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by Donn King
kingschronicles.substack.com
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- 1 weeks ago1h 31m
When Life Changes the Story
When I started reading Jami Albright’s Running from a Rock Star, I laughed out loud four times in the first three pages. Janet noticed. Apparently, I was making enough noise to attract attention.That seemed like a good reason to invite Jami onto The Alignment Show. I’d also been listening to her Wish I’d Known Then… For Writers podcast for years, and I’d come to appreciate her willingness to talk about both the successes and struggles of being an author.What I didn’t fully appreciate until our conversation was how much laughter has meant in Jami’s own life.Years ago, after moving to a new city, she found herself terribly lonely. Romance novels became a source of companionship. One day, while reading, she heard someone laughing and realized it was herself. She hadn’t laughed like that in five years.That experience eventually helped lead her to writing romantic comedy.Then, just as she’d built a successful writing career, her younger sister died. For more than three years, Jami couldn’t write. She wasn’t sure she ever would again.Our conversation covers writing, romance, creativity, publishing, grief, and finding your way when life doesn’t follow the story you expected. It’s a longer episode than usual, about an hour and a half. We had a lot to talk about, and I couldn’t bring myself to cut much of it.I think you’ll understand why.The Big TakeawayYour life can change dramatically without losing its value, even when the things that once gave you purpose, identity, or a sense of accomplishment are no longer there.Jami’s story reminded me that what matters to us can change as we change. Sometimes we discover what matters through joy and sometimes through loss. In fact, sometimes we have to make peace with not knowing whether we’ll ever return to the person we used to be.What We Talked About* Finding laughter through loneliness. Jami describes how romance novels helped her through years of isolation after a move, and how laughing at a book became a turning point in her life.* Starting a writing career later in life. She didn’t write fiction until age 47, returned to a nearly lost manuscript at 50, and published her first book at 53. Along the way, she learned the value of critique, persistence, and accepting help.* Why romance matters. We explore the appeal of happily-ever-after endings, the emotional connections readers form with fictional characters, and why romantic comedy can offer something important beyond entertainment.* The craft of storytelling. Jami shares how she creates character conflict, what makes a romance’s darkest moment convincing, and why a good story needs more than a misunderstanding that a simple conversation could resolve.* When grief interrupts creativity. After her sister Joni died in 2022, Jami stopped writing for more than three years. We discuss how that loss affected her work, her confidence, and her understanding of success.* Returning to writing and rethinking success. Her novel The Summer That Changed Us, inspired by her sister’s final months, marked her return to fiction. She talks openly about the difficult writing process, the book’s reception, and learning not to measure her worth by sales or accomplishments.A Few Practical Things to Take Away1. Don’t assume it’s too late to begin. Jami’s publishing career started in her fifties. She didn’t begin with technical mastery, either. She learned as she went, with considerable help from other writers.2. Be willing to be a beginner. Jami’s account of taking her first manuscript pages to a critique group is funny, painful, and instructive. She came back the following week, listened to the feedback, and kept improving.3. If you create stories, give your characters real problems. One of Jami’s useful guidelines is that if the central crisis can be resolved through one conversation, the conflict probably isn’t strong enough. The characters need to confront something deeper.4. Respect the difficulties you’re actually experiencing. When grief left Jami unable to write, she spent a long time criticizing herself for it. Eventually, she began acknowledging that she was going through something genuinely hard.5. Leave room for your goals to change. Returning to writing mattered enormously to Jami. But she also came to recognize that she could have a worthwhile life even if she never published another book.Quote to Ponder
- 2 weeks ago29 min
The Strange Quiet After the Finish Line
Have you ever finished something that occupied your life for weeks or months, felt genuinely happy about the accomplishment, and then wondered what to do with yourself?I’ve been experiencing that lately. I recently published my first romantic comedy and finished the draft of the second. What started as a little experiment in writing fiction has grown into a series of six, possibly seven, books. And I’ve discovered that finishing a story brings an emotional experience I hadn’t quite anticipated.There’s satisfaction, certainly. There’s excitement about what comes next. But there’s also a peculiar quiet, almost like the feeling when an airplane lands and you haven’t quite reached the gate.In this episode, I’m exploring that feeling through the experience of writing, but I think it applies to a lot of other things, too. Projects, celebrations, relationships, and the major transitions of life all have their own versions of the finish line.And perhaps we need to pay more attention to what happens afterward.The Big TakeawayFinishing something meaningful doesn’t automatically restore the energy we invested in it.We need energy to begin, to persist, and to finish. But there’s also a fourth part of the cycle worth recognizing: a season of replenishment.Sometimes the most valuable thing we can do after reaching a goal is to allow ourselves a little time to absorb the experience and recover.In This Episode* The three energies of accomplishment. Drawing on Joanna Penn’s framework of starting energy, pushing-through energy, and finishing energy, I explore how different stages of a project call for different kinds of motivation and persistence.