What Winning Really Means

I’ve spent a lot of time thinking about what it means to succeed. I’ve noticed that the things we can measure aren’t always the things that matter most, which is one of the reasons we even do The Alignment Show. After all, our motto is, “Where what matters meets real life.”The numbers matter, of course. Salespeople have quotas. Athletes have statistics. Businesses have revenue targets. Writers have word counts and book sales. There’s nothing inherently wrong with any of those measurements. The trouble comes when we let the numbers become our entire definition of success.My guest this week, Jon Webb, knows something about numbers. He spent nearly four decades in sales, working his way from account manager to Chief Commercial Officer. And by his own admission, he spent the first 19 years as what he calls a “quota chaser.” Then something changed.Jon is the founder of Major League Selling and author of Selling Against No!. We talked about the difference between persuading people and understanding them, why hearing “no” can actually be useful, and how to recognize when persistence has crossed the line into pressure.Jon’s distinction between two scoreboards has really stayed with me. One scoreboard tracks the results we achieve. The other measures how we go about achieving them. That second scoreboard deserves more attention than we usually give it.The Big TakeawayWinning the day involves more than achieving the number. It also means paying attention to how we treated people, what we learned, and whether we made ourselves useful along the way.Jon calls these the hard scoreboard and the soft scoreboard. Both matter. But when we focus exclusively on the first, we can lose sight of the very things that help us succeed in the long run.What We Talked About* From quota chasing to customer service. Jon describes the shift that came after attending a training session with Paul Cherry, author of Questions That Sell. He began asking better questions instead of simply moving on whenever a prospect showed resistance.* Why “no” isn’t necessarily a defeat. Like a baseball player who can succeed while making outs most of the time, a salesperson needs to learn from rejection without allowing it to determine what happens next.* The difference between overcoming and understanding. Jon challenges the familiar sales language of “overcoming objections.” His alternative is to walk alongside the customer, ask questions, and understand what’s behind the response.* The danger of a false yes. A request for a quote may sound promising, but without agreed-upon actions and timelines, it may represent no real commitment at all.* When persistence becomes pressure. We explore the difference between a soft no, a silent no, and an explicit no, including when it’s time to stop asking and move on.* The other scoreboard. Jon explains why he now measures his day by what he accomplished and by how he helped, served, influenced, and learned.A Few Things Worth TryingThese ideas came out of a conversation about selling, but I think they’re useful in plenty of other settings.* Ask one more genuine question. Before assuming you understand someone’s position, find out what’s behind it. The goal is understanding, not finding a clever way around their answer.* Get comfortable with silence. Jon sometimes recommends allowing ten seconds of silence rather than rushing to fill it. My experience as a newspaper reporter taught me much the same lesson: people often tell you more when you stop talking.* Don’t confuse interest with commitment. Jon uses the term “commitment currency” for agreed-upon actions and timelines. Whether you’re discussing a business proposal or collaborating on a project, clarity beats wishful thinking.* Know when to move on. A clear no deserves respect. You may be able to learn something from it, but continuing to push can damage the very relationship you’re trying to build.* Keep two scoreboards. At the end of the day, ask what you accomplished. Then ask what you learned, whom you helped, and whether your actions reflected your values.Quote to Ponder“There’s a hard scoreboard, which is the number, and that’s the pressure. But there’s a soft scoreboard.”— Jon WebbJon goes on to describe that second scoreboard in terms of helping, serving, influencing, improving, and reflecting on what we’ve learned.I like the distinction because it doesn’t dismiss measurable results. It simply asks us to measure something else alongside them.Resources* Major League Selling — Jon Webb’s website — Information about Jon, his work, his book, and his Field Notes.* Selling Against No! by Jon Webb — Available through his website and book retailers. Jon mentions that autographed copies are available directly from his site.* Questions That Sell by Paul Cherry — The book associated with the training that helped change Jon’s approach to sales.