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Speaker 1: There's nothing better than feeling comfortable in your own shoes,

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Speaker 1: bunny slippers. Maybe you're a parent raising a little rock star,

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Speaker 1: their shoes are so stylish they go perfectly without wear

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Speaker 1: whatever I want attitude. Alberts is all about loving mother

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Speaker 1: nature too, because no one wants to leave a bad footprint.

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Speaker 1: Each shoe is carefully crafted from natural materials that tread

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Speaker 1: lightly on our planet, from ZQ certified Marino wool to

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Speaker 1: a bouncy midsole made from sweet Foam, the world's first

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Speaker 1: carbon negative EVA material made from sugarcane. So get comfortable

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Speaker 1: in your shoes. Get to know the wool runners, pipers

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Speaker 1: and loungers at Alberts dot com. That's alll bi rds

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Speaker 1: dot com. Hello and welcome to Unexplained Extra, or this

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Speaker 1: special edition of Unexplained Extra, I should say with me

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Speaker 1: Richard McClane Smith. So this week, as you may be aware,

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Speaker 1: I announced that I would do a one off sort

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Speaker 1: of question and answer episode to coincide with the upcoming

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Speaker 1: release of the book Unexplained. In light of that announcement,

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Speaker 1: I had a number of people asking me what were

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Speaker 1: the books that had inspired me or the show, So

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Speaker 1: I just thought, rather than putting up a list on

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Speaker 1: social media, why not just talk about them. And I've

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Speaker 1: been overwhelmed with the response, So thank you all so

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Speaker 1: much for getting in touch and given me your questions.

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Speaker 1: I've managed to condense it down to about fifteen or so,

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Speaker 1: I think. Apologies if I haven't included yours on the show.

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Speaker 1: So just a couple of quick, easy ones to start

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Speaker 1: off with. Few people had asked me about the music,

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Speaker 1: So the music and the show I composed that myself

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Speaker 1: and you can hear quite a large part of it

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Speaker 1: on the Unexplained SoundCloud. So if you wanted to hear that,

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Speaker 1: you could go to SoundCloud dot com forward slash Unexplained

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Speaker 1: Podcast I think is the address and you can find

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Speaker 1: it there. And the other question that quite a few

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Speaker 1: of you are asking, was is the book going to

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Speaker 1: be an audiobook as well? And will I be narrating it?

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Speaker 1: And the answer to that is yes, I will be.

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Speaker 1: And so at the moment, the book is due out

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Speaker 1: in the UK October twenty fifth, and we are sort

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Speaker 1: of talking about getting it distributed in the US and

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Speaker 1: Canada as well, So I think just watch this space

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Speaker 1: on that one. So let's begin. I had quite a

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Speaker 1: few questions in a similar vein to this one, so

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Speaker 1: I'll just take one, which is from Conan, who asks

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Speaker 1: have you ever had a personal supernatural experience? So the

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Speaker 1: short answer to that is no, But something that I

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Speaker 1: might talk about in more depth later on in the

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Speaker 1: question is that I suppose you could also say that

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Speaker 1: maybe I have, but I wasn't aware that it was supernatural.

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Speaker 1: But I think what I do find fascinating, though, is

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Speaker 1: that I have heard from lots of people, and from

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Speaker 1: people that I would consider to be perfectly rational and

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Speaker 1: intelligent people who claim that they have seen things that

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Speaker 1: I might have previously dismissed. So I suppose that just

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Speaker 1: leaves me wondering what it was exactly that was seen

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Speaker 1: or what was experienced So next one from Lee Britain.

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Speaker 1: Have you had an opportunity to meet with anyone directly

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Speaker 1: involved with any of the events that you've mentioned. If so,

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Speaker 1: who was the most convincing I have, Actually, I've not.

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Speaker 1: I haven't in person. I have over the phone or

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Speaker 1: on Skype or email. I've spoken to people that have

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Speaker 1: been at the center of some of these stories, and

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Speaker 1: I mean they've all been convincing. I mean and in

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Speaker 1: fact that the sort of thread that runs through the

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Speaker 1: more really was that none of them were absolutely convinced

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Speaker 1: that what had been experienced was supernatural or paranormal, but

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Speaker 1: I'd say they had an interest in that as a

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Speaker 1: as a potential or a possibility in the main, I

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Speaker 1: guess I don't think they were making up what they

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Speaker 1: think they experienced. Did that make sense? So the next question, again,

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Speaker 1: this is one that I had quite a few questions

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Speaker 1: in a sort of that were similar in one way

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Speaker 1: or another. So let's just take Steve. Steve asks of

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Speaker 1: all the podcasts you have researched, which if you found

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Speaker 1: the most disturbing, Which is the most scariest. So this

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Speaker 1: is a difficult one. The ones that were disturbing and

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Speaker 1: scary I think I would have to say, are the

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Speaker 1: ones that involved the most sort of traumatic outcomes or events.

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Speaker 1: So a lot of the time, I mean a lot

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Speaker 1: of the time, these stories, as terrifying as they might be,

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Speaker 1: they don't, you know, they don't result in somebody dying

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Speaker 1: or being killed. And except for one which I told

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Speaker 1: in the first season, which was about you might know

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Speaker 1: it's called Demons in Suburbia, which was a story about

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Speaker 1: a man called Michael Taylor who had quite tragically and

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Speaker 1: dramatically been affected in one way or another by an

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Speaker 1: exorcism that was practiced on him, and the consequence of

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Speaker 1: that was that he murdered his wife in quite horrific circumstances.

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Speaker 1: So I don't have much more to say on that

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Speaker 1: because I don't I'm not so familiar with the case

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Speaker 1: and life of Michael Taylor that I would be able

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Speaker 1: to comment possibly about the reasons and wise awarefores of

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Speaker 1: what happened. But that was certainly the one that I think,

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Speaker 1: as a story alone, was the most disturbing. Okay, so

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Speaker 1: not particularly related to the last few questions, but let's

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Speaker 1: do the first book anyhow. So this book's been a

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Speaker 1: huge influence on me I think, not just for the show,

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Speaker 1: not for the way I write, or for the way

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Speaker 1: I certainly would like to write or aspire to write.

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Speaker 1: It's a book that was reckoned mended to me quite

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Speaker 1: a while ago as a sort of it was recommended

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Speaker 1: as a travel book, but I think the intention wasn't

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Speaker 1: to reduce it in such a way. But that's how

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Speaker 1: I remember it anyhow, and so when I read it,

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Speaker 1: it opened up into so many other things that I

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Speaker 1: hadn't been expecting. So the book is called The Rings

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Speaker 1: of Saturn's by W. G. Sibald. Superficially, the book presents

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Speaker 1: as an account of one man's journey through Suffolk, the

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Speaker 1: Suffolk Coast, particularly in East Anglia in the United Kingdom.