* The unexpected letdown of finishing. Even when the experience has been thoroughly satisfying, completing something substantial can leave us feeling a little depleted or disoriented. Accomplishment and letdown can coexist.* Saying goodbye to imaginary friends. Writing fiction means spending hours every day with people I’ve invented. When their story ends, something changes in that relationship. It’s a little like the empty-nest experience, though obviously not equivalent in significance.* Finding new ways to use our energy. I’m responding by exploring new writing projects, returning to editing and publishing, and shifting among what I call the Five Hats of Writing: writer, editor, publisher, marketer, and business person.* The wisdom of a fallow field. Farmers understand that land sometimes needs a season of recovery. Rest isn’t necessarily inactivity, and it certainly isn’t failure. Replenishment belongs in the natural cycle of productive life.* The many kinds of endings. Finishing a major project, celebrating an anniversary, watching children leave home, or experiencing a loss we never wanted all involve transitions. They’re very different experiences, but each reminds us that life changes shape, and we need time to adjust.A Few Things to TryI’ve been thinking about how to navigate the space between finishing one thing and beginning another. Here are a few ideas that might help you, too.* Recognize which kind of energy you need. Are you beginning something, pushing through the difficult middle, or trying to bring it to completion? Different stages call for different approaches.* Pay attention to what changed when you finished. Sometimes the letdown isn’t about exhaustion. It’s about losing a familiar routine, a sense of purpose, or the daily companionship of people who have been part of your experience.* Consider changing activities rather than simply stopping. I’m finding satisfaction in switching from drafting fiction to editing, publishing, marketing, and potentially writing nonfiction. Different activities draw on different kinds of energy.* Give yourself permission for fallow time. You don’t have to fill every available moment with another goal. Recovery and reflection can be worthwhile in their own right.* Ask yourself what you actually need next. Another beginning? Some unfinished details brought together? Or perhaps just a little time to enjoy where you’ve arrived?Quote to Ponder“The energy that gets you across the finish line doesn’t automatically replenish the energy you spent getting there.”I’m learning that there’s meaning in the beginning, in the long middle where we keep showing up, and in finally finishing the work.But there’s also meaning in the quiet afterward.Resources and Links* Joanna Penn: Starting, Pushing-Through, and Finishing Energy — Joanna’s discuss
- 4 weeks ago15 min
Seeing Like a Writer
What happens when we pay attention differently?Note: for folks who prefer to read instead of watch or listen, an article version is at the end of this. If you’re watching or listening on a podcatcher, you can find the original article at DonnKing.com/113.I went looking for a bench and came home with a question about how we experience the world.I hadn’t been to Ijams Nature Center in Knoxville for years. But I’m writing a novel that includes a scene along the Tennessee River, and I wanted to get the details right. I remembered a bench beside the boardwalk, but I couldn’t find a photograph or description that confirmed it was there.So I decided to go see for myself.I’ve spent years looking at places through a photographer’s eyes. This time, though, I wasn’t trying to make beautiful photographs. I was taking pictures of stairs, narrow trails, changes in the landscape, and details that might help me reconstruct the experience later.I was looking at Ijams like a writer.That got me thinking about the ways writers observe everyday life: the interesting phrases we overhear, the facial expressions we notice, the small details we collect without knowing whether we’ll ever use them.But why should writers have all the fun?In this episode, I explore what might happen if any of us deliberately paid closer attention to the world around us. Maybe the world wouldn’t change much. But our experience of it might.And that could make a difference in how we live.The Big TakeawayThe way we pay attention shapes the way we experience the world.Noticing something doesn’t necessarily change the thing we’re observing. But it can change our relationship with it. And that change may influence how we understand other people, recognize what matters to us, and engage with everyday life.In This Episode* The search for a bench. Why I returned to Ijams Nature Center to research a scene for my current novel, and why getting real-world details right can help make fiction believable.