Podcasts about aaaaaand

Aaaaaand we're back! This week, Cody goes to the Big Brother house, Ally feels Too Seen in Life is Strange, we get a massive KStew fashion corner, and the Bond Babes go to the mall in Vampire Academy! Next week: Vampire Academy Ch 19-20 Follow Payton: twitter.com/paytmitch Retweet This!: anchor.fm/retweetthis Shop our merch: bit.ly/ITTSHOP Send us a fanfiction, a Twilight backstory, etc: intothetwilightshow@gmail.com Download episode transcripts! bit.ly/ITTtranscripts Support us on Patreon! patreon.com/intothetwilight Rate and review us on Apple Podcasts! bit.ly/ittunes Get personal messages and sponsor spots! bit.ly/ITTmerch Where to find us: Cody: twitter.com/codycorrall Ally: twitter.com/alexandriadoes Music by Eli Krauss: twitter.com/elisourkrauss Art by Maddie Padilla: instagram.com/yourghosthost44

Aaaaaand we're back! Season 3 coming at you with conversations on everything from pelvic floor therapy to peg doll swaps, with Christmas presents and the enneagram in between! We're excited and we're so glad you're here! If you've been enjoying the show, share an episode with a friend! Follow us to see pictures of our lives and episode news!IG https://www.instagram.com/laughs_and_littles/FB https://www.facebook.com/laughsandlittles/We'd love to hear from you ✉️ laughsandlittles@gmail.com Feel like reading Sarah's personal blog?https://glimpsesofjoy.com

Hi! Aaaaaand we're back! This is a good one. Craig Coleman tells us all about the inner workings of the movie business. Can you do us a tiny favor....and please leave a review on iTunes....it really does help. Thank you. Also.... please feel free to share this or any of the other episodes. You never know who might need to hear it. YouTube: https://www.youtube.com/user/darrencarter . Support this podcast: http://www.darrencarter.com/donate/ . CASHAPP: https://cash.app/$DarrenCarterComic . VENMO: https://venmo.com/code?user_id=2968123317682176187 . Instagram: https://instagram.com/OfficialDarrenCarter . https://www.cameo.com/officialdarrencarter . We now a Facebook group. Seach Pocket Party Podcast on FB and join the party! . I have FOUR Live Comedy Albums on iTunes and Amazon and always appreciate your support. Great laughs and you're giving back with every purchase. I want to thank you for subscribing and sharing this podcast. The more retweets (I've pinned the link on my twitter @DarrenCarter), shares on FB the better. Use the #PocketPartyPodcast . Any reviews on iTunes and YouTube comments I get I'll give shoutouts on the podcast. Send emails to PocketPartyPodcast@Gmail.com for all business inquiries. GET YOUR JOLLIES! * Please go SUBSCRIBE to this podcast and also my YouTube Channel* Thank You! --- Send in a voice message: https://anchor.fm/pocketparty/message

Josh sounds a little scared in this episode, but the topic of fear is worth exploring. So get ready to explore some frightening things like bear attacks, rattlesnake bites, Covid work emails, sharks, sleeplessness, snoring, robot teachers, home invasions, chubby babies, and greasy hands at restaurants. Folks, it's time to find those micro sources of joy and embrace'em. Now, inhale through the nose to the count of 4. Focus on that moment before it becomes an exhale. Aaaaaand, out through the mouth to the count of 6. You did it? You feel better? Ahhh, yes, exactly. Highly meditative, highly stimulated, and highly rejuvenated. On Twitter @jrosenberg957. Drop a friendly rating/review on iTunes if y'getta chance. Logo art by Brandon Lai Music by Micah Julius Aztecs by 7 on Saturday vs. Arizona (c'mon now! 1.5 pt underdogs? N'thanks.)

HAILEY: https://twitter.com/hailey_j108 https://instagram.com/hailey_j108 WILLOW: https://www.twitter.com/willowfeyth https://www.instagram.com/willowfeyth https://tiktok.com/streamafterlaughter https://open.spotify.com/album/4ujSW9WJW0Y9qSzQZ3qtBJ?si=wmGDvTgZRZ-1LcKJT6alfw https://music.apple.com/us/artist/willow-feyth/1496808709 YOUTUBE: https://www.youtube.com/channel/UCYtk7CPjI6SwD4H2kwAqhJw?view_as=subscriber PATREON: https://www.patreon.com/willowfeyth SPOTIFY: https://open.spotify.com/show/2CDgESzvvKn8aQB1dCENRp?si=c6ploB5iShyczzoA6Gfajg POETRY: https://www.instagram.com/writingthefutuer WEBSITE: https://www.willowfeyth.com PRINTS: https://www.willowfeyth.com/shop COVER ART BY HAILEY PARK --- Support this podcast: https://anchor.fm/willow-feyth-k/support

Aaaaaand we're back! Paul & Erika are coming out of summer hot with a deep dive in 1999's The Mummy starring Brendan Fraser and Rachel Weisz. They're here to ask the big questions, y'all. Was there comedy left on the field in this film? What were the Biblical plagues of Egypt? And most importantly, what were we doing to women's eyebrows in the 90s?

