People, my bedroom is tidy. Why? Because this excellent book told me so. It had a positive impact, and was one of many little nuggets in this book that will enhance your life. Written by Neuroscientist TJ Power, who really knows his stuff, this book will make your 2026 the best year so far. Because it focuses on everyday habits, the advice in it all seems achievable. It is as easy to read as it is to implicate. Brilliant stuff. Get your copy now.
SMALL HABITS TO BOOST YOUR BRAIN CHEMISTRY
‘This is the book all parents need in their lives.’ – This Morning
‘If you want to buy just one book this year to make your life better…Get this one. And live by it.’ – Chris Evans, as heard on The Chris Evans Breakfast Show, Virgin Radio
‘This book will help you find more motivation, create deeper connections, energise your body and destress your mind.’ – Jay Shetty, author of Think Like a Monk
‘The best book I’ve read on this subject.’ – Dr. Julie Smith, author of Why Has Nobody Told Me This Before?
***
Life can feel overwhelming, but it doesn’t have to be.
Today’s fast-paced world leaves many of us struggling with extreme emotional highs and lows caused by chemical imbalances in our brains, brought on by the pressures of modern life and constant digital connectivity.
In The DOSE Effect, Neuroscientist TJ Power shares how you can reset and balance your brain chemistry with simple, everyday habits to lead a happier, healthier, and more productive life.
Unlock your brain’s four key chemicals and discover the powers of:
DOPAMINE to get motivated and stay driven
OXYTOCIN to build deeper connections with others
SEROTONIN to boost your energy and mood
ENDORPHINS to destress and find calm
TJ’s practical approach and straightforward solutions will guide you on an exciting, action-based journey to optimise your brain chemistry and transform your mental health.
TJ Power’s book ‘The DOSE Effect’ was a Sunday Times bestseller w/c 2026-01-26.
In my novel, Where The Light is Hottest, Natasha Jones makes it as an actor. Going from small-town Scotland to big-time Hollywood. I was an actor for over fifteen years. I acted opposite Eddie Marsan in Junkhearts and performed on the West End in And Then They Came For Me. A play based on the life of holocaust survivor, Eva Schloss, who sadly passed away recently.
My own journey as an actor is similar to Natasha’s journey as we were both born in small towns in Scotland and moved to London to ‘make it.’ The difference is that I did not become a Hollywood superstar! You can read about why I put acting on the back burner here. I also worked as a director, casting director and producer. I still have a toe in the industry in general. Here are the essential things actors can learn from my true-to-life novel. If you want to know the truth about the film industry and acting then I recommend that you read it. It is available from Kindle Unlimited, paperback, ebook and from your local library.
Natasha’s persistence.
Natasha does not give up. That is what makes her successful. Most people who fail at acting do so because they quit. Especially as people get older and get sick of the erratic lifestyle. You lose 100% of the chances you do not take. The best way to become successful is not to quit. You can take time out, but get back to it.
Keeping her goal in mind.
Natasha focuses on the win. She knows what she wants and what she needs to do to get there. When you focus on a goal it stays in your mind. You work towards it without even knowing sometimes. Read the trades like The Stage, know what is being cast. Network.
Perfecting her RP accent.
You need to be able to do a good RP (received pronunciation) accent. You should also be able to do a good American accent. I was once at an audition and they saw I put that I was good at an Australian accent on my CV. I had never done one before, but I had to do it on the spot. Thankfully, I passed, but it is better to be prepared.
Putting herself out there.
You should be proud at your courage. To choose a creative life is brave. It can be a hard life and a lot of people would never put themselves out there. It is hard to be on stage and make yourself vulnerable. To go to auditions and face rejection again and again. Do it, and be proud. Putting yourself out there is the only way to become successful.
Making her own work.
Natasha starts a production company and starts making films with her friends. Even the best, and most successful, actors can be out of work for years. We live in a new world and making your own work on TikTok and Instagram can get you seen and make you money. YouTube is another great option. I made a comedy web series which a casting director saw and then they cast me in a few things. Acting has never been more democratic than it is now. It is not easy to make successful social media accounts, but it is possible. My socials are below if you want to follow me. I will follow you back.
Not forgetting to actually live.