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Speaker 1: But quite quickly it becomes apparent that there was quite

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Speaker 1: a bit more going on. So you find yourself being

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Speaker 1: taken on this extraordinary, very melancholic journey into the workings

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Speaker 1: of Sibald's mind. I think the way he sort of

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Speaker 1: touches upon the things that the landscape inspires in him

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Speaker 1: in a sort of ruminations and his thoughts as as

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Speaker 1: he's making this journey, and from that you get sort

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Speaker 1: of taken on this extraordinary sort of epic trip through

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Speaker 1: lots of different waypoints and connections that are being triggered

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Speaker 1: as as he's making his way through the countryside, and

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Speaker 1: it's become quite a sort of major touchdone I think

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Speaker 1: of modern psychogeographic writing. So I mean, I'm sure there

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Speaker 1: are lots of different opinions on this out there as

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Speaker 1: to the you know, the quality of it in compare

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Speaker 1: in comparison to other books, but I would say that

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Speaker 1: it's certainly become one of the better known sort of

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Speaker 1: examples of this sort of writing. Just the expanse of

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Speaker 1: information alone that throughout the book is quite extraordinary. It's

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Speaker 1: a sort of domino effect. He has sort of way

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Speaker 1: of exploding information from one thing, connecting from one thing

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Speaker 1: to the next. And actually a very sort of brief note,

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Speaker 1: I would say, at one point he talks about Joseph

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Speaker 1: Conrad being in lower stuff, I think, and he draws

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Speaker 1: a connection there between that as the beginning of a

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Speaker 1: journey that's endpoint was essentially the horrors of colonialism, and

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Speaker 1: so another book I would say to sort of very

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Speaker 1: briefly recommend that has been quite a big inspiration on

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Speaker 1: me and in some ways unexplained is Joseph Comrade's Heart

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Speaker 1: of Darkness. And so with this book, I think what

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Speaker 1: I've drawn from it in terms of unexplained is just

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Speaker 1: the sort of the sense of the horror of humanity

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Speaker 1: really and what human beings are capable of. And I'm

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Speaker 1: not quite sure this is explored in the book, but

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Speaker 1: the sort of idea that human beings don't perpetrate evil

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Speaker 1: acts that there's no such thing as evil in that respect,

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Speaker 1: I mean that humanity is all of it. So for

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Speaker 1: me personally, I don't think there's a moral arbiter that

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Speaker 1: dictates what is and what isn't evil. There's nobody is

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Speaker 1: making that judgment on our behalf. We do that ourselves.

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Speaker 1: Of course, we can as a society decide together which

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Speaker 1: things we determined to be wrong or bad or unpalatable

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Speaker 1: or criminal. And as a sort of slight extension to

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Speaker 1: that point, I think the certainly the kind of setting

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Speaker 1: and the locations and many of the things that are

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Speaker 1: occurring in Heart of Darkness are based on true stories

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Speaker 1: and true things that happened, and I think the sort

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Speaker 1: of ultimate true horror really is that, And I think

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Speaker 1: I tend to find this quite often, is that the

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Speaker 1: reality of the stories. If you if you read the

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Speaker 1: actual stories about what took place under King Leopold the

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Speaker 1: Second of Belgium, who was the spearheading this colonial campaign,

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Speaker 1: the fact is you find that it's almost impossible to

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Speaker 1: come up with the reality of the terrible things that

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Speaker 1: were happened. You know that the real story is even worse.

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Speaker 1: So let's try and come back a bit from that,

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Speaker 1: because I think I don't know if I can take

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Speaker 1: that any any darker. So let's get back to questions.

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Speaker 1: I think it's starting to get a sense now of

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Speaker 1: where Unexplained comes from. So is a message from Elizabeth.

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Speaker 1: So what determines what catches your interest? Is it mostly

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Speaker 1: what intrigues you or more about how easy you find

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Speaker 1: to communicate the story? Well, I think what catches my

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Speaker 1: interest first and foremost, especially because of the nature of

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Speaker 1: the show and it being based on ideas that are

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Speaker 1: unexplained and remained to this day unexplained. The key thing

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Speaker 1: is is having a story that's not too easy to debunk,

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Speaker 1: I suppose, or having a story that's not that doesn't

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Speaker 1: present itself too obviously as being a hoax. So I

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Speaker 1: suppose the best stories for me are the ones that

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Speaker 1: sort of really stretched that suspension of disbelief as far

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Speaker 1: as possible. So sometimes I find that that will supersede

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Speaker 1: whether I personally am into that kind of story, and

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Speaker 1: as well, A lot of the time I find that

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Speaker 1: digging a bit deeper into the story, it will sort

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Speaker 1: of reveal itself to be actually more interesting and more

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Speaker 1: fascinating than I had first imagined. Okay, I've got quite

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Speaker 1: a few questions here about how I got involved in

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Speaker 1: doing this, and what I was before unexplained and all

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Speaker 1: that sort of stuff. So without giving too much away,

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Speaker 1: I don't want to destroy the illusion completely, but I have,

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Speaker 1: I think, for quite some time, been trying to write,

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Speaker 1: and you know, get somewhere doing that, and it's a

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Speaker 1: case really of just discovering an outlet where I could

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Speaker 1: write something and it actually becomes something. A lot of

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Speaker 1: the time, you know, if you're writing any form of writing,

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Speaker 1: really you're trying to get through some kind of gateway

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Speaker 1: to get into something that legitimizes what you're doing and

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Speaker 1: also gets what you're doing out there. So whether it's

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Speaker 1: to be published or to have an article printed in

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Speaker 1: a magazine, or to have a TV show commission or

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Speaker 1: something like that, you know, if you're very if you're

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Speaker 1: very lucky, and so those things to take time, and

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Speaker 1: they take a lot of effort, and they require you

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Speaker 1: to be you're at the whim of somebody else's taste.

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Speaker 1: And I think Explained really started as a combination of

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Speaker 1: having that ambition, but also the fascination with these stories

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Speaker 1: and not being quite sure what to do with them,

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Speaker 1: and then discovering the podcast and what the podcast was.

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Speaker 1: And you know, I think that's something we're a lot

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Speaker 1: more familiar with now, but a few years ago, you know,

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Speaker 1: it's sort of I didn't really understand it in the

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Speaker 1: way that I do now, and I could craft it

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Speaker 1: myself and put it up myself and all that sort

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Speaker 1: of stuff. The show was kind of born, and it

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Speaker 1: evolved a bit in the process of, you know, understanding

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Speaker 1: what a podcast can be and all that sort of stuff.

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Speaker 1: And and I've been completely overwhelmed by the fact that

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Speaker 1: that anybody listened to it at all. So I mean,

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Speaker 1: this is a great chance to thank you all again.

