparency. Her company discloses when content or personalities are AI-generated. She argues that if people understand what they're engaging with and choose it knowingly, the ethical problem shifts from “AI exists” to “Are we tricking people?” Mark adds a real-world warning: deepfakes are now credible enough to enable serious fraud—he references a case-like scenario where a synthetic video meeting deceived an employee into authorizing a payment. The point is clear: authenticity and verification are no longer optional. 8) The “dead actor” hypothetical: legal permission vs. moral intent Ken raises a provocative scenario: an actor's estate authorizes an AI-generated new performance, but the actor opposed such technology while alive. Neither guest offers a simplistic answer. Jeanine suggests that even if the estate holds legal rights, a company might choose to avoid such content out of respect and because the ethical “overhang” could damage the storytelling outcome. She also notes the harder question: people who died before today's capabilities may never have been able to meaningfully consent to what AI can now do—raising questions about how we interpret legacy intent. Mark underscores the practical contract problem: many rights are drafted “in perpetuity,” but that doesn't automatically settle the ethical question. 9) Five-year forecast: “AI everywhere,” but audiences may stratify Ken closes with a prediction question: in five years, how much entertainment content will significantly involve AI—and will audiences care? Jeanine predicts AI becomes the default creative layer for most content creation. Mark is slightly more conservative on the percentage, but adds an important nuance: the market will likely stratify. Low-cost, high-volume content may become saturated with AI, while premium segments may emphasize “human-made” as a differentiator—especially if disclosure norms become standard. Bottom line for business leaders and creators This interview lands on a pragmatic conclusion: AI will change how content is made at scale, and the competitive edge will go to teams that combine creative taste, operational discipline, and legal/ethical governance. If you're building, commissioning, or distributing content, the questions you can't dodge anymore are: What's the provenance of the tools and data you rely on? Who is responsible when output harms, infringes, or misleads? What rights can you actually claim in AI-assisted work? Do your contracts and disclosures match the new reality? Ken Suzan: Thank you, Rolf. We have two returning guests to the IP Friday’s podcast. Joining me today is Janine Wright and Mark Stignani. Our topic for discussion, how is AI transforming the media and entertainment industries today? We look at the issues from differing perspectives. A bit about our guests, Janine Wright is a seasoned board member, CEO, global COO and CFO. She’s led organizations from startup to a $475 million plus revenue subsidiary of a public company. She excels in growth strategy, adopting innovative technologies, scaling operations and financial management. Janine is a media and entertainment attorney and trial litigator turned technologist and qualified financial expert. She is the co-founder and CEO of Inception Point AI, a growing company that is paving new ground with AI-generated personalities and content through developing technology and story. Mark Stignani is a partner with Barnes & Thornburg LLP and is based in Minneapolis, Minnesota. He is the chair of the data analytics department with a particular emphasis on artificial intelligence, machine learning, cryptocurrency and ESG. Mark combines the power of artificial intelligence and machine learning with his skills as a corporate and IP counsel to deliver unparalleled insights and strategies to his clients. Welcome, Janine and Mark to the IP Friday’s podcast. Jeanine Whright: Thank you. Thank you. Thank you so much for having me and fun to be back. It feels nostalgic to be here. Ken Suzan: That’s right. And you both were on the program. So it’s fantastic that you’re both back again. So our format, I’m going to ask a question to Janine and or Mark and sometimes to both of you. So that’s going to be how we proceed. Let’s jump right in. Janine, your company creates AI-generated actors. For listeners who may not be familiar, can you briefly explain what that means and what’s now possible that wasn’t even two years ago? Jeanine Whright: Sure. Yeah, we are creating AI-generated personalities. So new characters, new personalities from scratch. We design who these personalities are and will be, how they will evolve. So we give them complex backstories. We give them hopes and dreams and aspirations. We every aspect of them, their families, how they’re going to evolve. And in the same way that, say, you know, Disney designs the character for its next animated feature or, you know, an electronic arts designs a character for its next major video game. We are doing that for these personalities and then we are launching them into the world as podcast hosts, content creators on social platforms like