* The Go-Giver by Bob Burg and John David Mann — A book whose principles we discussed in connection with Jon’s approach to helping, serving, and influencing.Jon also discusses a 34-page seller playbook and an audiobook edition of Selling Against No! that were forthcoming at the time of our conversation. Check his website for their availability.One question I have for you: What’s something important in your life that doesn’t show up on your usual scoreboard? And what might change if you started paying more attention to it?Article VersionThe Other Scoreboard: What It Really Means to WinThere’s something about numbers that makes them irresistible. They give us a way to measure progress. They tell us whether we’re getting somewhere. They let us compare what happened this month with what happened last month, or what we’ve accomplished with what somebody else has accomplished.And sometimes they make us a little crazy.If you’re in sales, you have quotas. If you’re in business, you have revenue targets. If you’re a writer, you may track word counts, book sales, or subscribers. Whatever the field, there’s probably a scoreboard somewhere.But what happens when the scoreboard becomes the whole game? You may have heard the saying: not everything you can count counts, and not everything that counts can be counted.That’s one of the questions that came up in my recent conversation with Jon Webb, founder of Major League Selling and author of Selling Against No!Jon spent 39 years in sales, starting as an account manager and eventually becoming a Chief Commercial Officer. He’s also intensely competitive. When he asks people to rate their competitiveness on a scale of one to ten, he says most give themselves an eight.Jon rates himself a fifteen. I suspect the scale wasn’t designed with him in mind.Jon describes himself as a quota chaser for the first 19 years of his career. Whatever the number was, he intended to hit it. And he was good at it.But eventually, he began to recognize something uncomfortable about his approach. He was thinking primarily about his number, not about the customer.A Different Kind of QuestionThe turning point came when Jon attended a daylong training session led by Paul Cherry, author of Questions That Sell.He didn’t particularly want to be there. He considered it a day wasted in a training room when he could have been out selling something. But within fifteen minutes, he was hooked.Neither his competitive nature nor his desire to succeed changed. Rather, he began to see that he had been leaving opportunities unexplored because he wasn’t asking enough questions.When a prospect seemed uninterested, Jon’s habit had been to move on. That persistence had value, of course. Salespeople can’t spend all their time pursuing opportunities that are going nowhere. But he began to understand that an objection might tell him something useful if he took the time to understand it. That insight eventually became the foundation of Selling Against No!Jon challenges a phrase that shows up frequently in sales training: overcoming objections.Think about that language for a moment if I’m in a sales situation. (And, by … This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit kingschronicles.substack.com/subscribe

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“There doesn’t have to be some spectacular moment to make your life worthwhile.”— Jami AlbrightThat came near the end of our conversation, and I think it captures something important about the whole episode.We can work hard, pursue ambitions, and celebrate accomplishments without making those accomplishments the measure of our lives.One Question I Have for YouHave you ever experienced something that changed your relationship with work, creativity, or an ambition that once seemed essential to who you were?I’d love to hear what changed and how you’ve made sense of it.Listening GuideThese timestamps refer to the finished episode, including the opening and sponsor messages.* 00:00 — Welcome and introduction to Jami Albright* 05:20 — Meeting Jami and discovering her romantic comedies* 08:49 — Why romance, and the appeal of a happy ending* 10:38 — Moving, loneliness, and finding companionship in books* 17:45 — The laughter that changed Jami’s direction* 25:15 — Creating characters and the difficulty of making them suffer* 27:30 — Beginning to write, losing a manuscript, and joining a critique group* 37:30 — Choosing independent publishing* 40:07 — The language and humor of Running from a Rock Star* 45:04 — Writing for readers and understanding your own creative voice* 47:26 — The “black moment” and believable relationship conflict* 55:00 — Losing Joni and losing the ability to write* 1:01:49 — Returning to writing with The Summer That Changed Us* 1:07:23 — Turning family experience into fiction* 1:14:51 — Finding the fun in writing again* 1:17:21 — Honoring grief and accepting that life has changed* 1:23:25 — Jami’s mother, her books, and some memorable family humor* 1:27:12 — Why a worthwhile life doesn’t require spectacular achievementsResources and LinksJami Albright* Jami’s official website — Her books, news, and more about her writing.