Hi! Aaaaaand we're back! This is a good one. John is so quick. Can you do us a tiny favor....and please leave a review on iTunes....it really does help. Thank you. Also.... please feel free to share this or any of the other episodes. You never know who might need to hear it. YouTube: https://www.youtube.com/user/darrencarter . Support this podcast: http://www.darrencarter.com/donate/ . CASHAPP: https://cash.app/$DarrenCarterComic . VENMO: https://venmo.com/code?user_id=2968123317682176187 . Instagram: https://instagram.com/OfficialDarrenCarter . https://www.cameo.com/officialdarrencarter . We now a Facebook group. Seach Pocket Party Podcast on FB and join the party! . I have FOUR Live Comedy Albums on iTunes and Amazon and always appreciate your support. Great laughs and you're giving back with every purchase. I want to thank you for subscribing and sharing this podcast. The more retweets (I've pinned the link on my twitter @DarrenCarter), shares on FB the better. Use the #PocketPartyPodcast . Any reviews on iTunes and YouTube comments I get I'll give shoutouts on the podcast. Send emails to PocketPartyPodcast@Gmail.com for all business inquiries. GET YOUR JOLLIES! * Please go SUBSCRIBE to this podcast and also my YouTube Channel* Thank You! --- Send in a voice message: https://anchor.fm/pocketparty/message Support this podcast: https://anchor.fm/pocketparty/support

Aaaaaand we're back! On the docket this week: someone hacks into our show notes (not clickbait), Cody takes a trip to the metaverse, and Lissa continues to be belligerently traumatized Vampire Academy! Next week: Vampire Academy Ch 13-14 Shop our merch: bit.ly/ITTSHOP Send us a fanfiction, a Twilight backstory, etc: intothetwilightshow@gmail.com Download episode transcripts! bit.ly/ITTtranscripts Support us on Patreon! patreon.com/intothetwilight Rate and review us on Apple Podcasts! bit.ly/ittunes Get personal messages and sponsor spots! bit.ly/ITTmerch Where to find us: Cody: twitter.com/codycorrall Ally: twitter.com/alexandriadoes Music by Eli Krauss: twitter.com/elisourkrauss Art by Maddie Padilla: instagram.com/yourghosthost44

Aaaaaand we're back! On the docket this week: Ally goes to Ask Jeeves, Stephenie does another crime against graphic design, and we see someone up in flames in Vampire Academy! Next week: Vampire Academy Ch 9-10 Shop our merch: bit.ly/ITTSHOP Send us a fanfiction, a Twilight backstory, etc: intothetwilightshow@gmail.com Download episode transcripts! bit.ly/ITTtranscripts Support us on Patreon! patreon.com/intothetwilight Rate and review us on Apple Podcasts! bit.ly/ittunes Get personal messages and sponsor spots! bit.ly/ITTmerch Where to find us: Cody: twitter.com/codycorrall Ally: twitter.com/alexandriadoes Music by Eli Krauss: twitter.com/elisourkrauss Art by Maddie Padilla: instagram.com/yourghosthost44