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Speaker 1: Anybody who listens to the show has supported the show

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Speaker 1: for the incredible kind words and you know, and the

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Speaker 1: encouragement that I've been given. Yeah, it's been extraordinary. And

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Speaker 1: just to finish that point off, ru Howe asks, or

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Speaker 1: Ruhu says, I'm presuming you do it all in a dark,

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Speaker 1: wood paneled, book lined room, sitting in a leather armchair

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Speaker 1: with a pipe and a bottle of single malt. And

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Speaker 1: the answer is yes, of course, that's exactly how I

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Speaker 1: do it. Rue also asks, is the cover picture of

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Speaker 1: reference to Twin Peaks? I think in many ways you

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Speaker 1: could probably say everything I do as a reference to

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Speaker 1: Twin Peaks. So although that wasn't actually wasn't thinking of

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Speaker 1: Twin Peaks when I chose it, But yes, of course,

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Speaker 1: I mean subconsciously absolutely, it's probably where I've I've found

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Speaker 1: that I've got that idea from. So Christopher asks, my

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Speaker 1: question is do you have trouble sleeping at night or

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Speaker 1: going about your daily life having made podcasts on such

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Speaker 1: other worldly material? So I would say yes, So, yes,

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Speaker 1: I do. I do because I am always thinking about

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Speaker 1: the story or the next story, and invariably because of

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Speaker 1: the subject matter it, Yeah, it becomes it's very easy

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Speaker 1: for your imagination to run wild. So on that note,

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Speaker 1: and I think this is the more seamless transition to

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Speaker 1: the next book. So the next book that has inspired me,

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Speaker 1: and Unexplained is actually a collection of stories, but primarily

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Speaker 1: the one called Don't Look Now, which I'm sure many

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Speaker 1: of you will be familiar with, the Daphne Demurier short story,

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Speaker 1: which was later made into a brilliant film by Nicholas Rogue.

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Speaker 1: And so this really inspires me. And there's another book

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Speaker 1: as well I will talk about sort of in tandem

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Speaker 1: with this one, which is Joe Lindsay's Picnic Hanging Rock.

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Speaker 1: So there are lots of reasons why I love both

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Speaker 1: these books, but I suppose we should we could start

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Speaker 1: with tone. So this is something I think I've probably

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Speaker 1: quite deliberately, in one way or another, try to replicate

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Speaker 1: in Unexplained, which is to create the idea of the

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Speaker 1: sort of sense of a world that's familiar and real

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Speaker 1: and genuine and kind of scrutable, but then have this

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Speaker 1: air of something else, the possibility of something else, something

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Speaker 1: more enigmatic and and sort of intangible and you know,

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Speaker 1: magical in a way. I think you know, whether that

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Speaker 1: be spooky or terrifying magic or not. And I think

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Speaker 1: more than any other book that I've certainly read, these

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Speaker 1: these both these stories do that in an incredible ways,

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Speaker 1: and I think picnicer Hanging Rock is. It's probably more

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Speaker 1: enigmatic since it's so essentially if you're not familiar with

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Speaker 1: the story it's it was set I think in nineteen hundred,

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Speaker 1: on Valentine's Day in nineteen hundred, some girls from a

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Speaker 1: school are taken on a trip through the outback in Australia,

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Speaker 1: in Victoria, I think, in the state of Victoria and

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Speaker 1: Australia to a sort of strange natural landmark known as

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Speaker 1: Hanging Rock, which I've actually been to and it is

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Speaker 1: just as a sort of specials as sort of portrayed

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Speaker 1: in the book. But so anyway, a couple of these

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Speaker 1: schoolgirls going and as well as their teacher. I think

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Speaker 1: I might have the wrong but they go missing and

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Speaker 1: there's no explanation, and I can't tell you much more

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Speaker 1: to give anything away, but it's incredibly mysterious, beautifully portrayed story,

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Speaker 1: and it's very sort of hypnotic that of course goes

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Speaker 1: into all sorts of other things about sort of adolescent

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Speaker 1: awakening and all sorts of things like that. So thoroughly

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Speaker 1: recommended anyway, whether you like ghost stories or not. It's

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Speaker 1: not actually imperative to enjoy the story, so we don't look.

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Speaker 1: Now it's a sort of similar thing, but I think

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Speaker 1: there's more the sort of supernatural paranormal stuff going on,

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Speaker 1: which is particularly compelling because it's done in this way

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Speaker 1: where it's not sort of hysterical and so strange that

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Speaker 1: it's off putting or distracting. It's sort of to Maurier

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Speaker 1: and sort of merges them into the world that we

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Speaker 1: think we know in such a way that I don't

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Speaker 1: think has been I don't think has been bettered actually,

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Speaker 1: So yeah, read those books. So back to the questions.

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Speaker 1: I had a couple quite similar from Malcolm and Tom

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Speaker 1: who asked do you have your own conclusions to the

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Speaker 1: stories your research? And Tom asks are there any that

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Speaker 1: you truly believe have answers that lie beyond known science?

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Speaker 1: So these are good questions actually in relation to the

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Speaker 1: nature of the show, And you know, my kind of

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Speaker 1: thinking behind putting it together, and that really is that

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Speaker 1: I know this might sound strange, but I don't. Going

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Speaker 1: back to Malcolm's question, do I have my own conclusions

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Speaker 1: to the stories? I actually don't dwell on that too much.

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Speaker 1: I think what makes them interesting is that they that

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Speaker 1: they are these sort of open mysteries and unanswered questions

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Speaker 1: that then in turn invite new questions. And you know,

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Speaker 1: I think we're when you allow these stories to just

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Speaker 1: sort of be, rather than try and interrogate them too much.

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Speaker 1: I think that is where they sort of come most

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Speaker 1: alive and and provoke the most sort of interesting discussion.

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Speaker 1: And I think this is something I've tried to do

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Speaker 1: as well that I hope comes across, which is that

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Speaker 1: it's not that that doesn't mean that the story has

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Speaker 1: to be the ghost wasn't real, or it wasn't really

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Speaker 1: a poltergeist or whatever, and that that's the end of

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Speaker 1: the story. You know that if you were to that,

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Speaker 1: if we were able to conclude once and for all

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Speaker 1: that no, this didn't happen, and this is actually what happened,

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Speaker 1: and you have that sort of full fact laid out

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Speaker 1: in front of you, I think even if that were

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Speaker 1: the case, I don't think that would be the end

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Speaker 1: of the story. Often say that I think even if

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Speaker 1: it were to be proven once and for all that

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Speaker 1: God didn't exist, I think people would still believe in it,

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Speaker 1: or believe in her or him or however where you

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Speaker 1: hold the divine, and I think that in itself is

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Speaker 1: sort of equally as fascinating as to whether there's a

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Speaker 1: definitive answer or not. Kind of draws me on to

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Speaker 1: my next question, which is from m who talks about

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Speaker 1: how I sometimes use the mysterious and the fourteen as

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Speaker 1: a lens to explore deeper historical and sociological themes, And

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Speaker 1: is there any other literature that you are drawing on

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Speaker 1: that specifically looks into the sociology of fear about the

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Speaker 1: mysterious and the paranormal. So I don't specifically, but that

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Speaker 1: would be certainly be a very interesting thing to look

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Speaker 1: at how people's fears maybe not manipulated, but we're sort

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Speaker 1: of concentrated around specific ideas of the time or things

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Speaker 1: that have happened in the time, and certainly today you