* Running from a Rock Star — The first book in her Brides on the Run series, and the romantic comedy that had me laughing almost immediately.* The Summer That Changed Us — Her 2026 women’s fiction novel, inspired by the final months of her sister Joni’s life.* Homecoming King — One of the books Jami discusses when explaining how she builds meaningful conflict into a romance.* Wish I’d Known Then… For Writers — Jami’s podcast with co-host Sara Rosett, featuring conversations about writing, publishing, and the author business.Mentioned in the conversation* Nobody’s Baby But Mine by Susan Elizabeth Phillips — The romantic comedy Jami credits with making her laugh out loud after years of loneliness.* Sugar Daddy by Lisa Kleypas — One of the books that helped lead Jami deeper into romance.* Fifty Shades of Grey by E. L. James — Part of our discussion about changing readership and the growth of romance.* Dungeon Crawler Carl by Matt Dinniman — A series that has reminded Jami of the value of writing something wildly imaginative and fun.Episode sponsors* Butterfly Copywriting — Val Ruskin’s approach to helping authors and coaches create LinkedIn content with less stress.* The Chemistry Between Us by Devon Marin — A STEM romantic comedy about two people who understand human behavior rather better than they understand their own feelings.Article VersionWhen Life Changes the Story: Finding Laughter, Losing Your Way, and Discovering What MattersSometimes a book makes you laugh. Sometimes it makes you cry. And sometimes it does something you didn’t even realize you needed.When I picked up Jami Albright’s Running from a Rock Star, I was expecting a funny romantic comedy. I certainly got one. In fact, within the first three pages, I’d laughed out loud four times.That’s an impressive accomplishment, especially since I’m not w… This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit kingschronicles.substack.com/subscribe

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 discussion of the different kinds of energy involved in completing a writing project.* How to Write Non-Fiction, by Joanna Penn — An additional discussion of these energies, including the work involved in getting a book into readers’ hands.* The Chemistry Between Us, by Devon Marin — The STEM romantic comedy that started this particular adventure.* Butterfly Copywriting — Val’s approach to taking some of the stress out of creating content for LinkedIn.One Question for YouWhat have you finished recently that left you feeling a little uncertain about what comes next?Maybe it’s a project, a milestone, a family transition, or something else entirely.I’d enjoy hearing about it in the comments, especially if you’ve found ways to honor that space between endings and beginnings.Sometimes, when the airplane lands, you don’t need to rush to the next gate.Maybe you’ve got time to stretch your legs, find a cup of coffee, and simply enjoy being where you are.Article versionHave you ever worked on something for so long, with so much energy and attention, that when you finally finished it, you didn’t quite know what to do with yourself?Maybe it was a big project at work. Maybe you spent months planning a wedding or some other major family event. Or maybe you’ve watched a child head off to college, and suddenly a familiar part of your everyday life isn’t there anymore.There’s a peculiar feeling that comes with such endings, even happy ones. I’ve experienced that twice in the past few weeks, and it’s given me something to think about.I’ve been writing novels. Romantic comedies, of all things. And I recently published one and finished the draft of a second one. Right now, we actually have six planned in the series, with an idea for a seventh, but I’ve finished the first two.Now, I’ve been a writer for more than 50 years, but this particular adventure has been something different. And I discovered something about finishing that I think applies to a whole lot more than writing.It has something to do with energy, with the people and things we invest ourselves in, and with what happens after we reach the finish line.And maybe it has something to do with learning when not to keep running.Let’s talk about that.This episode of The Alignment Show is brought to you by The Chemistry Between Us, the new STEM romantic comedy from Devon Marin.Riley is a behavioral scientist who studies relationships. Leo is a science communicator who thinks most problems can be solved if you explain them clearly enough.Then