Being an actor is all-consuming. It feels like if you step off the treadmill then you might miss an audition or a job. I certainly thought that and I put my life on hold too much. I remember I went skiing once and my agent called me when I was up a mountain. I seriously considered jumping on a plane home, after skiing down the mountain, of course. I am glad I saw sense and turned the job down. Life is for living. Life experience also makes you a better actor.
The best thing about having your book published is the reception it gets. When the reviews start coming in and people tell you they read it and enjoyed it. That is gold. Where The Light is Hottest went on a blog book tour with Rachel’s Random Resources. I cannot recommend doing this enough. It’s a wonderful experience and the dedicated book bloggers and influencers make such a difference to the book community.
Scottish soap, River City, is sadly coming to an end. I got my first acting break on River City. I was an incredibly ambitious 18-year-old who had studied acting at college and was desperately trying to get as many auditions as I could. Auditions are hard to get so I was doing extra work to earn money and get some on-set experience. An actor didn’t turn up and I was picked out alongside one other woman to audition for a small part with lines. I was the one who aced it, and got my first ever speaking role on TV, and the BBC no less.
The scene was in a cafe. I ordered a drink from Luca, the character that all of the women fancied. My heart was beating fast, and I was happy. Exhilarated. I knew this was a great credit to have. When the episode came out I watched it with my family. I was left with a feeling that anything was possible. A moment of luck gave me my first proper acting credit. In truth, these moments of luck, along with a huge amount of talent, work ethic and perseverance is they key to success in any creative career.
Seeing myself onscreen was a learning curve. I was a teenager with terrible roots, who needed her blonde highlights redone. I was wearing a coat that looked instantly unfashionable the moment I saw it on screen. I cringed when I saw myself, but I delivered my lines well.
The main character in my book, Where The Light is Hottest, is based on my own experiences. Unlike me, Natasha doesn’t quit when things are going well. She continues on going from small town Scotland to big time Hollywood. As acting books go, Where The Light is Hottest, is a no-holds barred, real and raw inside into what it takes to make it as an actor. My acting career was a wild ride that left me with a lifetime of stories. The highs were like nothing else, but the lows were crashing. All thanks to that moment on the set of River City. Thank you. The show is supposed to end in 2026, but people are protesting and there is a petition. Good luck, River City. Long may you burn bright.
I’m reading your book, Greek Myths: Folk Tales and Legends, with my 10-year-old son at the moment. We are both loving it. Where did the idea come from?
The idea landed on my lap from the Greek gods and goddesses themselves I reckon (ha) and in the form of a modern day Hermes in my literary agent, Jo Bell, whom Scholastic had contacted to see if she represented anyone of Greek origin who might like to write the book as part of their Classic series. I submitted a draft retelling Medusa and another as the first was a little too mature for 8-12s and was commissioned to retell 20 myths. What followed was a period of immersive and meticulous research prior to allowing myself creative licence to retell these famous and some rare stories too, for a modern audience. It was a joy to reconnect with my ancestry and culture, the process provided intellectual stimulation and by the end I’d felt like I’d crammed a Classic MA into a year!
What is your writing process? I would submit 3 stories at a time to my diligent editor Bella and enjoyed working in batches, writing a minimum of two drafts of each story, before sending on for feedback and then rewriting. Writing is all in the rewriting after all. I had several months to write each batch and would aim to write 500 words a day as a minimum. I shed characters that didn’t drive the stories forward and invented poems and songs within the plots so these stories are very much my own interpretations, based and inspired on the original myths written over 2500 years ago. I used my experience as a screenwriter to create what I hope are memorable, cinematic stories children could imagine with ease. I wanted history to come to life for the reader.
This is your second book. Does writing them get any easier? I think when you’re passionate about a project, in my case anyway, I tend to hyper fixate on it and write, and write and write. I loved the research required here and returning to the earliest versions of these myths I could find, and then working from there, in many cases righting some of my ancestors’ wrongs in the process.
I find you inspirational. You are a mum-of-three, an influencer, broadcaster, and writer. How do you manage to juggle it all? I think I often fail, freak out, feel burnt out and struggle with imposter syndrome as much as I experience career milestones and highs, just like everyone else. In terms of the practical infrastructure in place, my youngest is at pre school and my parents help out in the holidays. It takes a village to raise a child and it takes a village to raise a working mum.