YouTube, Instagram and TikTok. And even in the future, you know, actors in feature length films, musicians, etc. Ken Suzan: Very fascinating. Mark, from your practice, what’s the single biggest legal question or dispute you’re seeing clients wrestle with when it comes to AI and media creation? Mark Stignani: Well, I think that, you know, it’s not just one thing, it’s like four things. But most of them tend to be kind of the origin story of AI data or AI tools that they use because, you know, but for the use of AI tools trained on copyrighted materials, the tools wouldn’t really exist in their current form. So a lot of my clients are wondering about, you know, can I legally use this output if it’s built upon somebody else’s IP? The second ask, the second flavor of that is really, is there liability being created if I take AI content that inadvertently infringes or defames or biases there? So there’s the whole notion of training bias from the training materials that comes out. The third phase is really, you know, can I really own this? Because much of the world does not really give IP rights into AI-generated inventions, copyrighted materials. It’s still kind of a big razor. Then at the end of the day, you know, if it’s an existing relationship, does my contract even contemplate this? So everything from authors contracts on up to just use of data rights that predate AI. Ken Suzan: And Janine and Mark, a question to both of you. How would you describe where we are right now in the AI revolution in media and entertainment? Are we approaching a tipping point? And if so, what are the things we need to watch for? Jeanine Whright: Yeah, I definitely think that we’re at a phase where people are starting to come to the realization that AI is the world’s most powerful creative tool. But that, you know, storytelling and point of view is what creates demand and audiences. And AI doesn’t threaten or change that. But it does mean that as people evolve in this medium, they’re very likely going to need to adopt, utilize and figure out how to hone their craft with these AI-generated content and these AI-generated toolings. So this is, you know, something that people have done certainly in the past in all sorts of ways in using new tools. And we’ve seen that make a significant change in the industry. So you look at, you know, the dawn of animation as a medium. You look at use of special effects, computer-generated imagery in the likes of Pixar. And this is certainly the next phase of that evolution. But because of the power of the tool and what will become the ubiquity of the tool, I think that it’s pretty revolutionary and all the more necessary for people to figure out how to embrace this as part of their creative process. Ken Suzan: Thank you, Janine. Mark, your thoughts? Mark Stignani: Yeah, I mean, I liken this to historically to like the California gold rush right now, because, you know, the technology is so far outpaced in any of the legal frameworks that are available. And so we’re just trying to shoehorn things in left and right here. So, I mean, the courts are beginning to start to engage with the foundational questions. I don’t think they’re quite there yet. I just noticed Anthropic got sued again by another group of people, big music group, because of the downloaded works they’ve done. I mean, so the courts are, you know, the courts are certainly inundated with, you know, too many of these foundational questions. Legislatively, hard to tell. I mean, federal law, the federal government is not moving uniformly on this other than to let the gold rush continue without much check and balance to it. Whereas states are now probably moving a lot faster. Colorado, Illinois, even Minnesota is attempting to craft legislation and limitations on what you can do with content and where to go with it. So, I mean, the things we need to watch for any of the fair use decisions coming out here, you know, some of the SAG-AFTRA contract clauses. And, you know, again, the federal government, I just, you know, I got a big shrug going as to what they’re actually going to come up with here in the next 90 to 100 days. So, but, you know, I think they’ll be forced into doing something sooner than later. Ken Suzan: Okay, let’s jump into the topic of the rise of generative content pipelines. My first question to Janine. Studios and production companies are now building what some call generative content pipelines. This is where AI systems produce everything from scripts to visual effects to voice performances. What efficiencies and creative possibilities does this unlock for the industry? Jeanine Whright: Yeah, so this is quite a bit of what we do. And if I could help pull the curtain back and explain a little bit. Ken Suzan: That’d be great. Jeanine Whright: Yeah, there’s this assumption that, you know, somebody is just sitting behind a machine pushing a button and an out pops, you know, what it is that we’re producing. There’s actually quite a bit of humans still in the loop in the process. You know, we have my team as creators. The other half of my team is the