* A photographer’s eye versus a writer’s eye. How my years as a professional photographer shaped the way I see places, and why I found myself taking very different kinds of pictures this time.* Externalizing memory. Why I recorded photographs, videos, and spoken observations along the trail, and how tools such as Obsidian help me preserve thoughts that might otherwise disappear.* The habits of a writer. Listening for interesting language, noticing gestures and expressions, and asking “What if?” about ordinary experiences.* How observation changes experience. Why paying attention to a river, a conversation, or a facial expression may not change the thing itself, but can change our relationship with it.* An invitation to notice. What anyone, writer or not, might discover by approaching familiar people and places with a little more curiosity.A Few Things to TryI’m not suggesting we turn this into another project. Most of us have enough things on our to-do lists already.But here are a few ways to experiment with seeing like a writer.1. Visit a familiar place as though you’ve never seen it.Imagine you’re going to describe it to somebody who has never been there. What would you need to notice? What details have you been overlooking?2. Listen to how people say things.Pay attention to word choices, expressions, and gestures. Sometimes the way someone says something tells you as much as the words themselves. Respect people’s privacy, of course.3. Make a note of something that catches your attention.A phrase, an observation, an interesting question. You don’t need a complicated system. Just somewhere to capture a thought before it wanders off.4. Notice what you notice.What draws your attention? What makes you curious? What do you tend to overlook? You might discover something about your own values and interests.5. Ask yourself, “What if?”It’s a question writers use all the time. It might also help you see new possibilities in situations you’ve begun to take for granted.The point isn’t to collect more information. It’s to experience more fully the life you’re already living.Quote to Ponder“The world may not have changed because I was paying attention, but my relationship with it has. That in turn changes the world at least a little.”That’s a thought I’ve been turning over since my walk.How much of our experience is shaped by what we choose to notice? And what might change if we became a little more intentional about that choice?<p
- Oct 2, 20261h 5m
Kevin on Kraft: Writing Characters Who Aren’t You
[Note: this post contains the podcast and its show notes along with the article version. Enjoy whichever one connects with you best. If you’re listening on a podcatcher and want the article version, head over to DonnKing.com/112.]One of the things I enjoy about talking with Kevin Tumlinson is that I can start with a question I think I understand and discover that I was actually asking something bigger.That happened again in this third installment of Kevin on Kraft.“Kevin on Kraft?” you ask. If you don’t know about it, here are the first two episodes in this special series on The Alignment Show.Last time, Kevin made an almost offhand comment that some of his characters are smarter than he is. That stuck with me. Because how exactly do you write a mind you don’t possess? You can research what a physicist knows, for instance, but knowing facts and thinking like that person aren’t quite the same thing.From there, we wandered into something broader: writing people who aren’t like us. Different backgrounds. Different genders. Different experiences. Even people whose choices we find reprehensible.And eventually we landed on what may be the real question underneath all of it: What makes a character feel like a human being rather than something the author constructed?As usual, Kevin and I found a few side roads along the way. We talked about villains, Thanos, Batman, Jack Reacher, Star Trek, watery tuna salad, and why a writer might want access to a time machine.You know. Craft.Big TakeawayA believable character doesn’t have to be like the writer, but the writer has to understand the character well enough to see the world from inside that character’s logic.That includes villains. It includes characters whose lives and backgrounds differ radically from our own. And it even includes recurring characters who need to grow without changing so much that readers no longer recognize the person they came back to see.Perhaps most interestingly, Kevin suggested that character growth doesn’t stop at the edge of the page. Sometimes the person who changes over the course of a story… is the reader.What We Talked About* How to write someone smarter than you are. Kevin points out that his character Dan Kotler has an advantage Kevin doesn’t: Kevin can stop, research, revise, and return to an earlier scene. The character gets to benefit from the author’s hindsight.* Writing across differences without reducing people to categories. We talk about characters of different races, cultures, and genders, and the danger of trying so hard to portray a category that we stop portraying a person.* Why the craft should disappear. Kevin compares good writing to sculpture: if we’re staring at the chisel marks, we’re not seeing the statue. The same principle applies to voice, characterization, and even book design.* Why villains need an internal logic. People generally don’t experience themselves as “the bad guy,” even the ones we perceive as the bad guy. A compelling antagonist sees reasons for doing what they do. Understanding those reasons doesn’t mean agreeing with them, but it keeps them from being cardboard.