they get handed a microphone, a live audience, and each other.It’s a smart, funny, low-spice romance about two people who are very good at understanding human behavior, right up until their own feelings become part of the experiment.Find The Chemistry Between Us at DonnKing.com/Devon. That’s DonnKing.com/Devon.This episode is also sponsored by my friend Val Roskens Tews—Tews is spelled T-E-W-S, but it sounds like “tease.” Val runs Butterfly Copywriting, and she’s all about taking the stress out of LinkedIn. She calls it stress-free content creation—and honestly, it feels more like having someone in your corner helping you share your message with joy instead of pressure.If you’ve been stuck on what to post or how to show up, check out Val at DonnKing.com/Butterfly.I’ve been trying to find a good way to describe what it feels like to finish a novel, and the image that keeps coming to mind is an airplane coming in for a landing.Think about that for a moment. You’ve been in the air for hours. Maybe you’ve enjoyed the… This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit kingschronicles.substack.com/subscribe

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?Resources and Links* Ijams Nature Center — The Knoxville nature center that prompted this episode, and the setting for a scene in my current novel.* Obsidian — The note-taking and knowledge-management software I’m learning to use to externalize my memory and creative process.* Google Earth — One of the tools I use, along with Google Maps, when researching real-world settings for fiction.* Devon Marin — My fiction-writing alter ego. Follow along if you’re curious about the novel that sent me looking for that bench.One Question for YouWhether you’re a writer or not, what would change if you started looking at the world as though you might someday need to tell its story?I’d love to hear what you notice. If you get value from the show, consider supporting us in one of the following ways.You can make a one-time contribution or sign up for regular support through Buy Me a Coffee.You can also subscribe on Substack for free OR upgrade to a paid subscription. Your support helps me continue helping you and others, and thank you in advance!Article versionI’ve been thinking lately about what it means to see the world like a writer. I didn’t really set out to think about that. I set out to find a bench.Let me explain.I went out to Ijams Nature Center in Knoxville today. Ijams has been one of my favorite places for years, although I hadn’t actually been out there in quite a while. Part of the reason is that, as I’ve gotten older, it’s become harder for me to get around. Some of those trails aren’t quite as easy for me to navigate as they used to be.But I’m working on a novel under my pen name, Devon Marin, and I’ve decided to set part of the story at Ijams, specifically, along one of the trails beside the Tennessee River.Now, I could do a lot of the research from home. There are plenty of pictures online. You can look at maps, read descriptions, and get a pretty good sense of the place without ever leaving your chair. If I’m writing about a city or a town, Google Maps and Google Earth can give me almost everything I need. But when it’s a tree-covered area far from a road, you have basically two options: photographs and videos other people have taken, and direct observation. There’s something you can’t quite get from a photograph.For instance, I remembered there being a bench along the boardwalk, next to the river. That bench might be useful for the scene I’m writing.The problem was, I couldn’t find a picture that confirmed whether the bench was actually there. I couldn’t even find other people’s descriptions.I could have just made one up. After all, I’m writing fiction, not a documentary. But I like to get as many of the details right as I reasonably can. Partly, that’s because I think accurate details help establish a sense of reality. There’s a word for that: verisimilitude. It’s one of those words writers like to use when we’re trying to sound as though we know what we’re doing.Basically, it means making something feels true.The interesting thing about fiction is that when you get enough of the real details right, readers are often more willing to follow you when you need to bend reality a little. Plus, if somebody happens to know the location, there’s an added pleasure in recognizing it. A little Easter egg. A moment of thinking, “Hey, I’ve been there! I know that bench!”Besides, the weather has finally started feeling like October around here, and I figured some outdoor time would do me good.So off I went to Ijams, camera in hand, on a mission to find a bench. Somewhere along the way,… This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit kingschronicles.substack.com/subscribe