technologists. And those creators are working largely at what we describe as the the tip of the sphere. So they’re, of course, coming up with the concepts of who are these personalities? What are these personalities, characters, backgrounds going to be a lot of like rich personality development? And then they’re creating like what are the formats? What are the kind of story arcs? What is the kinds of content that this this character wants to tell? And what are the audiences they’re desiring to reach and what’s most going to resonate with them? And then what we built internally is what we refer to as an AI orchestration layer. So that allows us to pull from basically all of the different models and then all of these different really cool AI tools. And put those together in such a way and combine those in such a way that we can have the kind of output that our creative team envisions for what they want it to be. And at the end of the day, what you what the stack looks like for, say, a long form audio drama, like the combination of LLMs that we’re going to use in different parts of scripting and production and, you know, ideating and all of that. And the kinds of tooling that we use to actually make it and get it to sound good and have the kinds of personality characteristics that we want to be in an authentic voice for a podcast is going to be different than the tech stack and the tool stack that we might use for a short form Instagram beauty tip reel. And so there’s a lot of art in being able to pull all of these tools together to get them to do exactly what you want them to do. But I think the second part of your question is just as interesting as the first. I mean, what is what possibilities is this unlocking? So of course you’re finding efficiencies in the creative production process. You can move faster. You can do things were less expensive, perhaps, and you were able to do it before. But on the creator side, I think one thing that hasn’t been talked about enough is how it is really like blown wide the aperture of what creators can do and can envision. Traditionally, you know, Hollywood podcasting, many of these businesses that become big businesses have become hit making businesses where they need to focus on a very narrow of wide gen pop content that they think is going to get tens of millions, hundreds of millions in, you know, fans and dollars in revenue for every piece of content that they make. So the problem with that is, is that it really narrows the kinds of things that ultimately get made, which is why you see things happening in Hollywood, like the Blacklist, which is, you know, this famous list of really exceptional content that remains unpredited, unproduced, or why you see things like, you know, 70 to 80% of the top 100 movies being based on pre-existing IP, right? Because these are such huge bets that you need to feel very confident that you’re going to be able to get big, big audiences and big, big dollars from it. But with AI, and really lowering the barrier to entry, lowering the costs of production and marketing, the experimentation that you can do is really, really phenomenal. So, you know, my creative team, if they have an idea, they make it, you know, they don’t have to wring their hands through like a green lighting process of, you know, should we, shouldn’t we, like we, we can make an experiment with lots of different things, we can do various different versions of something. We can see what would this look like if I placed it in the 1800s, or what if I gave this character an Australian accent, and it’s just the power of being able to have this creative partner that can ideate with you and experiment with you at rocket speed. With the creators that are embracing it, you can see how it is really fun for them to be able to have this wide of a range of possibility. Ken Suzan: Mark, when you hear about these generative pipelines, what are the immediate red flags or concerns that come to mind from a legal standpoint? How about ethics underlying all of this? Well, Mark Stignani: that was not, that’s the number one red flag because I mean, we are seeing not just that in the entertainment industry, but it literally at political levels, and the kind of the phrase, to turn the phrase AI slop being generated, we’re seeing, you know, people’s facial expressions altered. In some cases, we’re seeing AI tools being misused to exploit various groups of individuals and genders and age groups. So I mean, there’s a whole lot of things ethically that people are using AI for that just don’t quite cover it. Especially in the entertainment industry, I mean, we’re looking at a fair amount of displacement of human workers without adequate transition support, devaluation of the creative labor. I mean, the thing though that I’m always from a technical standpoint is AI is simply a statistical average of most everything. So it kind of devalues the benefit of having a human creator, a human contribution to it. That’s the ethical side. But on the legal side, I see chain of title issues. I mean, because these are built on very questionable