* How series characters can change without becoming different characters. Kevin distinguishes between a protagonist who changes and one who serves as a catalyst for change. Jack Reacher, Batman, and the crew of the Enterprise help us explore why some characters need to return largely to baseline while the people and world around them change.* The reader has a character arc, too. Stories don’t simply happen to fictional people. We bring ourselves to them, make meaning from them, and sometimes finish a book seeing something differently than we did when we began.Practical TipsWhen you’re writing someone unlike yourself, start with the person before the category. Research matters, and sometimes talking with people who actually have the experience you’re portraying matters enormously. But research shouldn’t become a substitute for creating an individual human being.Give yourself permission to make a character smarter than you. Drafting and revision give you something your character doesn’t have: time. Research the answer. Think for three days about the insight your brilliant character produces in three seconds. Then let them have the credit.For recurring characters, ask what is core and what can change. Relationships, experiences, scars, knowledge, and circumstances can accumulate without replacing the qualities that made readers care about the character in the first place.When writing an antagonist, try asking not, “Why is this person evil?” but, “Why does this choice make sense from where this person is standing?”
- Sep 18, 202617 min
Discovering What Comes Next
Lately, I’ve been looking forward to getting to my desk.That may sound like an ordinary thing for a writer to say. But after struggling with anhedonia, the absence of pleasure even in things I knew were worthwhile, that eagerness means something to me.Writing fiction has been bringing it back. I want to find out what my characters will do next, even though I’m supposedly the person in charge. Apparently, nobody has explained that arrangement to them.In this solo episode, I explore discovery writing, the feeling of being absorbed in creative work, and the possibility of returning to something you love with all your life experience behind you. I also talk about why I’m likely to write out these solo episodes before recording them. Some of the discovery happens while I’m figuring out what I want to say.The big takeawayMy eagerness to return to storytelling is something I want to pay attention to. It tells me something about what belongs in my life. Your curiosity may offer something worth noticing, too.In this episode* I describe how writing fiction has renewed my enjoyment, while keeping that experience distinct from anyone else’s experience of depression.* I consider how creative absorption may overlap with flow, drawing on the work of Mihaly Csikszentmihalyi and Martin Seligman.* I explain why “discovery writer” fits the way I work, even when I have a destination in mind.* I connect the pleasure of discovering characters with everyday discoveries, from a new restaurant to a solution for a stubborn problem.* I reflect on Bruce Robert Coffin’s return to writing after nearly three decades in law enforcement.* I share why scripting solo episodes feels like a return to my own writing roots.Something to tryAsk yourself: What am I curious enough to come back to?It might be a story, a skill, an unanswered question, or something you once loved. Give yourself a little room to explore it without requiring yourself to know where it will lead.And when you notice that small lift of discovery, pay attention. I’m learning to take my own eagerness seriously.A thought to carry with you“Being excited to get to the desk is something I want to pay attention to. It tells me something about what belongs in my life.”Mentioned in this episode* Flow and engagement: The University of Pennsylvania’s Positive Psychology Center explains engagement within Martin Seligman’s PERMA framework and its connection to Csikszentmihalyi’s work on flow.* Bruce Robert Coffin on The Indy Author Podcast: Matty Dalrymple’s conversation, “Writing the Stories Only Life Can Teach You.”* The Sparklight Chronicles, my fictional parables exploring nonfiction principles.* The Chemistry Between Us and The Signal Between Us, the first two books in the series I’m writing as Devon Marin.* Kevin on Kraft, my ongoing conversations with Kevin Tumlinson about writing, creativity, and making things.With thanks to this episode’s sponsorsButterfly Copywriting: Val Roskens Tews helps take the stress out of creating LinkedIn content and sharing your message.The Chemistry Between Us, by Devon Marin: Meet Riley, a behavioral scientist, and Leo, a science communicator with ADHD, in the first book of a planned STEM romantic-comedy trilogy.Through September 30, sample two chapters through Diversity is Mainstream, a promotion featuring nearly fifty writers whose stories include neurodiverse characters. After the promotion ends, the excerpt will remain available at DonnKing.com/Devon.What have you been discovering lately—or what are you ready to come back to? I’d love to hear about it in the comments.Article VersionGood morning, good evening, good afternoon, wherever you are in the world, welcome once again to The Alignment Show, where we talk about where w
- Sep 13, 20268 min
Connection Costs Energy. It’s Still Worth It.