[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?” You don’t have to approve of the answer. You just need to understand it.Finally, don’t force the theme too early. Kevin argues that theme often emerges from the story itself. Write honestly enough and you may discover meaning you didn’t consciously put there. Once you see it, you can strengthen it in revision.Note: we might dig into theme next time.Quote to Ponder“Don’t downplay your role in the story. You are a character in this story as well.”— Kevin TumlinsonResourcesKevin Tumlinson / The WordslingerKevin and I share these Kevin on Kraft conversations with both of our audiences. Check out The Wordslinger for Kevin’s ongoing conversations about writing, publishing, and the writing life.Kevin Tumlinson’s booksKevin has written soooooo many books. I especially like his Dan Kotler books and his Alex Kane books. He can keep you reading for months.Ray Bradbury, Zen in the Art of WritingKevin mentioned that he’s currently reading Bradbury’s collection of essays on writing and recommends it. Amazon or BookshopPaulo Coelho, The AlchemistKevin used The Alchemist as an example of a book he can reread and find himself changed by the experience. Amazon or BookshopThe Chemistry Between Us by Devon MarinI also mention my new STEM romantic comedy during the conversation. You can find it at DonnKing.com/Devon.Article VersionWriting People Who Aren’t YouHow do you write a character who is smarter than you are?That question sounds almost like a paradox.If I’m not capable of thinking at the level my character does, how am I supposed to write what that character thinks?Kevin Tumlinson has a wonderfully practical answer: cheat.Not really, of course. But a fictional character has an enormous advantage over a real human being. The character has an author who can travel through time.Kevin’s Dan Kotler is considerably smarter than Kevin claims to be. Kotler can make connections quickly. He can retrieve obscure information at exactly the moment he needs it. He can reach conclusions that might take the rest of us considerably longer.But Kotler doesn’t actually have to do any of that in real time.Kevin can write the scene, discover that something is wrong, research it, think about it, and come back later. He can spend hours figuring out something Kotler appears to figure out in seconds.The character gets the benefit of the author’s hindsight.That led us to a related question: What happens when the difference between writer and character isn’t intelligence?What if the character comes from a different culture? A different racial background? A different gender? A life experience the author has never had?Research certainly matters. I mentioned a character I’m currently writing who owns a kayaking business. I happen to know someone who owns a kayaking business, so I interviewed her. She also has a Native American background, which gives me another reason to listen rather than assume.But Kevin made an important distinction. When he writes a character whose background differs from his own, he tries first to write the person.That sounds obvious until you consider how easily writers can do the opposite.We can become so concerned with writing “a woman” or “a Black character” or “a scientist” that the category begins doing the work the character should be doing. The result can become stereotype even when the writer was spe… This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit kingschronicles.substack.com/subscribe

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 what matters meets real life. I’m your host, Donn King…And today, I want to talk about the pleasure of finding out what happens next.Which is a slightly odd thing to say when I’ve written this episode out before recording it. Presumably, I should know what happens next. It’s right there on the page.But writing the page is where some of the discovery happens. Lately, that discovery has been doing something for me that I haven’t felt in quite this way for a long time.I’ve been looking forward to getting to my desk.If that sounds like a small thing, stay with me. There’s a little more behind it.I don’t want every solo episode to become a progress report on the STEM romantic comedy I’m writing under the Devon Marin pen name. You have your own life. You don’t need a standing appointment with my imaginary people.Although they are pretty good company.But most of my recent writing experience has happened there, and something about that experience seems worth sharing even if you never read a romance novel, never write a book, and would prefer that imaginary people make their own coffee.There are moments when the writing feels as though it’s coming through me instead of from me.I’m still doing the work. I’m choosing words, figuring out what fits, and eventually going back to fix things that seemed brilliant at the time. But while