IP ownership stages, I mean, in most of these tools, there has been some large copying, training and taking of copyrighted materials. Is it transformational? Maybe. But there’s certainly not a chain of title, nor is there permission granted for that training. I mentioned SAG-AFTRA earlier, I think there’s a potential set of union contract aspects to this that if you know many of these agreements and use sub-licenses for authors and actor agreements, they weren’t written with AI in mind. So that’s another red flag. And also I just think in indemnification. So if we ultimately get to a point where groups are liable for using content without previous license, then who’s liable? Is the tool maker the liable group or the actual end user? So those are probably my top four red flags. But I think ethics is probably my biggest place because just because we can do something from an ethical standpoint doesn’t mean we should. Jeanine Wright: Yeah, if I can respond to both of those points. I mean, one from a legal perspective, just to be very clear, I mean, we are always pulling from multiple different models and always pulling from multiple different sources. And we even have data sources that we license or use for single source of truth on certain pieces of information. So we’re always pulling things together from multiple different sources. We also have built into our process, you know, internal QAing and checking to make sure that we’re not misappropriating the name or likeness of any existing known personality or character. We are creating original personalities there. We design their voice from scratch. We design their look from scratch. So we’re not on our personality side, we’re not pulling or even taking inspiration from existing intellectual property that’s already out there in creating these personalities. On the ethical side, I agree. I mean, when we came out of stealth, we came out of stealth in September. There was certainly quite a bit of backlash from folks in my—I previously co-founded a company in the audio space. I mean, there’s been many rounds of layoffs in audio and in many other parts of the entertainment industry. So I’m very sensitive to the feedback around, like, is this job displacement? I mean, I do think that the CEO of NVIDIA said it right when he said, you’re likely not going to lose your job to AI, but you will lose your job to somebody who knows how to use AI. I think these tools are transforming the way that content is made and that the faster that people can embrace this tooling, the more likely they’re going to be having the kinds of roles that they want in, you know, in content creation and storytelling in the future. And we are hiring. I’m hiring AI video creators, AI audio creators. I’m hiring AI developers. So people who are looking for those roles, I mean, please reach out to me, we would love to work with you and we’d love to grow with you. We also take the ethics very seriously. For the last few months or so, I’ve met regularly with an ethicist, we talk about all sorts of issues around, you know, is designing AI-generated people, you know, good for humanity? And what about authenticity and transparency and deception, and how are we in building in this space going to avoid some of the problems that we’ve seen with things like social media and other forms of technology? So we keep that very top of mind and we try to build on our own internal values-based system and, you know, continue to elevate and include the humanity as part of the conversation. Ken Suzan: Thank you, Janine. Janine, some argue that AI content pipelines will level the field for filmmaking, giving independent creators access to tools that were once available only to major studios. Is that the future you envision? Jeanine Wright: I do think that with AI you will see an incredible democratization of access to technology and access to these capabilities. So I do think, you know, rise of independent filmmakers, you won’t have as many people who are sitting on a brilliant idea for the next fantastic script or movie that just cannot get it made because they will be able to with these tools, get something made and out there, at least to get the attention of somebody who could then decide that they want to invest in it at a studio kind of level in the future. The other thing that I think is really interesting is that I think, you know, AI will empower more niche content and more creators who can thrive in micro-communities. So it used to be because of this hit generation business model, everything needed to be made for the masses and a lot of content for niche audiences and micro-communities was neglected because there was just no way to make that content commercially viable. But now, if you can leverage AI—we make a pollen report podcast in 300 markets, you know, nobody would have ever made that before, but it is very valuable information, a very valuable piece of content for people who really care about the pollen in their local community. So there’s all sorts of ways that being able to leverage AI is making it more accessible both to