Emotionally, I oscillate between feeling confident and content and completely unworthy and sometimes in a single day. Sleep deprivation doesn’t help. My 4 year old has never been a great sleeper so that hasn’t helped with regulating emotions but I take each day as it comes, it’s the only way. Creative pursuits feel healing and give me purpose.
What advice do you have for other working mothers? Focus on what you can do, not what you can’t. That applies to every area of motherhood, careers, friendships and relationships. If you want to write, try to commit to 200 words a day or 500, whatever feels possible. Know that each phase passes, the best of phases and the worst.
You interviewed Keir Starmer. Tell us about the experience. It was a surprise to receive an invitation from No 10 asking if I’d like to interview Sir Keir Starmer during a school visit in Reading so we could discuss the success of the first 500 Breakfast Clubs rolled out across the country. 1 in 3 parents sadly struggle to provide breakfast for their children so these clubs are helping the most vulnerable, with many more planned. They will also serve working parents who are time-short on a morning, providing additional free childcare along with breakfast for children. The PM shared that he was committed to help improve the workplace for working parents. I’ve spoken in Parliament on several occasions, collaborated with the Department of Education and helped encourage the Online Safety Bill to be passed onto The House Lords (which it was and is now the Online Safety Act 2023). Politics is an area I’m interested and invested in although I couldn’t stand as an MP currently with a young child and two teenagers but I’d like to work more in this sector, continuing to advocate for working parents in particular.
Who else would you like to interview? I think Jacinda Ardern, the former PM of NZ would be top of my list. The way she led from the heart and during the pandemic under such unprecedented times, turned everything on its head that we’ve been led to believe about leadership. She’s an inspiration.
You’re incredibly supportive of other women. As well as being open and honest. What can women do to support each other? I think working on yourself is number 1, accessing therapy if you can or working on meditation/ yoga/ self improvement because operating from a healed place makes us the best and most calm and in control version of ourselves and in turn better friends, parents and allies to others. Ascertaining what your triggers are, if you are holding onto trauma or internalised misogyny for eg allows you to work through learnt behaviours and patterns and bad experiences, that might be harmful or destructive to yourself and others. I’ve had years of therapy and have found them to be life changing. There are a lot of women professing to support others when in truth, they haven’t done the work to fully champion those they profess to be behind. I am lucky to have a supportive community around me and have always enjoyed championing others, there’s a genuine ‘helper’s high’ from seeing others shine. I know myself deeply and I know there’s room for us all to thrive but only when we work side by side.
Tell us an interesting fact about you. I came 4th in the North in Junior Masterchef at 11 in the regional heats. My Dad was gutted I didn’t make the TV show as they only needed 3 contestants. My caterpillar brows at the time are forever thankful I didn’t. Another plus is that I learnt to cook well like high end fare and I wasn’t even a teen. My first week at uni was cooking 3 course meals for the other students in my halls. My Mum still laughs that I asked for a dinner set before I left home!!
I would also say as a bonus fun fact, that many don’t know I had what feels like another lifetime of a career as a screenwriter and filmmaker before pivoting into the digital world. My dream is to return to that industry one day.
You have had an amazing year. What’s next for you? Ooh, I’m not sure, a novel or screenplay perhaps, I relish a challenge and have a few ideas which I believe ‘have legs’ as they say in the film industry!
Greek Myths, Folktales & Legends for 8-12 year olds, published by Scholastic UK is OUT NOW in all good books shops and onAmazon.
“I’ve never read anything quite like Alchemy of Secrets – it’s full of adventure and magic and quirky twists will keep you guessing until the very last line.”
– Jodi Picoult
Alchemy of Secrets By Stephanie Garber will be published in hardback by GOLLANCZ on the 7th October 2025.
In a world that can be a bit much there is nothing I love more than escaping into a book, and, damn, does Stephenie Garber let you escape. Alchemy of Secrets is much anticipated and I was honoured to receive a copy. This book feels like the perfect autumn read. Partly set in a university class about urban legends and myths, you feel like you are immersed in a magical world. It is full of adventure as you are taken on a tension-filled treasure hunt through Los Angeles.
Set in old Hollywood, it is full of the glamour you would expect. I found it an enchanting read with a whole lot of twists. With first-class world building, characters that you will love and be frustrated by, and an original story that sweeps you away, Alchemy of Secrets is a stunner.
I love the way Stephanie Garber writes. Her books are highly addictive and fast paced. I was completely gripped through this book. It ends in a bit of a cliffhanger and is full of glorious lore. I can’t wait for book two.