I’m in it, I’m often following something that feels as though it’s already moving.That may overlap with what psychologist Mihaly Csikszentmihalyi called flow. Martin Seligman includes that kind of deep engagement in his work on well-being, too. You become absorbed in something that stretches your abilities, and the doing becomes rewarding in itself.I’m not sure every moment I’m describing qualifies as flow. Some of it may simply be curiosity. But I recognize that feeling of being caught up in the work, with less attention left over for watching myself do it.The ancient Romans had an idea that gives me a useful image for this. A person could have a genius: an accompanying spirit. That’s a different use of the word from the way we call somebody a genius today. The Greeks had related ideas about spirits and inspiration, although the traditions weren’t identical. I even harnessed the idea of Muses for my parable series, The Sparklight Chronicles.I don’t think a helpful little spirit has moved into my office and started dictating dialogue. If one has, I’d appreciate some help with proofreading.Still, I understand the appeal of the image. It captures how surprising creativity can feel from the inside. I put the words down, and sometimes I’m also the first person surprised by them.Longtime listeners and readers of several of my books have heard me talk about a realization I had years ago. I thought I wasn’t writing because I was depressed. In my case, I came to recognize that I was depressed because I wasn’t writing.I was leaving out something important to the way I live and make sense of life. While that realization mattered, it also didn’t resolve everything.Even afterward, I struggled with anhedonia, a loss of the ability to experience pleasure. It’s a frequent part of depression. For me, the defining feeling wasn’t sadness so much as the absence of enjoyment. Things could be worthwhile, and I could intellectually know they were worthwhile, without feeling much pleasure in them.I’m describing my experience here. I wouldn’t assume someone else’s depression has the same cause, or that writing would do for them what it has done for me.But I began to feel some of that pleasure again while writing The Sparklight Chronicles. Those books use fictional parables to explore nonfiction principles. I got to tell stories, get to know people I’d invented, and watch what happened when those people ran into the kinds of problems the books were exploring.Since I started writing pure fiction this year, that eagerness has become much stronger. I find myself wanting to get back to the desk. I want to find out what these people are going to do.A romantic comedy gives me a setting and a set of possibilities. But the storytelling itself seems to be what’s waking up my excitement: people with things they want, things they’re afraid of, and a remarkable capacity to complicate their own lives.You know. … This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit kingschronicles.substack.com/subscribe

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. I knew I would see friends. I’d meet people. I’d teach a session. I’d lead a worship service. There would be conversations and laughter and all sorts of things I value.I also knew I’d be tired afterward.In fact, when we take trips like this, we sometimes stay an extra night simply so we don’t have to rush from an intensely social experience straight back into everything waiting at home. We make room for quiet.Those two things don’t contradict each other. Human beings need connection. Introverts need it, too. The key is learning what connection costs us and making room to replenish what it uses.Extroverts tend to go to conferences anyway. Introverted friends, I recomment you also go to a conference. Meet the friend for coffee. Join the Zoom call. Have the conversation. Plan for the impact, but go.And if you need to go sit quietly somewhere afterward, do that too.Pay attention to what matters.If you get value from the show, consider supporting us in one of the following ways.You can make a one-time contribution or sign up for regular support through Buy Me a Coffee.You can also subscribe on Substack for free OR upgrade to a paid subscription. Your support helps me continue helping you and others, and thank you in advance! All subscribers now receive the following:* The “Big Takeaway”* A bulleted summary of the episode* Practical tips from the episode* A quote to ponder* Prefer text? We turn each podcast into an article.Plus, Founding Members receive ebook copies of all my books as well as a sponsorship message on the podcast at least once a month.That’s our way for saying “thanks for the support!”Here at King’s Chronicles, we explore books, creativity, storytelling, and the complicated work of being human. If you enjoy thoughtful conversations and encouraging resources for difficult seasons, I’d love for you to subscribe and join the community. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit kingschronicles.substack.com/subscribe