the creator and to the audience that is looking for content that truly resonates with them. Ken Suzan: Mark, let’s talk about the legal landscape right now. If someone creates an AI-generated performance that closely resembles a living actor without their consent, what legal recourse does that actor have? Mark Stignani: Well, I mean, I think we can go back to the OpenAI Scarlett Johansson thing where, you know, if it’s simply—well, the “walks like a duck, quacks like a duck” type of aspect there. You know, I think it’s pretty straightforward that they need to walk it back. I mean, the US doesn’t have moral rights, really, but there’s a public visage right, if you will. And so, one of the things that I find predominantly useful here is that these actors likely have rights of publicity there, we probably have a Lanham Act false endorsement claim, and you know, again, if the performance is not parody, and it’s so close to the original performance, we probably have a copyright discussion. But again, all of these laws predate the use of AI, so we’re going to probably see new sets of law. I mean, we’re probably going to see “resurrection” frameworks, we’ll probably have frameworks for synthetic actors and likenesses, but the rules just aren’t there yet. So, unfortunately, your question is largely predictive versus well-settled at this point. Ken Suzan: Janine, your company works with AI actors. How do you navigate the questions of consent and likeness compensation when creating digital performers? Jeanine Wright: I mean, if we—so first of all, if we were to work with a person who is an existing real-life person or was an existing real-life person, then we would work with them to license their name and likeness or their voice or whatever aspects of it we were going to use in creating content in partnership with them. Not typically our business model; we are, as I said, designing all of our personalities from scratch and making all of our content originally. So, we’ve not had to do that historically. Now, you know, the flip side is: can I license my characters as if they’re similar to living characters? Like will I be able to license the name and likeness and voice of my AI-generated personalities? I think the answer is yes and we’re already starting to do that. Ken Suzan: Let’s just switch gears into ethics and AI because I find this to be a really fascinating issue. I want to look at a hypothetical. And this is to both of you, Janine and Mark: an AI system creates a new performance by a beloved actor who passed away decades ago, and the actor’s estate authorizes it, but the actor was known to have expressed opposition to such technology during their lifetime. Is this ethical? Jeanine Wright: This feels like a Gifts, Wills, and Trusts exam question. Ken Suzan: It sounds like it, that’s right. Jeanine Wright: Throwing me back to my law school days. Exactly. What are your thoughts? It’d be interesting to see like who has the rights there. I mean, I think if you have the legal rights, the question is around, you know, is it ethical to go against what you knew was somebody’s wishes at the time? I guess the honest answer is I don’t know. It would depend a lot on the circumstances of the case. I mean, if we were faced with a situation like that where there was a discrepancy, we would probably move away from doing that content out of respect for the deceased and out of a feeling that, you know, if this person felt strongly against it, then it would be less likely that you could make that storytelling exceptional in some way—it would color it in a way that you wouldn’t want in the outcome. And I feel like there’s—I mean, certainly going forward and it’s already happening—there are plenty of people I think who have name, likeness, and voice rights that they are ready to license that wouldn’t have this overhang. Ken Suzan: Mark, your thoughts? Mark Stignani: Yeah, I mean, again, I have to kind of go back to our property law—the Rule Against Perpetuities. You know, from a property standpoint to AI rights and likenesses—since most of the digital replica contracts that I’ve reviewed generally do talk about things in perpetuity. But if it’s not written down for that actor and the estate is doing this—is it ethical? You know, that is the debate. Jeanine Wright: Well, gold star to you, Mark, for bringing up the Rule Against Perpetuities. There’s another one that I haven’t heard for many years. This is really taking me back to my law school days. Ken Suzan: It’s a throwback. Jeanine Wright: The other thing that’s really interesting is that this technology is really so revolutionary and new that it’s hard to even contemplate now what it is going to be in a decade, much less for people who have passed away to have contemplated what the potential for it could be today. So you could have somebody who is, perhaps, a deceased musician who expressed concerns about digital representations of themselves or digital music while they were alive. But now, the possibility is that you could recreate—certainly I could use my technology to recreate—that musician from