It starts with a class in an old movie theatre.
Folklore 517: Local Legends and Urban Myths, taught by a woman called the Professor.
Most students believe the Professor’s stories are just fiction. There isn’t a man in Hollywood who you can call to find out the time you’ll die. There’s not a haunted hotel bar in Los Angeles that the devil likes to frequent. There’s no such thing as magic.
But . . . most students don’t have the same tragic past as Holland St. James.
Now a graduate student, Holland is hoping to use her thesis to rewrite her past by proving that some of the most infamous deaths in old Hollywood were actually murders committed by the devil. She has no idea that this quest will lead her into a deadly world of century-old secrets and unimaginable lies and onto the path of two very dangerous men, both of whom are willing to do whatever it takes to find a magic that will either forever alter Holland’s life or completely destroy it.
Alchemy of Secrets is the first adult novel from global fantasy phenomenon Stephanie Garber, the multimillion-copy bestselling author of the Caraval and Once Upon a Broken Heart series.
About the author: Stephanie Garber is the No. 1 New York Times and Sunday Times bestselling author of the Caraval series and the Once Upon a Broken Heart series. Her books have been published in thirty languages.
A Rheumatologist’s Guide to Taking Charge of Your Health
By Julius Birnbaum, MD, MHS
Medical books can be very dry and hard to read. Not so, Living Well with Autoimmune Diseases. This book is a must read. A much-needed book that tells you more about autoimmune diseases than I have read anywhere else. It is a guide full of knowledge and actionable information. I felt like a friend was taking my hand and telling me all about these various conditions. Both comprehensive and insightful, I cannot recommend this book enough. It is a must buy for everyone who has, or cares for someone who has, an autoimmune disease. Get a copy now.
With one in ten adults in the UK living with an autoimmune disease, Living Well with Autoimmune Diseases offers essential advice for navigating the complex world of various autoimmune diseases. This substantial and compassionate guide helps patients, caregivers, and health care professionals understand the diagnosis, management, and treatment of conditions like lupus, rheumatoid arthritis, Sjogren’s syndrome, and more.
Author Dr. Julius Birnbaum, an expert in both neurology and rheumatology, covers a wide range of topics, from the basics of autoimmunity to the nuances of various rheumatic diseases and their interconnected nature. With an engaging blend of scientific rigour and empathy, Dr. Birnbaum:
Provides a primer on autoimmunity, explaining how the immune system can mistakenly attack the body’s own tissues
Discusses the roles and limitations of blood tests and biopsies
Covers the complexities of various treatment options, including when to use immunosuppressive therapy and when simpler symptomatic treatments might be appropriate
Emphasizes the importance of personalised treatment plans that consider the unique needs of each patient
Debunks common myths about rheumatic diseases and provides practical advice that can help improve quality of life
Provides captivating patient narratives from his clinical practice that clarify how to diagnose and treat autoimmune diseases.
This indispensable overview of autoimmune diseases, supplemented with helpful tools for readers and their loved ones, offers hope and empowerment for managing these complex conditions.
May 2025 | Paperback 440 pages | ISBN 9781421449890 | Price £25.00
For further information about this book please click HERE,
One of the best things about being editor-in-chief of Frost Magazine is all of the people I get to meet. Having a chat with a writer I admire is also exciting for my other life as an author. Greg Mosse is a great interviewee. Candid, kind, and bursting with interesting information. I read The Coming Darkness in 2022 and loved how unique it was. It is a great thriller. Now, the third in the trilogy, The Coming Fire, is out. I interviewed him over Zoom to talk all things writing, A.I., and Kate.
Greg complimented my children’s artwork on the fridge, and I complimented his impressive book posters.
On the impermanence of theatre and writing during lockdown: ‘The posters on the wall, most of them are mementos of my theatre work, because theatre is a wonderful fugitive experience. It’s that brilliant moment shared by the audience live in the room together that can never be repeated, but at the end of a run of theatre, for most shows it’s gone forever. And unless you’re in Les Mis or something like that, and it doesn’t stop, it’s great to have the poster on the wall as a reminder of, ‘Oh yes, I did that.’