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 storytelling.”— Kevin TumlinsonI like that because Kevin isn’t arguing that plot doesn’t matter. Quite the opposite. He’s saying that the reader should eventually experience a coherent story, even if the writer discovered that story in a much messier order.ResourcesSample of The Chemistry Between Us: DonnKing.com/ChemistryThe current BookFunnel promotion (September 2026): Diversity is Mainstream, by Las Olas Press, where their mission is to make diversity mainstream through strong, beautiful main characters and inclusive stories. Check it out for dozens of free books and excerpts!Kevin Tumlinson / Wordslinger Podcast: kevintumlinson.substack.com/s/the-wordslinger-podcastWriters, Ink Podcast: WritersInkPodcast.comKevin’s Dan Kotler books: Dan Kotler Reading OrderMentioned in the conversation:* On Writing by Stephen King;* The concept of Chekhov’s gun;* Jaws as an example of letting the audience’s imagination do some of the work;* Jack Reacher;* Indiana Jones;* and the storytelling possibilities of a disturbingly old toothbrush.If you get value from the show, consider supporting us in one of the following ways.You can make a one-time contribution or sign up for regular support through Buy Me a Coffee.You can also subscribe on Substack for free OR upgrade to a paid subscription. Your support helps me continue helping you and others, and thank you in advance! All subscribers now receive the following:* The “Big Takeaway”* A bulleted summary of the episode* Practical tips from the episode* A quote to ponder* Prefer text? We turn each podcast into an article.Plus, Founding Members receive ebook copies of all my books as well as a sponsorship message on the podcast at least once a month.That’s our way for saying “thanks for the support!” This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit kingschronicles.substack.com/subscribe

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 is what we’re choosing to amplify.If you get value from the show, consider supporting us in one of the following ways.You can make a one-time contribution or sign up for regular support through Buy Me a Coffee.You can also subscribe on Substack for free OR upgrade to a paid subscription. Your support helps me continue helping you and others, and thank you in advance! All subscribers now receive the following:* The “Big Takeaway”* A bulleted summary of the episode* Practical tips from the episode* A quote to ponder* Prefer text? We turn each podcast into an article.Plus, Founding Members receive ebook copies of all my books as well as a sponsorship message on the podcast at least once a month.That’s our way for saying “thanks for the support!” This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit kingschronicles.substack.com/subscribe

[Note: if you would rather read an article instead of watching or listening, you can read such here.]Sometimes the best conversations start because somebody says something almost in passing.I was listening to Kevin Tumlinson on The Word Slinger Podcast when he mentioned that, for all the talking he does about writing and publishing, he doesn’t get to talk about the actual craft of writing as often as you might expect. Maybe, he suggested, he just needed somebody to ask him questions.Well, I can ask questions.That led to an email, a bad pun about “Kevin on Kraft” (yes, we know it’s cheesy—maybe we’ll make it “Kevin on Craft”), and eventually this conversation.Kevin and I decided to borrow an idea from Rachael Herron and Sacha Black, who periodically record a conversation together and then each use it on their respective podcasts. So you may encounter this conversation here on The Alignment Show, over on The Word Slinger Podcast, or, knowing Kevin, possibly on the back of a cereal box.What started as a conversation about writing craft quickly became something broader: creativity, discovery, getting unstuck, allowing imperfect work to exist, and recognizing that the creative process rarely follows the neat categories we use when we talk about it.The Big TakeawayOne idea kept resurfacing for me: you don’t have to know everything before you begin.Kevin often starts a novel with little more than a title and an interesting possibility. The characters emerge as he writes. The plot develops alongside them. And when he gets stuck, he doesn’t necessarily take that as evidence that something has gone wrong. Sometimes he loops back through what he has already written. Sometimes he throws something ridiculous into the story just to see what happens.As Kevin put it, writing gives us an advantage real life doesn’t:“The laws of physics do not apply. So you can, in fact, travel through time and alter the past.”You can discover in chapter six that you needed something in chapter three, then go back and put it there.That sounds obvious once you say it. But it’s remarkably easy to forget when you’re staring at a draft and trying to get everything right the first time.In This ConversationKevin and I talk about:* Why this experiment in shared podcasting started in the first place, and where “Kevin on Kraft (not cheese)” might go from here.