scratch in a very detailed way, trained on tons of different available data. Not just like a digital twin or a moving image of them, but to really rebuild their personality from scratch, so that they and their music could be reintroduced to totally new generations in a very respectful and authentic way to them. It’s hard to know, with the understanding that that is possible, whether or not somebody who is deceased today would or would not agree to something like that. I mean, many of them might want, under those circumstances, for their music to live on. These deceased actors and musicians could live forever with the power of AI technology. Mark Stignani: Yeah, I really just kind of go to the whole—is deep-faking a famous actor the best way to preserve them or keep them live? Again, that’s a bit more of an ethical question because the deep fakes are getting good enough right now to create huge problems. Even zoom meetings in Hong Kong where a CFO was on a call with five synthetic actors who all looked like his coworkers and they sent a big check out based upon that. So again, the technology is getting good enough to fool people. Jeanine Wright: I think that’s right, Mark, but I guess I would just highlight the same way that it always has been: the ethical line isn’t AI versus human, the ethical line is about deception. Like, are you deceiving people? And if people know what it is that they’re getting and they’re choosing to engage with it, then I think it isn’t about the power of the technology. In our business, we have elected—not everybody has—but we have elected to be AI transparent. So we tell people when they listen to our show, we include it in our show notes, we include it on our socials. Even when we’re designing our characters to be very photo-realistic, we make an extra point to make sure that people know that this is AI-generated content or an AI personality. Like, our intention is not to deceive and to be candid. From a business model perspective, we don’t need to. I mean, there’s already people who know and understand that it is AI, and AI is different than people. Because it is AI, there’s all sorts of things that you can do with it that you would not be able to do with a real person. You know, we get people who ask us on the podcast side, we get all sorts of crazy funny requests. You know, people who say, “Can I text with this personality? Can I talk to them on the phone? Can they help me cook in the kitchen? Can they sing me Happy Birthday? Can they show up at my Zoom meeting today because I think my boss would love it?” You know, all sorts of different ways that people are wanting to engage with these characters. And now we’re in the process of rolling out real-time personalities so people will be able to engage with our personalities live. It is a totally different way that people are able to engage with content, and people can, as they choose, decide what kind of content they want to engage with. Ken Suzan: Jeanine and Mark, we’re coming to the end of this podcast. I would love to keep talking for hours but we have to stay to our timetable here. Last question: five years from now, what percentage of entertainment content do you predict will involve significant AI generation, and will audiences care about that percentage? Jeanine? Jeanine Wright: I mean, I would say 99.9%. I mean, already you’re seeing—I think YouTube did a survey—that it was like 90% of its top creators said that they’re using AI as material components of their content creation process. So, I think this will be the default way that content is created. And content that is not made with AI, you know, there’ll be special film festivals for non-AI generated content, and that will be a special separate thing than the thing that everybody is doing now. Ken Suzan: Mark, your thoughts? Mark Stignani: Yeah, I go a little lower. I mean, I think Jeanine is right that we’re seeing, especially in the low-quality content creation and like the YouTube shorts and things like that, you know, there’s so much AI being pushed forward that the FTC even acquired an “AI slop” title to it. I do think that disclosure will become normalized, that the industries will be pushed to say when something is AI and what is not. And I think it’s very much like, you know, do you care about quality or not? If you value the human input or the human factor in this, there will be an upper tier where it’s “AI-free” or low AI assistant. I think that it’s going to stratify because the stuff coming through the social media platforms right now—I can’t be on it right now just because there’s so much nonsense. Even my children, who are without much AI training at all, find it just too unbelievable for them. So, I think it will become normalized, but I think that we’re going to see a bunch of tiers. Ken Suzan: Well, Jeanine and Mark, this has been a fantastic discussion of an ever-evolving field in IP law. Thank you to both of you for spending time with us today on the IP Friday’s podcast. Jeanine Wright: Thank you so much for having me. Mark Stignani: Appreciate your time. Thank you again.