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Speaker 1: can see the ways in which people's fears are stoked

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Speaker 1: and manipulated by the media. And so one very good

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Speaker 1: documentary you can watch all about that is called The

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Speaker 1: Power of Nightmares by Adam Curtis, which I thoroughly recommend

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Speaker 1: you want to learn a bit more about that. So

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Speaker 1: the next book is Straw Dogs by the philosopher John Gray,

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Speaker 1: not the same John Gray, who wrote Men Are from Mars,

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Speaker 1: Women Are from Venus, a very different John Gray and

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Speaker 1: not the film is not the films draw Dogs. So

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Speaker 1: this is an entire thing on its own, straw Dogs

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Speaker 1: by John Gray. And the subtitle is Thoughts on Humans

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Speaker 1: and Other Animals. And I think when I read this book,

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Speaker 1: it was the first time I sort of really started

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Speaker 1: to understand and look a bit more broadly on the

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Speaker 1: human race and what it is to be human and

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Speaker 1: sort of picking apart the delusion that we have about

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Speaker 1: who we are and our sort of deluded sense of

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Speaker 1: separateness from the natural world, and the way we sort

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Speaker 1: of position ourselves apart from other animals. In fact, frequently

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Speaker 1: you will often hear people say talk about humans and

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Speaker 1: animals almost as if we're not part of that group.

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Speaker 1: So it goes into I mean, there's a lot more,

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Speaker 1: way more than I can sort of expound on here,

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Speaker 1: but I would, yes, just thoroughly recommend it. It's well

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Speaker 1: worth reading, and you know, I think it's it's a

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Speaker 1: complicated point about whether we need to be more aware

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Speaker 1: of the damage we do of the delusions that we

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Speaker 1: have as human beings. I mean, you could also argue

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Speaker 1: that into the being deluded. That is also a natural

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Speaker 1: sort of form of existence in a way, but it

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Speaker 1: certainly doesn't hurt to kind of think more broadly about

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Speaker 1: about that and what that means, and what that means

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Speaker 1: for the way that we think of ourselves and think

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Speaker 1: of others as well. So next question is from Daniel,

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Speaker 1: what advice would you give to other creative types who

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Speaker 1: want to create cool stuff like you? Well, thank you

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Speaker 1: first of all for calling Unexplained cool. That's very kind.

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Speaker 1: But also I would just say as well that I

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Speaker 1: think everybody is creative. Everybody is a creative type. We

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Speaker 1: all in our own ways can be creative or find

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Speaker 1: ways to be creative. But that being said, of course

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Speaker 1: I think you know what you mean, So I would say,

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Speaker 1: I mean, obviously it depends on what it is you're

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Speaker 1: trying to create. But if we're talking about writing, for example,

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Speaker 1: and of course Unexplained as a podcast, but really what

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Speaker 1: it's based on is writing and storytelling and having a

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Speaker 1: sense of how to engage an audience. I don't know

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Speaker 1: to what degree I'm especially successful at doing that or not,

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Speaker 1: but I think if I've learned anything, really, it's understanding

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Speaker 1: structure and the structure of storytelling. And I think when

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Speaker 1: I was starting out, when I was much younger, and

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Speaker 1: I had ambitions of writing and aspirations of doing all

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Speaker 1: sorts of things with that, I didn't really understand why

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Speaker 1: it was important in the way that I do now,

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Speaker 1: and which is really that it's not that you need

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Speaker 1: to follow rules and you need to kind of adopt

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Speaker 1: certain techniques. It's just more that having an understanding of

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Speaker 1: them is it gives you such a head start in

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Speaker 1: terms of approaching a blank page, which is as most

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Speaker 1: people who write, I imagine will tell you, is the

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Speaker 1: kind of the worst bit is that initial getting something

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Speaker 1: down and having something to work with. And so I

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Speaker 1: think just understanding structure and how to tell a story

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Speaker 1: and reading up on that sort of thing can be really,

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Speaker 1: really beneficial. And of course once you know it and

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Speaker 1: you understand why certain things work the way they do,

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Speaker 1: then you can play around with it and you can

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Speaker 1: dismiss it out of hand. I think. I mean, that's

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Speaker 1: basically the point is that it's better to know something

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Speaker 1: and ignore it than to not be aware of it.

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Speaker 1: I think in this sense not always the case, absolutely

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Speaker 1: not always the case, but from my experience anyway, I

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Speaker 1: think that has been helpful, and to that end, I

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Speaker 1: will recommend a couple of books that I think as

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Speaker 1: a writer really helped me. So one is Wide for

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Speaker 1: Story by Lisa Kron, which is really just an introduction

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Speaker 1: into how to kind of hook a reader into your story,

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Speaker 1: and it's just very sort of clear. It's very very

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Speaker 1: clear and easy to read, and again it's things you

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Speaker 1: can sort of take or discard at your own sort

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Speaker 1: of discretion. And in a similar vein another book that

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Speaker 1: I found quite isful was Writing the TV Drama Series

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Speaker 1: by Pamela Douglas, And as you can tell from the title,

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Speaker 1: obviously this is specifically for TV drama, but I think

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Speaker 1: a lot of the same rules apply to whatever kind

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Speaker 1: of narrative writing you are trying to do. That's what

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Speaker 1: you're trying to do. And lastly, just quickly, another book

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Speaker 1: that I've really helped me starting out was a book

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Speaker 1: called How to Write a Novel by the author John Brain,

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Speaker 1: who is most well known for a book he wrote

432
00:24:29,080 --> 00:24:33,840
Speaker 1: called Room at the Top. And so again it's you

433
00:24:33,920 --> 00:24:35,960
Speaker 1: might not be wanting to write a novel specifically, but

434
00:24:36,280 --> 00:24:38,720
Speaker 1: it just has a lot of kind of really great

435
00:24:38,840 --> 00:24:41,960
Speaker 1: lessons and ideas about how to get started and how

436
00:24:42,000 --> 00:24:44,160
Speaker 1: to really just start tackling the thing that you're trying

437
00:24:44,160 --> 00:24:46,760
Speaker 1: to do. And it's a big you know, writing anything is,

438
00:24:47,000 --> 00:24:52,399
Speaker 1: it's difficult, so it mainly requires practice and and the

439
00:24:52,440 --> 00:24:54,399
Speaker 1: other thing, of course, it's just reading and watching and

440
00:24:54,440 --> 00:24:56,399
Speaker 1: listening to as much as you can and sort of

441
00:24:56,400 --> 00:24:59,520
Speaker 1: taking that in and trying to absorb it. So onto

442
00:24:59,560 --> 00:25:02,720
Speaker 1: the next questions, So Samantha asks, do you believe in

443
00:25:02,720 --> 00:25:06,320
Speaker 1: the existence of beings not in our realm? In light

444
00:25:06,359 --> 00:25:08,879
Speaker 1: of your extensive research over the past years and putting

445
00:25:08,880 --> 00:25:12,040
Speaker 1: together Unexplained podcast and your new book, have you been