* Kevin’s unusual habit of beginning many of his books with the title, then asking what interesting or ironic idea might be hiding inside it.* Why separating “plot” from “character” can be useful for studying craft even though they’re deeply intertwined when we actually write.* Discovery writing versus outlining, and why most writers probably fall somewhere along a spectrum rather than neatly into one camp.* Why trying to produce a perfect first draft can make finishing the book much harder.* Kevin’s “looping” technique for getting unstuck: going back through earlier material, reading and revising until he regains momentum.* What happens when looping doesn’t work, including the surprisingly useful strategy of throwing something absurd into the story and seeing what it reveals.* Kevin’s “ash bin,” where deleted scenes and discarded material can live instead of disappearing forever.* Why originality usually doesn’t mean inventing something nobody has ever seen before. As Kevin says, the goal is often “the same, but different.”* Why creativity isn’t limited to people who call themselves writers, artists, or creators. Problem solving itself is creative work.Something to TryIf you’re working on something creative and you’re stuck, Kevin offers two approaches worth trying.First, loop back. Read what you already have. Make small adjustments as you go. See whether returning to the material gives you enough momentum to move through the place where you stopped.If that doesn’t work, try something unreasonable.Blow up the spaceship.You don’t have to keep it. The point is to break whatever assumptions have trapped you and force yourself to ask new questions. The absurd choice may disappear in revision, or it may reveal the direction the story needed all along.And remember: nothing you’ve already written is sacred simply because you wrote it. You can add something earlier, remove something that no longer belongs, or save good material for another day.Quote to Ponder“All the notes are the same. You’re not inventing new notes. It’s all in how you arrange them. And that’s what makes the music.” — Kevin TumlinsonThat applies to considerably more than writing.About Kevin TumlinsonKevin Tumlinson is an author with more than 70 published books, a longtime independent publishing advocate, and the host of The Word Slinger Podcast. He previously served as Director of Marketing and PR at Draft2Digital and is also one of the co-hosts of Writers, Ink. Kevin Tumlinson website The Word Slinger Podcast Kevin’s YouTube channelResources Mentioned* Kevin Tumlinson* The Word Slinger Podcast — YouTube and Substack* Kevin’s YouTube channel* Writers, Ink* Rachael Herron / Ink in Your Veins* Sacha Black / The Rebel Author Podcast* Joanna Penn / The Creative Penn Podcast* On Writing by Stephen King — Amazon or Bookshop.org* 20 Master Plots: And How to Build Them — Amazon or Bookshop.org* Scrivener* The Alignment ShowJoin the ConversationThis is something of an experiment for Kevin and me, and we’d genuinely like to know how it lands.Would you like to hear more conversations like this? Are there aspects of writing craft you’d particularly like me to ask Kevin about? And even if you’re not a writer, did you find something in the conversation that applies to your own creative work?Leave a comment here on Substack, or join the conversation on Kevin’s YouTube channel. We already have more things we could talk about. Whether “Kevin on Kraft” becomes a regular thing remains to be seen.But I suspect we’re not finished talking.If you get value from the show, consider supporting us in one of the following ways.You can make a one-time contribution or sign up for regular support through Buy Me a Coffee.You can also subscribe on Substack for free OR upgrade to a paid subscription. Your support helps me continue helping you and others, and thank you in advance! All subscribers now receive the following:* The “Big Takeaway”* A bulleted summary of the episode* Practical tips from the episode* A quote to ponder* Prefer text? We turn each podcast into an article.Plus, Founding Members receive ebook copies of all my books as well as a sponsorship message on the podcast at least once a month.That’s our way for saying “thanks for the support!” This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit kingschronicles.substack.com/subscribe