Page One, produced and hosted by author Holly Lynn Payne, celebrates the craft that goes into writing the first sentence, first paragraph and first page of your favorite books. The first page is often the most rewritten page of any book because it has to work so hard to do so much—hook the reader. We interview master storytellers on the struggles and stories behind the first page of their books. About the guest author: Crystal King's latest book The Happiness Collector was published by Mira. King is also the author of In the Garden of Monsters, The Chef's Secret and Feast of Sorrow, which was long-listed for the Center for Fiction's First Novel Prize and was a Must Read for the MassBook Awards. Her poetry has been nominated for a Pushcart Prize and she served as the former co-editor of the online literary arts journal Plum Ruby Review. In addition to her literary gifts, fueled by a passion for the food, language and culture of Italy, King is a culinary enthusiast and marketing expert. With an MA in critical thinking, she has taught writing, creativity and social media at multiple universities including Boston University, UMass, Mass College of Art, Grub Street and Harvard Extension. A native of the Pacific Northwest, King has made Boston her home. You can find her and lots of wonderful offerings at crystalking.com and IG @crystallyn14. About the host: Holly Lynn Payne is an award-winning novelist and writing coach, and the former CEO and founder of Booxby, a startup built to help authors succeed. She is an internationally published author of four historical fiction novels. Her debut, The Virgin's Knot, was a Barnes & Noble Discover Great New Writers book. She recently finished her first YA crossover novel inspired by her nephew with Down syndrome. She lives in Marin County with her daughter and enjoys mountain biking, surfing and hiking with her dog. To learn more about her books and private writing coaching services, please visit hollylynnpayne.com or find her at Instagram and Twitter @hollylynnpayne. If you have a first page you'd like to submit to the Page One Podcast, please do so here. As an author and writing coach, I know that the first page of any book has to work so hard to do so much—hook the reader. So I thought to ask your favorite master storytellers how they do their magic to hook YOU.  After the first few episodes, it occurred to me that maybe someone listening might be curious how their first page sits with an audience, so I'm opening up Page One to any writer who wants to submit the first page of a book they're currently writing.  If your page is chosen, you'll be invited onto the show to read it and get live feedback from one of Page One's master storytellers. Page One exists to inspire, celebrate and promote the work of both well-known and unknown creative talent.   You can listen to Page One on Apple podcasts, Spotify, Pandora, Stitcher and all your favorite podcast players.  Hear past episodes. If you're interested in getting writing tips and the latest podcast episode updates with the world's beloved master storytellers, please sign up for my very short monthly newsletter at hollylynnpayne.com and follow me @hollylynnpayne on Instagram, Twitter, Goodreads, and Facebook. Your email address is always private and you can always unsubscribe anytime.  The Page One Podcast is created at the foot of a mountain in Marin County, California, and is a labor of love in service to writers and book lovers. My intention is to inspire, educate and celebrate. Thank you for being a part of my creative community!  Be well and keep reading. ~Holly~ Thank you for listening to the Page One Podcast! I hope you enjoyed this episode as much as I loved hosting, producing, and editing it. If you liked it too, here are three ways to share the love:Please share it on social and tag @hollylynnpayne.Leave a review on your favorite podcast players. Tell your friends. Please keep in touch by signing up to receive my Substack newsletter with the latest episodes each month. Delivered to your inbox with a smile. You can contact me at @hollylynnpayne on IG or send me a message on my website, hollylynnpayne.com.For the love of books and writers,Holly Lynn Payne@hollylynnpaynehost, author, writing coachwww.hollylynnpayne.com

Archaeologist turned Chief Sales Officer Marco Barbi joins Speaking of Writers to discuss his book 7th Power of 7: A Short Guide to Sales Mastery. From selling kitchen knives in college — including finishing a pitch while bleeding from a severe cut — to overseeing sales expansion across North America, Marco shares the science behind mastering the perfect sale.For more info on the book click HERE#Sales #Entrepreneurship #Leadership #SpeakingOfWriterspodcast

Storytelling is more than entertainment — it's a moral act. In this episode of The Storyteller's Mission, Zena Dell Lowe explores the danger of stories replacing standards — and what that means for writers. When trust collapses and authority becomes unaccountable, storytellers are often asked to shape meaning and moral judgment. But assigning verdicts before exploring truth turns story into propaganda, even with the best intentions.Learn how to:Recognize the difference between moral clarity vs. moral coercionAvoid letting your story pre-judge or manipulate the audiencePreserve complexity, nuance, and consequences in fictionTrust your audience to wrestle with truth rather than forcing conclusionsWhether you write drama, historical fiction, or speculative worlds, this episode is a must-watch for writers committed to truthful, morally responsible storytelling.Watch this episode on YouTube Free Resources for Writers:Free Video Tutorial for ScreenwritingSign 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.