Note: I realized that since I’m making all material available to all subscribers, free and paid, it makes sense to just include the article version in the “show notes.” If you’d rather read than watch a video or listen to audio, the Article Version is below the Resources.This one is a little different.I recorded most of this episode in the car while Janet and I were on our way to The Morning Cup Toastmasters 10th Anniversary Summit. (Janet was driving. I promise.)It had been one of those weeks when everything seemed to happen at once. I’d finished a book draft, written a prequel while the manuscript was with an editor, helped prepare for the Summit, and gotten ready to lead both a session on story structure and an ecumenical worship service.And somewhere in there, Friday arrived without a regular episode ready to go.So, inspired partly by my friend Mark Leslie Lefebvre and his remarkable streak of showing up every Friday with Stark Reflections for (at this writing) close to 500 episodes, I decided to hit Record anyway.The audio isn’t great. There’s road noise I couldn’t completely remove. The episode is short. But it led me into something I’ve thought about for years: being an introvert doesn’t mean I don’t need or enjoy people.In fact, sometimes the things that drain us can also be things that matter deeply to us.The Big TakeawayIntroversion and human connection aren’t opposites.I can look forward to spending a weekend with friends, speaking, teaching, laughing, and connecting with people while also knowing that, when it’s over, I’m going to need some serious quiet time.Understanding that about myself helps me make room for both.In This Episode* Why introversion and shyness aren’t the same thing* The two characteristics I find especially useful for understanding introverts and extroverts* Why an introvert can be perfectly comfortable speaking in front of a crowd* Why the hardest part of speaking, for me, often comes before and after the speech* How social interaction can be both enjoyable and draining* Why Janet and I sometimes build an extra quiet day into trips involving lots of people* Why our need for solitude doesn’t eliminate our need for human connection* And why sometimes showing up imperfectly is better than not showing up at allSomething to TryPay attention to what gives you energy and what uses it.If connecting with people matters to you but also drains you, don’t assume there’s something contradictory about that. You may simply need to plan for both connection and recovery.Give yourself permission to enjoy the gathering and the quiet afterward.Quote to Ponder“Even though I might be an introvert, we still need human connection.”ResourcesToastmasters International — If you’d like a place to practice speaking and communication in a supportive environment, Toastmasters has been an important part of my own journey.Stark Reflections on Writing and Publishing — Mark Leslie’s podcast, and his commitment to consistently showing up, provided a little of the inspiration for this particular episode.Article Version: Connection Costs Energy. It’s Still Worth It.I’m an introvert.That sometimes surprises people because I’ve spent a good portion of my life speaking in front of groups. I taught communication for years. I speak professionally. I’m a pastor. Put me in front of a room full of people with something to talk about, and I’m perfectly comfortable.Put me in the room before or after the speech, when everybody is milling around and talking? That’s different.We often treat introversion and shyness as though they’re the same thing. They aren’t. Shyness involves fear of judgment. Introversion has more to do with how we form our thoughts and restore our energy.An introvert tends to recover through time alone. An extrovert tends to recover through interaction with other people. Introverts prefer to form their thoughts before they speak. Extroverts tend to form their thoughts by speaking.Neither is better. They’re simply different ways of operating.That helps explain why public speaking itself doesn’t particularly bother me. When I’m giving a speech, I’ve had time to prepare. I know what I want to say. There’s structure.The unscripted interaction around it takes more energy. I enjoy that interaction, I just have to take steps to recover.That’s the interesting tension.As I recorded this, Janet and I were traveling to a weekend conference I had genuinely been looking forward to.