446
00:25:12,119 --> 00:25:15,119
Speaker 1: swayed one way or another in this belief? So I

447
00:25:15,160 --> 00:25:17,159
Speaker 1: think this goes back a little bit to the earlier

448
00:25:17,200 --> 00:25:21,119
Speaker 1: questions about what I what conclusions I've drawn myself from

449
00:25:21,160 --> 00:25:24,879
Speaker 1: some of these stories. And I think the key word

450
00:25:24,920 --> 00:25:28,399
Speaker 1: here is believe. So you know, it's something that comes up,

451
00:25:28,400 --> 00:25:32,600
Speaker 1: particularly with supernatural paranormal and you know, just stories in

452
00:25:32,640 --> 00:25:34,960
Speaker 1: general of that kind, which is the sort of notion

453
00:25:34,960 --> 00:25:37,840
Speaker 1: of belief and what you believe in and what you

454
00:25:37,880 --> 00:25:42,280
Speaker 1: believe is possible. So I think for me, there was

455
00:25:42,280 --> 00:25:44,000
Speaker 1: a quote and I can't remember who says it who

456
00:25:44,040 --> 00:25:47,080
Speaker 1: said it? Rather what it was to do with having

457
00:25:47,160 --> 00:25:52,480
Speaker 1: seen a particular supposed paranormal event, and in the response

458
00:25:52,600 --> 00:25:54,840
Speaker 1: was that I didn't say it was possible, I said

459
00:25:54,840 --> 00:25:57,520
Speaker 1: it happened. And I think that's really the approach to

460
00:25:57,600 --> 00:26:00,240
Speaker 1: take to the stories, which is that I've known reason

461
00:26:00,280 --> 00:26:05,000
Speaker 1: to disbelieve the anecdotal evidence that's being presented, so I

462
00:26:05,080 --> 00:26:07,880
Speaker 1: take it at face value. And you know that might

463
00:26:07,920 --> 00:26:10,760
Speaker 1: be silly or gullible or ignorant, but the point is

464
00:26:10,800 --> 00:26:14,360
Speaker 1: really that is to display the things as they occurred,

465
00:26:14,480 --> 00:26:16,400
Speaker 1: or as we're sort of led to believe they occurred,

466
00:26:16,520 --> 00:26:20,000
Speaker 1: without interrogating that too much. But going back to the

467
00:26:20,080 --> 00:26:23,480
Speaker 1: question so about belief, Well, really the thing is that

468
00:26:24,359 --> 00:26:26,919
Speaker 1: I don't think I have seen or come across anything

469
00:26:26,960 --> 00:26:31,919
Speaker 1: that was that would convince me of a parallel or

470
00:26:31,920 --> 00:26:37,480
Speaker 1: supernatural thing being real actually having taken place. But you know,

471
00:26:37,480 --> 00:26:40,400
Speaker 1: I equally haven't seen anything that would that can say

472
00:26:40,440 --> 00:26:43,560
Speaker 1: once and for all that it hasn't either, So within that,

473
00:26:43,680 --> 00:26:46,040
Speaker 1: you know, I don't I couldn't possibly commit something being

474
00:26:46,080 --> 00:26:48,359
Speaker 1: real and until there was there was evidence enough for

475
00:26:48,400 --> 00:26:50,640
Speaker 1: that to be a certainty. And of course the thing

476
00:26:50,720 --> 00:26:54,119
Speaker 1: is in actual life, the things that we consider to

477
00:26:54,160 --> 00:26:57,600
Speaker 1: be real and absolutely true. You know, it's rare to

478
00:26:57,640 --> 00:27:00,240
Speaker 1: find that sort of certainty too if you if you

479
00:27:00,280 --> 00:27:03,280
Speaker 1: start interrogating things, you get start to get a bit

480
00:27:03,320 --> 00:27:06,520
Speaker 1: closer and down and dirty with things. You find that

481
00:27:07,000 --> 00:27:08,800
Speaker 1: the things that we do think are true and real

482
00:27:08,840 --> 00:27:10,840
Speaker 1: aren't in fact as true and real as we might

483
00:27:10,880 --> 00:27:12,760
Speaker 1: think they are, which is also I think a big

484
00:27:12,800 --> 00:27:17,680
Speaker 1: sort of theme of the show. So Jeff asks, were

485
00:27:17,680 --> 00:27:20,480
Speaker 1: there any potential episodes that you nixed because the subject

486
00:27:20,520 --> 00:27:23,280
Speaker 1: matter creeped you out too much? So no, absolutely not.

487
00:27:23,320 --> 00:27:27,280
Speaker 1: I think the creepier the better, I would say. Which

488
00:27:27,320 --> 00:27:30,600
Speaker 1: brings me to my next book recommendation, or rather book

489
00:27:30,640 --> 00:27:32,920
Speaker 1: that has inspired and explained. So this is a writer

490
00:27:33,000 --> 00:27:35,280
Speaker 1: that will be familiar to many people who listen to

491
00:27:35,320 --> 00:27:41,000
Speaker 1: the show. This is HP Lovecraft. Lovecraft is a complicated

492
00:27:41,000 --> 00:27:46,919
Speaker 1: writer to sort of admire, ostensibly because I think it's

493
00:27:47,000 --> 00:27:50,240
Speaker 1: quite well documented that he was he was quite racist,

494
00:27:50,280 --> 00:27:53,760
Speaker 1: and he had a sort of fear of I think

495
00:27:53,800 --> 00:27:57,359
Speaker 1: what he was anti Semitic, and also but had a

496
00:27:57,400 --> 00:28:01,959
Speaker 1: particularly repugnant attitude towards anybody who wasn't white, and I

497
00:28:02,000 --> 00:28:05,560
Speaker 1: think primarily to Americans who were black. So why that

498
00:28:05,680 --> 00:28:08,880
Speaker 1: becomes particularly complicated in terms of his stories, is that

499
00:28:08,880 --> 00:28:13,359
Speaker 1: that fear that he had of this otherness, of what

500
00:28:13,440 --> 00:28:17,040
Speaker 1: he perceived to be this otherness, as what I would say,

501
00:28:17,080 --> 00:28:21,960
Speaker 1: as ignorant and appalling as that was, it was that

502
00:28:22,119 --> 00:28:26,520
Speaker 1: fear that he used that was obviously very visceral to him,

503
00:28:26,600 --> 00:28:29,359
Speaker 1: that was then sort of imbued in the text and

504
00:28:29,440 --> 00:28:32,440
Speaker 1: the language that he used in his sort of horror stories.

505
00:28:32,560 --> 00:28:35,400
Speaker 1: So in many ways, the reason why they're so compelling

506
00:28:35,480 --> 00:28:39,880
Speaker 1: is because that fear was so real to him, and

507
00:28:39,960 --> 00:28:44,120
Speaker 1: so of course that makes it incredibly odd and complicated

508
00:28:44,160 --> 00:28:47,240
Speaker 1: and strange when you're reading these stories. Sort of knowing

509
00:28:47,280 --> 00:28:50,120
Speaker 1: that fear is the foundation on which these stories are

510
00:28:50,640 --> 00:28:55,080
Speaker 1: built and constructed, you know, that is a complicated thing.