Send a textIn this episode of the Cops and Writers Podcast bonus series, retired Milwaukee Police Sergeant Patrick O'Donnell reads Chapter 32, "Wojo," from his upcoming book:Police Stories: The Rookie Years - True Crime, Chaos, & Life as a Big City CopThere were characters on the job who should have been stand-up comedians. Wojo was one of those guys.But one morning at 7:00 AM, Wojo got serious. A man barricaded himself in an apartment with a rifle pointed at his five-year-old son's head. SWAT was on the way. Hours of negotiation loomed.The way Wojo negotiated with the suspect was unorthodox but effective. All stories are real. Names and locations have been changed where necessary.

On Thursday, a community of writers came together to break the Ramadan fast, also known as Iftar, and held a public reading at Baba's Hummus House in Minneapolis. The event was organized by Mizna, which promotes the work of Arab and Southwest Asian and North African artists. Two artists shared more about the gathering on Minnesota Now — Nikki Luna, a Lebanese-American genderqueer poet and organizer of the event, and Nader Helmy, a Cairo-born, Minnesota-raised writer.

EP 22 - Living a Creative Life | Lori Siebert | Artist, Designer & Creative EntrepreneurIn this beautifully insightful episode, Nicole Thomas welcomes multi-faceted artist and creative entrepreneur Lori Siebert to discuss what it truly means to live a creative, joy-filled life. From private art lessons at the age of seven to licensing work with major brands like Target and Nickelodeon, Lori's story is both inspiring and instructive for artists and entrepreneurs alike.

Rebecca N. Thompson, MD joins Let's Talk Memoir for a conversation about life-threatening pregnancy losses and  weaving her own story of navigating a challenging path to parenting with the stories of others, her decade-long collaboration with a remarkable group of women, how healing others helps us heal, imperfect love, not feeling heard, advocating for our own care, humanism in medicine, the cumulative impact of small actions, accepting help to get better, transcribing and processing interviews and forming a narrative, processing as we craft, making stories accessible to a wide audience, the moments that change everything when we least expect it, and her new memoir HELD TOGETHER: A SHARED MEMOIR OF MOTHERHOOD, MEDICINE, AND IMPERFECT LOVE.   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   Also in this episode: -accepting help to get better -portraying others in a positive light -Getting consent from book contributors   Books mentioned in this episode: How to Tell a Story from The Moth  Before and After the Book Deal by Courtney Maum If You Want to See a Whale by Julie Fogliano   Rebecca N. Thompson, MD, is a family medicine and public health physician from Portland, Oregon, who specializes in women's and children's health—and the author of HELD TOGETHER: A SHARED MEMOIR OF MOTHERHOOD, MEDICINE, AND IMPERFECT LOVE, published with HarperCollins in Spring 2025. In this innovative book, Dr. Thompson intertwines her personal story of life-threatening pregnancy complications with the stories of twenty-one of her patients, friends, and medical colleagues.   Through profoundly honest first-person narratives created primarily from spoken interviews, Held Together offers a space for connection, bringing comfort and solidarity to anyone touched by challenges in building or sustaining families. At its heart, this collaborative project celebrates the extraordinary moments in the lives of ordinary women, as they navigate the complexities of motherhood, family dynamics, and health and healing across generations.   Connect with Rebecca: www.rebeccanthompson.com – 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

One of the unmistakable throughlines of the second Trump administration is how it's overhauling policies that directly affect African Americans, most notably by targeting programs and initiatives that promote diversity, equity, and inclusion, or DEI. For journalist Nikole Hannah-Jones, it's an attempt to take the country back to an era before the civil rights movement. “A lot of folks are saying, you know, that this administration is rolling back the '60s, but I'm like, he—this administration's actually going back further than that.” The administration is also removing references to Black history from the nation's museums, parks, and schools. When history itself is being erased at the highest levels, who's left to tell us where we've been and where we're headed? This week on Reveal, as part of Black History Month, we're bringing you conversations from our sister podcast, More To The Story, with three prominent Black writers who are fighting to tell a more inclusive American story. Support Reveal's journalism at Revealnews.org/donatenow Subscribe to our weekly newsletter to get the scoop on new episodes at Revealnews.org/weekly Connect with us onBluesky, Facebook and Instagram Learn about your ad choices: dovetail.prx.org/ad-choices