- Sep 4, 202659 min
Kevin on Kraft: When Your Characters Stop Following Instructions
I missed an episode last week.I could offer excuses, but the truth is more interesting: I’ve been writing. A lot.For the past couple of weeks, I’ve been almost embarrassingly absorbed in The Chemistry Between Us, the first romance novel I’ll publish as Devon Marin. Riley and Leo, the two people at the center of the story, have been carrying on conversations in my head while I’m trying to do other things. I’ve forgotten to eat. I’ve awakened early because I needed to capture something they were saying. I’ve even found myself mildly annoyed that the human body insists on bathroom breaks.Before Kevin and I got into our conversation, I talked a little about that experience and why I think it belongs on The Alignment Show.This isn’t primarily a show about writing. It’s about pursuing what matters to you. Writing happens to be one of the things that matter deeply to me. Whatever your thing is, I think there’s something worth noticing about those moments when you become so engaged with meaningful work that you’re no longer merely being productive. You’re curious. Engaged. Alive.Speaking of curious, if you happen to be curious about The Chemistry Between Us, you can read an excerpt and sign up for a chance to receive an early copy before publication at DonnKing.com/Chemistry. It costs you nothing to check it out.And all of that turned out to be a pretty good setup for this week’s conversation with Kevin Tumlinson, another entry in the “Kevin on Kraft” series.Big TakeawayCharacters become interesting when we stop treating them as collections of information and start understanding how they behave.Kevin and I talked about the strange experience writers sometimes have when characters begin making choices we hadn’t planned. But we also got very practical about what creates that illusion of life on the page: consistency, meaningful details, leaving room for the reader’s imagination, and being willing to discover things during the writing process, and then go back and plant what the story needs.Maybe the larger creative lesson is that discovery and craft aren’t opposites. Sometimes discovery gives us the raw material, and craft lets us go back and make it look as though we knew what we were doing all along.In This Conversation* Kevin talks about writing Dan Kotler, the main character in one of his series, and how quickly the character began directing choices and taking stories in unexpected directions.* We compare discovery writing with more structured approaches and talk about what happens when an outline meets characters who have other ideas.* We explore the peculiar experience of “hearing” or experiencing fictional characters as distinct people while still knowing perfectly well where they came from.* Kevin explains why he often avoids detailed physical descriptions and instead lets readers supply much of the picture themselves.* We talk about using a few meaningful details to reveal character rather than stopping the story for a physical inventory.* Kevin reveals one of discovery writing’s useful secrets: when something becomes important in Chapter 19, you’re allowed to go back to Chapter 3 and make it look as though you planned it all along.* We talk about maintaining character continuity across a long series, including the reader who caught Kevin contradicting Dan Kotler’s middle-name history.* And just as we were trying to wrap up, Kevin opened two questions we couldn’t possibly squeeze into the remaining minutes: How do you write someone smarter than you are? And how do you write convincingly characteristics and experiences that differ from your own? Those will help launch our next conversation about character arcs.Practical TipsGive readers the details that matter. A character’s eye color may not matter. A pair of glasses that come off whenever things get serious may tell us something.Let the reader participate. Kevin makes a strong case that readers have enormously powerful imaginations. You don’t necessarily need to describe everything you can see in your own head.Use revision as part of creation. Discovery writers don’t have to foresee every setup and payoff. If the story discovers something important later, go back and “prepare” for it earlier.Track continuity, especially across a series. Small facts become surprisingly difficult to remember after multiple novels, novellas, short stories, and crossovers.And don’t confuse consistency with stagnation. That question became important enough that we deliberately stopped before tackling it. How does a character remain recognizably the same person while still changing? That’s where we’re headed next.Quote to Ponder“You don’t want the plotting to get in the way of the story
- Aug 21, 202621 min
What Are We Amplifying?