The rhythm of my life under coronavirus lockdowns changed completely. In one way, because theatre had become illegal, and so there was really no point in writing new plays for I didn’t know how long, but in another way, it didn’t change at all. It just meant that I sat in the corner of my study, there with my red blanket, because it was March, wasn’t it? It was cold at first, and then it got really hot. It just changed from writing dialogue to writing prose and that’s why, in the centre of the wall of posters behind me, are all the novels I’ve published.’
That was a smart thing to do. Yes, but remember, we were utterly unemployed, weren’t we? We had to fill our days and I did find it very easy to be productive, because I was utterly without distractions.
As the lockdown started, I actually went and I picked up both of our children. My wife, Kate Mosse, and I. Felix was working in Norwich. He was on stage in a show that shut, and Martha was living in North London in a flat in a block, and we thought both of those circumstances would be a less pleasant way of being locked down than in our house in Sussex with fields that you could walk out to and all of those lucky things that we had, but that said, you know, they’re grown-ups, so it’s not like I brought them home and had to look after them. So I had not limitless time, but I had a lack of distractions, which really taught me how valuable that can be in terms of working quickly, but not necessarily efficiently.
On writing a trilogy: For The Coming Darkness, the first book in the Alex Lamarque trilogy, I wrote 170,000 words from which ultimately I cut 70,000 words because the thriller that MoonfFlower, my brilliant publisher wanted, was just under 100,000 words. However, when The Coming Darkness went very well, I got excellent reviews for which I’m very grateful. It meant that I had these subplots I cut from the first draft that were the heart of the second book, The Coming Storm. That also accelerated the process. So it wasn’t like I had to sort of start again. My hero, who’s like an action hero, a member of the French secret services. He wins at the end of The Coming Darkness, but he only wins a fragment of the battle that he’s engaged in. But I already had the heart of The Coming Storm already on the page. It had to be massaged into a different shape, a different timeline, but it already existed. The future, historical background to the book that I researched by reading lots of scientific papers and government papers and NGOs and everybody who’s predicting the future, trying to plan for what’s coming next. Five years, 10 years, 15 years, a generation. All of those notes were super valuable over the whole of the trilogy, and the things that we’re worried about today in 2037 are more urgent, more dramatic, more desperate, but they are the same things, but more so.
The Coming Fire is the culmination of a trilogy about a time when everything that we’re worried about today is more intensely felt and more intruding, more fully on people’s lives. So that meant I’ve already got a crescendo that can play out over three books, and then the other way of describing it. The further Alex goes towards the heart of this terrorist mystery, the closer he gets to the biggest, hardest enemy to defeat. There’s an overall shape that you know you’re writing into. I sometimes describe it as pouring creativity into a pre-existing shape, yet not just writing to find the shape, but the shapes already there in the back of my mind.
On authors being pigeonholed: As a writer for theatre, nobody says to you, “You know, last year, you wrote a play about smugglers, set in 1749. Why are you now writing a play about the First World War?” Whereas, as a novel writer, people say that to you all the time. Being able to write in these different voices, to tune into a different quality of creativity, is really normal for a playwright and to write dialogue in different voices. One day a king, another day a minor living 300 years later, another day a 12-year-old child living today, is totally normal. Now, the other part of your question, which one do I like best, writing plays or books? The great thing is that they refresh one another. You know what I was just saying about playwriting? That’s one of the best things about writing plays. So a full-length, two-hour play is about 20,000 words, whereas The Coming Fire is 98,000, I think. So a full-length, two-hour play is a fifth of a novel. So it’s more difficult to get that refreshing change in novel writing because the scale of the creative enterprise is so much bigger. If you have sympathetic publishers who understand that you’ve got these different goals, entertaining people in different ways, that’s what it’s about. They really bounce off each other super well.