511
00:28:55,280 --> 00:28:57,200
Speaker 1: That is a complicated thing to kind of hold that

512
00:28:57,240 --> 00:29:00,600
Speaker 1: at the same time, but separating the story from that,

513
00:29:00,640 --> 00:29:04,640
Speaker 1: what remains are incredibly gripping, horrifying stories and there, and

514
00:29:04,680 --> 00:29:07,400
Speaker 1: they're particularly horrifying because they you can sort of feel

515
00:29:07,440 --> 00:29:10,760
Speaker 1: that sense of terror person I find it something is

516
00:29:10,800 --> 00:29:14,200
Speaker 1: writing quite dense, and it can feel sometimes a bit

517
00:29:14,200 --> 00:29:17,440
Speaker 1: of a troll to get through, but always within it

518
00:29:17,760 --> 00:29:21,720
Speaker 1: this sort of extraordinary imagination of other worlds that are created.

519
00:29:21,800 --> 00:29:24,400
Speaker 1: And what I find most compelling about it is that

520
00:29:24,520 --> 00:29:27,880
Speaker 1: the that unlike lots of other stories of this kind

521
00:29:27,880 --> 00:29:30,959
Speaker 1: of ilk where you're encouraged ultimately to think that there

522
00:29:31,000 --> 00:29:34,680
Speaker 1: was some kind of psychological catalyst that was provoking these stories,

523
00:29:34,720 --> 00:29:37,120
Speaker 1: but with Lovecraft, a lot of the time it's actually,

524
00:29:37,560 --> 00:29:39,840
Speaker 1: you know, you're you're invited to think that the horror

525
00:29:39,880 --> 00:29:43,400
Speaker 1: is real. It's not imaginary. That these creatures, you know,

526
00:29:43,520 --> 00:29:48,520
Speaker 1: are existing in their own sort of autonomous way, whether

527
00:29:48,560 --> 00:29:51,040
Speaker 1: they be in another realm or under the sea, sort

528
00:29:51,080 --> 00:29:57,320
Speaker 1: of subterranean things. And so that I find that particularly compelling.

529
00:29:58,640 --> 00:30:00,240
Speaker 1: I mean the book I have if to me at

530
00:30:00,280 --> 00:30:02,440
Speaker 1: the moment, it's a collection of his stories. This is

531
00:30:02,520 --> 00:30:07,440
Speaker 1: Lovecraft The Call of Clulu or Cthulu, a few different

532
00:30:07,480 --> 00:30:10,520
Speaker 1: ideas on how to say that, and other weird stories.

533
00:30:10,560 --> 00:30:14,160
Speaker 1: And if I had to pick one for any of

534
00:30:14,240 --> 00:30:18,280
Speaker 1: you who haven't read him before, let's go for The

535
00:30:18,320 --> 00:30:22,200
Speaker 1: Shadow over Innsmouth. This is actually one of his longer stories,

536
00:30:22,240 --> 00:30:26,400
Speaker 1: but plot wise and the revelation that you will discover

537
00:30:26,480 --> 00:30:30,160
Speaker 1: on reading it, I think it's it's certainly for me anyway,

538
00:30:30,160 --> 00:30:33,560
Speaker 1: it's one of his best. We'll wrap this up with

539
00:30:33,600 --> 00:30:37,680
Speaker 1: a couple more questions, Andrew asks. He says, there's probably

540
00:30:37,720 --> 00:30:39,600
Speaker 1: a lot of people asking this, but actually you are

541
00:30:39,640 --> 00:30:41,960
Speaker 1: the only one, so thank you. It's a good question.

542
00:30:43,000 --> 00:30:45,320
Speaker 1: If you could know the definitive answer to just one

543
00:30:45,440 --> 00:30:48,760
Speaker 1: unexplained mystery, what would it be and why? So again,

544
00:30:48,800 --> 00:30:52,640
Speaker 1: going back to the previous questions, I don't feel the

545
00:30:52,680 --> 00:30:55,040
Speaker 1: need necessarily to know the answer, but I think the

546
00:30:55,040 --> 00:30:59,120
Speaker 1: one I would most like to know would be the Lightkeepers,

547
00:30:59,160 --> 00:31:02,560
Speaker 1: the Lighthousekeepers rather from I think episode eight of the

548
00:31:02,600 --> 00:31:05,640
Speaker 1: first season, which was called When the Light Fades. I think,

549
00:31:05,680 --> 00:31:07,640
Speaker 1: as some other people have asked me, what was my

550
00:31:07,680 --> 00:31:09,760
Speaker 1: own personal favorite, I think that for me is my

551
00:31:09,840 --> 00:31:13,920
Speaker 1: favorite one so far. And the reason why I'd like

552
00:31:13,960 --> 00:31:16,880
Speaker 1: to know that is because I think anything that involves,

553
00:31:17,800 --> 00:31:21,960
Speaker 1: you know, missing people, missing individuals, I think there's something

554
00:31:22,080 --> 00:31:25,280
Speaker 1: inherently and obviously terribly tragic about that. For anyone that's

555
00:31:25,280 --> 00:31:28,800
Speaker 1: been left behind and not knowing what has happened to

556
00:31:28,800 --> 00:31:32,120
Speaker 1: a loved one that has disappeared, I think is you know,

557
00:31:32,200 --> 00:31:35,840
Speaker 1: in some ways, almost more horrific than the finding out

558
00:31:35,920 --> 00:31:42,640
Speaker 1: that they might have been killed. So Deepmar asks, what

559
00:31:42,800 --> 00:31:45,600
Speaker 1: is the appeal of the unexplained in general for you especially,

560
00:31:45,680 --> 00:31:47,680
Speaker 1: is it even a good idea to concern oneself with

561
00:31:47,800 --> 00:31:51,080
Speaker 1: stuff like that? Wouldn't it be healthier not to do that? Well,

562
00:31:51,760 --> 00:31:54,360
Speaker 1: so I know where you're coming from in terms of

563
00:31:54,920 --> 00:31:56,800
Speaker 1: you know, I think if you, if you're someone who

564
00:31:56,880 --> 00:31:59,400
Speaker 1: might dismiss all these stories out of hand, then it

565
00:31:59,440 --> 00:32:01,560
Speaker 1: seems a bit a bit of a nonsense to even

566
00:32:01,760 --> 00:32:05,160
Speaker 1: kind of give them the light of day or the

567
00:32:05,800 --> 00:32:08,360
Speaker 1: darkness of night as it were, or you know, to

568
00:32:08,400 --> 00:32:11,120
Speaker 1: give them any sort of sense of credibility whatsoever. And

569
00:32:11,160 --> 00:32:14,240
Speaker 1: I think, again, I think that maybe going back to

570
00:32:14,280 --> 00:32:17,440
Speaker 1: something I said earlier, I think that attitude has its