What Are We Amplifying?Note: read the article version of this podcast at DonnKing.com/108Art.I use tools to externalize parts of my brain.That sounds more dramatic than it is. A grocery list does it. So does an address book, a mind map, a voice memo, or a conversation with a friend. They let me move something outside my head so I can remember it, examine it, rearrange it, or think about it differently.Artificial intelligence can do that, too. These days, that raises all sorts of questions about creativity, writing, and what remains distinctly human when machines can do things we once thought belonged exclusively to us.In this episode, I’m less interested in deciding whether AI is inherently good or bad than in asking a question I find much more useful:What are we amplifying?The Big TakeawayHuman beings have always extended themselves through tools. The important question isn’t simply whether we use them. It’s what we’re using them to extend. Do we become more human, or less?A tool can amplify creativity, judgment, curiosity, and clear thinking. It can also amplify carelessness, dishonesty, and bad judgment.Yes, the technology matters (and that’s not yet another AI-ism; it’s just true). But the human using it remains the one essential element in the outcome.In This Episode* Why Plato’s ancient concern about writing and memory sounds surprisingly familiar today.* How grocery lists, mind maps, notebooks, and conversations externalize parts of our thinking.* Why I think AI may work more like an amplifier than a replacement for human creativity.* What the current anxiety about AI in publishing means for the choices I’m making as a writer.* Why I care more about the value of a finished book than the particular tools used to create it.* What Friedrich Nietzsche’s 1882 experiment with an early typewriter can teach us about how our tools shape our thinking.* Why supposedly “AI-ish” writing habits such as antithesis and em dashes aren’t exactly new inventions.* The questions I think matter more than simply asking whether a particular technology is good or bad.A Few Practical QuestionsWhen I’m deciding whether any tool belongs in my work or life, these are the questions I want to ask:* Does this help me think more deeply?* Does it help me communicate more clearly?* Does it help me create something worth creating?* Does it help me treat other people with greater dignity and respect?* Does it help me become more fully the person I actually want to be?Those questions apply whether the tool is a notebook, an iPhone, a calculator, a mind map, or artificial intelligence.Quote to Ponder“We’ve always extended ourselves through our tools. We don’t need to stop doing that. We just need to make sure that what we’re extending is worth amplifying.”Resources and People Mentioned* Plato’s Phaedrus — the ancient dialogue containing Socrates’ account of concerns that writing would weaken memory* Joanna Penn — writer and publishing entrepreneur who encourages creatives to “double down on being human” in the age of AI* Marshall McLuhan — communication theorist associated with the phrase “the medium is the message.” The original book’s title is actually a little different: The Medium Is the Massage. This is a rare instance where an ebook would absolutely not communicate the author’s intent. You can get the print book directly from the publisher. You might also want to read Marshall McLuhan Explained. * Friedrich Nietzsche — philosopher who began using the Malling-Hansen Writing Ball in 1882 when problems with his eyesight made handwriting difficult* My books — which might support you in your own creative journey. I write books that mentor from the shadows, blending storytelling, humor, and humanity to help readers grow, serve others well, and stay human in a complicated world.The point isn’t that every use of every tool is good. Tools can be used carelessly, dishonestly, destructively, or lazily.But we’ve been extending our minds through tools for thousands of years.The question I want to keep asking
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Absolutely! The free plan covers up to 3 podcasts, any in the catalog. Basic raises that to 15, Pro to 40 and Max to 100. Browse our full catalog at /podcasts.
How often does The Alignment Show release new episodes?
The Alignment Show publishes biweekly. Our AI generates a summary within hours of each new episode.
What topics does The Alignment Show cover?
The Alignment Show covers topics including Education, Business, Self-Improvement. Our AI identifies the specific themes in each episode and highlights what matters most to you.
Start getting The Alignment Show summaries tomorrow morning.
Free forever for up to 3 podcasts. No credit card required.
Free forever for up to 3 podcasts. No credit card required.