On his writing routine: It’s 6:30 till 10:30 more or less every day. When I say every day, it’s like six days out of seven. Sometimes I’m travelling for other parts of my life. And so it can’t happen if I’m driving to London in the morning for the work I do in theatre, for example. But about six days out of seven. 6:30 to 10:30. In that time I’d expect to write a couple of 1,000 words. I’d expect it to begin with a two. Doing that for six weeks of six days a week, 2,000 words a day that’s 72,000 words, isn’t it? And once I’ve got to sort of that, I’ve actually got an unpublished novel in my computer over there that I’ve written about 65,000 words of, and I’m currently editing it because I’ve got an idea of how it will end, like a framework for how it will end, but in order to write the last quarter of the book, I need to make sure everything in the first three quarters ties up and is completely coherent, and that I’ve probably been writing for about six weeks and now it’s going to go really slowly for a week or 10 days, maybe because I’m reviewing everything, and I have to keep going backwards and forwards, you know, to tie things together. And I’ll find a thing on page 102 and God, where was that, although I referenced that. And then there it is on page 17. And all of that over and over and over again. And only once I’ve got all of that done, probably through the whole of those 65,000 words twice. Only then will I write the last quarter of the book. And then, of course, I’ll have to check it from line one to the last line again to make sure I’ve got it all right. So that means about 10 weeks in total for a draft that I am willing to show one person alone, and that person is my wife, Kate Mosse, [Most people would be scared to give Kate Mosse the first draft of their novel] yeah, probably. But, you know, there she is. She’s having a cup of tea in the morning, eating her Marmite on toast, and she’s trapped. You know, there’s nothing she can do.
I was asked this weekend, as I usually am at some point at festivals, ‘Greg’, was it helpful at all to be married to the international best-selling novelist Kate Mosse?’ And I always say she is the wave that I surf.
On supporting other writers: When Twitter was invented, before it became a cesspool of bots and hatred, it is I chose as my Twitter description, ‘writer and encourager of writers.’ Back then, almost all of my writing was theatre, of course, and that’s changed, but the encourager of writers hasn’t. It’s the reason why, with my son Felix Mosse, we run a theatre script development programme at the Criterion Theatre, Piccadilly Circus, which is free to the mid-career playwrights who take part. And then when I’m at a festival, like Harrogate, or in the new year, Kate and I will be in Jaipur, and then Dubai, at the Emirates Festival, the majority of my time there will actually be spent with readers and writers, aspirant writers, trying to help them develop their plots, understand the business. You know, all of that stuff. And that’s super rewarding.
His thoughts on A.I: My thoughts on A.I., what I wanted to put on stage in The Coming Fire was the fact that the terrorists, the big, bad, evil presence behind the whole of the trilogy, has a view on A.I. that you and I and many people probably share, which is that it’s an enormous danger, and there are two parts to this danger. There is a relinquishing of humanity, and thinking that A.I. is probably as good as the ways in which humans have evolved, in doing things over a gazillion years over evolution, and then recorded history.
And then the other part of it is that relates to the creative arts. There’s a brilliant, I think it’s in an Arthur C. Clarke science fiction story from many years ago, where he compares a flawless reproduction of a piano to a real piano. And he says it’s like the difference between being told that you’re loved and being held in your parents’ embrace. It’s great. It may not be a quotation, but it’s something like that, right? You know what I mean there, there is a difference that feels elusive, but it’s also really substantial.
Yes. So then the other part of it is the fact that, and we’ve seen this all through the technological age, technologies respond in ways that we don’t predict. There’s always a law of unintended consequences. There’s always unfortunate outcomes, even with the best of intentions. My brother, who has a sardonic cast of mind, sometimes says to me, no good deed ever goes unpunished, and you want, but people who are, I would argue, unthinkingly embracing technology, assume the best, whereas I’m a much more precautionary cast of mind. You never know where this will end up. So coming back to the big baddie in The Coming Fire.
He wants to set back Earth’s technological development by a few generations. He wants to destroy the hyper-connected world, the global village, and fragment and atomise human populations. Now, of course, that also means that he’s a completely inhumane barbarian,
utterly insensible to human tragedy and loss of life. Those things are meaningless to him because he has this conceptual idea of turning back the technological human clock,
and a thing that he can’t see is the inhumanity of the A.I. that he wants to exploit in order to achieve those terrible goals is actually super similar to his own cast of mind, and that’s why Alex must stop him.
Well, it’s the third part of a trilogy. There is a hero. Usually, the hero wins, but of course, it would be a spoiler to say if he does. I have a friend who’s a neuroscientist who works at the University of Sussex, with whom I was talking quite recently about the fact that he gets infuriated when he’s told that artificial intelligence has discovered or devised something. And he says there is no artificial intelligence. What there is is an algorithm that analyses statistical probabilities and comes up with likely scenarios from which it can choose one. But it’s not intelligence. It’s a sifting of data to find the most likely average outcome.
Thank you Greg.
The Coming Fire is out now and published by Moonflower.