571
00:32:17,480 --> 00:32:21,240
Speaker 1: own ignorance in a way. I think everything can have

572
00:32:21,360 --> 00:32:24,400
Speaker 1: a potential worth. You know, I don't again, it doesn't

573
00:32:24,440 --> 00:32:27,600
Speaker 1: necessarily have to be that that we commit to the

574
00:32:27,640 --> 00:32:32,280
Speaker 1: supernatural paranormal explanation, But I think all these stories have

575
00:32:32,400 --> 00:32:36,600
Speaker 1: something in them, certainly from a human perspective. There are elements,

576
00:32:36,600 --> 00:32:38,240
Speaker 1: There are lots of things within these stories that can

577
00:32:38,240 --> 00:32:41,800
Speaker 1: throw up all sorts of questions and ideas and things

578
00:32:41,840 --> 00:32:44,520
Speaker 1: that go way sort of above and beyond and transcend

579
00:32:45,160 --> 00:32:48,280
Speaker 1: the basic kind of question of whether these things really

580
00:32:48,280 --> 00:32:50,680
Speaker 1: happened or what the actual explanation was, and whether that

581
00:32:50,720 --> 00:32:55,480
Speaker 1: explanation is something beyond what we currently know or are

582
00:32:55,520 --> 00:32:59,240
Speaker 1: aware of as being possible in our world or our reality,

583
00:32:59,680 --> 00:33:02,960
Speaker 1: which brings me to my next book recommendation, which is

584
00:33:03,880 --> 00:33:07,720
Speaker 1: Ways of Seeing by John Burger. John Berger was a

585
00:33:08,600 --> 00:33:11,600
Speaker 1: I think primarily or professionally. His sort of title I

586
00:33:11,640 --> 00:33:14,320
Speaker 1: suppose was art critic, but he's much more than that,

587
00:33:14,400 --> 00:33:16,520
Speaker 1: and he's written on lots of different subjects, but I

588
00:33:16,520 --> 00:33:18,360
Speaker 1: think Ways of Seeing is probably what he was best

589
00:33:18,400 --> 00:33:21,600
Speaker 1: known for, so this book. Funnily enough, I won this

590
00:33:21,760 --> 00:33:24,480
Speaker 1: when I was about nine or ten years old. I

591
00:33:24,520 --> 00:33:26,920
Speaker 1: think I did. I'm a bit hazy on this, but

592
00:33:26,960 --> 00:33:30,160
Speaker 1: I think I won this when I took part in

593
00:33:30,280 --> 00:33:35,080
Speaker 1: something called the Spaghetti Bridge building competition, which is exactly

594
00:33:35,160 --> 00:33:38,320
Speaker 1: as it sounds. When I was at school. I think

595
00:33:38,400 --> 00:33:41,560
Speaker 1: our class got put forward for this, and the team

596
00:33:41,600 --> 00:33:45,280
Speaker 1: I was in, myself and two others, we came third

597
00:33:46,120 --> 00:33:48,320
Speaker 1: in a national competition, so I was very proud of myself,

598
00:33:48,880 --> 00:33:51,600
Speaker 1: but I think really it might have had something to

599
00:33:51,640 --> 00:33:53,480
Speaker 1: do with the fact that one of my team members

600
00:33:53,600 --> 00:33:56,400
Speaker 1: is dad's was an architect, and I think he might

601
00:33:56,440 --> 00:34:00,960
Speaker 1: have helped plan the bridge. Anyway, we came third, and

602
00:34:01,720 --> 00:34:03,880
Speaker 1: one of the things I won as a sort of

603
00:34:03,960 --> 00:34:05,920
Speaker 1: nine or ten year old. This was this book Ways

604
00:34:05,920 --> 00:34:08,200
Speaker 1: of Seeing by John Berger, which I was far too

605
00:34:08,280 --> 00:34:11,200
Speaker 1: young to appreciate at the time. I don't think I

606
00:34:11,280 --> 00:34:17,319
Speaker 1: even read this till late teens, early twenties, but I'm

607
00:34:17,320 --> 00:34:21,000
Speaker 1: glad I did because basically, and there's a bit of

608
00:34:21,160 --> 00:34:23,000
Speaker 1: a bit of a theme here, I suppose developing with

609
00:34:23,080 --> 00:34:25,640
Speaker 1: Unexplained in general, which is that all the book is

610
00:34:25,640 --> 00:34:27,960
Speaker 1: really trying to teach you is that there are different

611
00:34:28,000 --> 00:34:30,680
Speaker 1: ways to see the world, that there are many different perspectives.

612
00:34:31,520 --> 00:34:35,640
Speaker 1: And I think it's something that's become just in mainstream,

613
00:34:35,840 --> 00:34:39,280
Speaker 1: everyday kind of conversation. I think it's something we're becoming

614
00:34:39,320 --> 00:34:43,000
Speaker 1: more aware of now and are interrogating more and more,

615
00:34:43,880 --> 00:34:46,479
Speaker 1: this idea that there's there's not one way to hold

616
00:34:46,480 --> 00:34:48,640
Speaker 1: the world, or that there's no you know, there's not

617
00:34:48,760 --> 00:34:51,520
Speaker 1: one version of history, there's not one version of the truth.

618
00:34:52,320 --> 00:34:55,840
Speaker 1: I think more kind of potently, and so yeah, this

619
00:34:55,920 --> 00:34:58,880
Speaker 1: is a book really that kind of establishes that in

620
00:34:59,200 --> 00:35:01,960
Speaker 1: a very sort of simplistic and powerful way. And you know,

621
00:35:02,000 --> 00:35:04,439
Speaker 1: by looking at art specifically and the ways in which

622
00:35:04,520 --> 00:35:09,280
Speaker 1: we as individuals can sort of interpret the same piece

623
00:35:09,320 --> 00:35:14,160
Speaker 1: of work in different ways, but also how the way

624
00:35:14,239 --> 00:35:19,000
Speaker 1: that work is or art is interpreted differently throughout the years. So,

625
00:35:19,040 --> 00:35:22,080
Speaker 1: for example, anybody looking at a painting that was that

626
00:35:22,239 --> 00:35:24,759
Speaker 1: was made four hundred years ago is not going to

627
00:35:24,800 --> 00:35:28,359
Speaker 1: have the same context that you might have had had

628
00:35:28,400 --> 00:35:32,200
Speaker 1: you looked at it when it was first painted, and

629
00:35:32,280 --> 00:35:34,879
Speaker 1: so the effect of that piece of art is kind

630
00:35:34,920 --> 00:35:38,320
Speaker 1: of distorted in some way. So the effect of that painting,

631
00:35:38,360 --> 00:35:41,080
Speaker 1: that piece of art that it has on the viewer

632
00:35:41,239 --> 00:35:44,480
Speaker 1: is is changed by not only the sort of context

633
00:35:44,520 --> 00:35:47,480
Speaker 1: of the time that it's being observed, but also by

634
00:35:47,760 --> 00:35:51,879
Speaker 1: what the viewer brings to the observation. So I think

635
00:35:51,920 --> 00:35:54,520
Speaker 1: there's a quote I can't remember again, I think it

636
00:35:54,560 --> 00:35:56,200
Speaker 1: was freud l I don't know this for sure, but

637
00:35:56,440 --> 00:36:00,439
Speaker 1: who said something like you cannot analyze something about taking

638
00:36:00,440 --> 00:36:03,480
Speaker 1: into account the mechanism through which it is observed. And

639
00:36:03,520 --> 00:36:05,560
Speaker 1: I think it plays again into this sort of a

640
00:36:05,640 --> 00:36:09,239
Speaker 1: whole notion that you might hear sometimes people say, sort

641
00:36:09,239 --> 00:36:11,399
Speaker 1: of consciousness makes up the world, you know. I don't

642
00:36:11,400 --> 00:36:14,799
Speaker 1: know the degree to which that might be true absolutely,

643
00:36:14,840 --> 00:36:16,640
Speaker 1: but I think, you know, there is an element of truth,

644
00:36:16,680 --> 00:36:19,120
Speaker 1: and that's certainly that a lot of the time when

645
00:36:19,160 --> 00:36:22,080
Speaker 1: you what you're seeing in the world and the way

646
00:36:22,120 --> 00:36:25,400
Speaker 1: that you respond to the world is not because of

647
00:36:25,440 --> 00:36:28,040
Speaker 1: the truth of what that world is, but how you

648
00:36:28,080 --> 00:36:30,600
Speaker 1: interpret that. So in that way, you kind of are

649
00:36:30,719 --> 00:36:33,280
Speaker 1: making up the world. You know, for better or worse.

650
00:36:33,560 --> 00:36:36,040
Speaker 1: You are kind of constructing the world in your head

651
00:36:36,080 --> 00:36:38,879
Speaker 1: as much as the information from that world is being

652
00:36:39,080 --> 00:36:43,600
Speaker 1: fed to you, if that makes sense. So just time

653
00:36:43,680 --> 00:36:46,880
Speaker 1: for one final question, which is from Peter and Morgan,

654
00:36:47,360 --> 00:36:50,920
Speaker 1: who ask both of us are still dying to know

655
00:36:51,200 --> 00:36:54,720
Speaker 1: why there is such an unexplained ghostly gap between McClean

656
00:36:54,840 --> 00:36:58,960
Speaker 1: Smith in the phrase Richard McClean Smith. It is a

657
00:36:59,040 --> 00:37:02,960
Speaker 1: very good question. I think it just came out like that,

658
00:37:03,000 --> 00:37:04,880
Speaker 1: and I've sort of felt I had to stick to

659
00:37:05,000 --> 00:37:06,960
Speaker 1: it ever since. But it's now kind of taken on

660
00:37:07,000 --> 00:37:09,720
Speaker 1: a life of its own where even if I try

661
00:37:09,760 --> 00:37:13,759
Speaker 1: to close the gap, it feels like I'm sort of

662
00:37:13,800 --> 00:37:18,319
Speaker 1: dishonoring the original version in some ways, so I've tried

663
00:37:18,360 --> 00:37:21,319
Speaker 1: to keep it quite consistent. I've also joked about how

664
00:37:21,520 --> 00:37:24,200
Speaker 1: I think I should get a T shirt made which

665
00:37:24,200 --> 00:37:27,200
Speaker 1: just says Richard McClain on the front and then Smith

666
00:37:27,239 --> 00:37:31,600
Speaker 1: on the back. I don't know if I'm quite narcissistic

667
00:37:31,719 --> 00:37:36,600
Speaker 1: enough to do it. We'll see. So yeah, thank you

668
00:37:36,640 --> 00:37:38,960
Speaker 1: so much for listening. Thank you even more for sending

669
00:37:38,960 --> 00:37:41,799
Speaker 1: in your questions and for all your interests that you've

670
00:37:41,840 --> 00:37:44,799
Speaker 1: shown in the show. Again, I can't thank you enough

671
00:37:45,200 --> 00:37:48,759
Speaker 1: for all the support and kind words, and I hope

672
00:37:48,800 --> 00:37:51,920
Speaker 1: you enjoy it going forward. As I mentioned before, I

673
00:37:51,960 --> 00:37:54,800
Speaker 1: will put the list of books up on social media,

674
00:37:54,840 --> 00:37:58,440
Speaker 1: so Twitter, Facebook, and I'll probably add a few more

675
00:37:58,440 --> 00:37:59,920
Speaker 1: in there that I didn't think I had time to

676
00:38:00,120 --> 00:38:03,120
Speaker 1: talk about this time around. Very very difficult trying to

677
00:38:03,120 --> 00:38:05,440
Speaker 1: compile a small list of books. There have been so

678
00:38:05,480 --> 00:38:08,359
Speaker 1: many that have inspired me, and also films and TV

679
00:38:08,440 --> 00:38:11,560
Speaker 1: shows that have inspired me immensely, and music too, so

680
00:38:11,800 --> 00:38:13,840
Speaker 1: maybe there are more lists to be made at a

681
00:38:13,920 --> 00:38:16,839
Speaker 1: later date. Anyway. That's yeah, I think that's it for now.

682
00:38:17,440 --> 00:38:20,320
Speaker 1: Once again. The book will be out on October twenty fifth,

683
00:38:20,360 --> 00:38:23,360
Speaker 1: and I'm actually going to be doing some live speaking

684
00:38:23,360 --> 00:38:26,560
Speaker 1: events which I'll be putting up on my website soon

685
00:38:26,800 --> 00:38:29,239
Speaker 1: if anyone's interested in coming along to that. Thank you

686
00:38:29,360 --> 00:38:31,879
Speaker 1: very much again for listening to the show. I will

687
00:38:31,920 --> 00:38:34,879
Speaker 1: be back next Tuesday with episode eight of season three,

688
00:38:35,000 --> 00:39:15,880
Speaker 1: So until then. Now it's time to take care of yourself,

689
00:39:16,320 --> 00:39:20,040
Speaker 1: to make time for you. Teledoc gives you access to

690
00:39:20,080 --> 00:39:23,280
Speaker 1: a licensed therapist to help you get back to feeling

691
00:39:23,280 --> 00:39:27,040
Speaker 1: your best. Speak to a licensed therapist by phone or

692
00:39:27,120 --> 00:39:30,320
Speaker 1: video any time between seven a m. To nine pm

693
00:39:30,360 --> 00:39:34,880
Speaker 1: local time, seven days a week. Teledoc Therapy is available

694
00:39:34,880 --> 00:39:38,839
Speaker 1: through most insurance or employers. Download the app, or visit

695
00:39:38,960 --> 00:39:43,680
Speaker 1: teledoc dot com Forward slash Unexplained podcast today to get started.

696
00:39:44,120 --> 00:39:47,920
Speaker 1: That's t e l a d oc dot com slash

697
00:39:48,000 --> 00:39:49,239
Speaker 1: Unexplained podcast