Ace beastars Sexy beasts He man revelation 2 hot 2 handle brasil Bad batch Modok Martin (anime & Manga) Battle in 5 Seconds After Meeting Tsukimichi Moonlit Fantasy E3 Shaman King E17 Dungeon Blsck Company E3 Modok E10 American Football game against Oxford Saints. 23-0 at half time but game was called off due after two half an hour stoppages caused by lightning. Stevie Bad batch Heaven's Official Blessing - finished this off Too hot to handle s1 & 2 AAAAAAND the first few episodes of THTH Brasil - what the fuck have I done??? The Wolf Of Wall Street He-man + the after show interviews thingy Halfway through 1981 Mobile Suit Gundam I. Tokyo Olympics - swimming, skateboarding, fucking mental triathlon - they said water was 30 degrees at 6:30 in the morning, judo / taikwondo comparison. Question of the day? Cancel culture, a new phenomenon or age old phenomenon? Would you rather be on the Titanic or the Twin Towers at the point of… disposal? Are you a Weeb or Otaku? General News Transformers: Rise of the Beasts set photos reveal Optimus Prime and Bumblebee designs Deadline reports that “Lionsgate has acquired worldwide rights to Kevin Smith's Clerks III, which is currently in pre-production in New Jersey and will begin production next month. Smith has written the screenplay and will direct, with all major cast members set to reprise their roles: Jeff Anderson as Randal, Brian O'Halloran as Dante, Jay Mewes as Jay, Smith as Silent Bob, and Rosario Dawson as Becky. In Clerks III, following a massive heart attack, Randal enlists fellow clerks Dante, Elias, Jay, and Silent Bob to make a movie immortalizing his life at the convenience store that started it all.” According to Hollywood Reporter John Wick prequel event series ‘The Continental' lands Albert Hughes as lead director. The filmmaker, who with his brother co-directed movies such as Menace II Society and The Book of Eli, has signed on to direct two episodes of the three-installment event series. Continental, which is set in the unique hotel for assassins in the Wick movies, was initially envisioned as a spinoff series but was redeveloped as a three-night event series with movie length and movie budgets. The installments are to run about 90 minutes in length and, according to sources, have budgets upwards of $20 million.” Army of the Dead prequel, Army of Thieves, coming soon to Netflix Nope jordan peeles new movie with daneill kaluuya, keeke palmer, steven yeun comic book news Deadline report Marvel have found director for MCU Blade movie with Pakistani born indie director Bassam Tariq Kevin Smith reveals while he was working for Marvel on the now cancelled Howard the Duck show he was denied permission to use Werewolf by Night character as the movie division have plans for him. It is speculated the character will debut in Moon Knight bringing werewolves into the MCU. Vincent D'Onofrio's Wilson Fisk reportedly returning in Hawkeye show which will tie into Spider-Man No Way Home “more than we expected”. Anime News Toei announced at the San Diego Comic Con virtual event that a 2nd DBS anime film called Dragon Ball Super: Super Hero, scheduled for release in 2022 Shaman King E18 and 19 will be delayed by 2 weeks due to the Olympics and Paralympics. Their new release dates are August 12th and August 19th respectively. Also, Netflix will stream the anime on August 9th. There'll be a total of 52 episodes. Funimation announced last Wednesday that it will stream the Demon Slayer Entertainment District Arc in the US, Canada, UK, Ireland, Australia and New Zealand this year Trailers Titans s3 Main movies masters of the universe revelation

The list of things that enable life on earth is a pretty short one: a dollop of sunshine, drizzle of water, and a soupçon of air. But for anything fun to happen on land, you're going to need a liberal smattering of soil, too. In fact that 30cm of topsoil is so fundamentally important that it gets a bit scary to think what would happen if it wasn't there. Unfortunately that's less of a thought experiment than it might sound - it's widely quoted that humanity has got only 60 years of decent harvests left before the soil is either so degraded or so not there that we won't be able to feed ourselves. Eek. So, we DIG into the issue, dish the DIRT on some dodgy statmongering, and wonder what on EARTH it all means. Aaaaaand talking of Earth, we also give short shrift to gazillionaire bell-end Bezos and his willy wanging wocket whooshing. * As mentioned in the pod, Our World In Data's in-depth piece re the '60 harvests left' stat is here https://ourworldindata.org/soil-lifespans Sustainababble is your friendly environment podcast, out weekly. Theme music by the legendary Dicky Moore – @dickymoo. Sustainababble logo by the splendid Arthur Stovell at Design by Mondial. Ecoguff read out by Arabella. Love the babble? Bung us a few pennies at www.patreon.com/sustainababble. MERCH: sustainababble.teemill.com Available on iTunes, Spotify, Acast & all those types of things, or at sustainababble.fish. Visit us at @thebabblewagon and at Facebook.com/sustainababble. Email us at hello@sustainababble.fish.

....Aaaaaand we're back! Where were we? What were we up to? Tune into today's episode to hear all the details about the chaotic last couple of months in our lives! Thanks for waiting and we're so excited to share these next chapters with you! Music by King Flexx - Do Ma Thang - https://www.musicbed.com/songs/do-ma-thang-instrumental/45432 Find us on Instagram: @overlyus https://www.instagram.com/overlyus/ @smaybb https://www.instagram.com/smaybb/ @angelaypark https://www.instagram.com/angelaypark/

We knocked off the Saints. Butters is back early. It's a good time to be a Port fan again. Except it's not. Boaky's 300th looks like no crowd. COME ON, UNIVERSE!!!

Intro Background (1:40) Rogue created by Chris Claremont and Michael Golden in Avengers Annual #10 (August 1981) Born Anna Marie in Mississippi, her parents disappeared when she was young, and she was raised by her strict aunt - she rebelled as a teen, earning the nickname Rogue After kissing a boy named Cody, her latent mutant abilities manifested, sending Cody into a coma - she discovered any skin-to-skin contact with a person would cause her to absorb their life force, and in some cases their memories - she covered herself up to avoid touching anyone ever again Mystique found Rogue and began mentoring her, eventually bringing her into the Brotherhood of Evil Mutants - she was sent to attack Carol Danvers - during the fight, prolonged contact caused Rogue to permanently absorb Carol's powers, and gave Carol amnesia - the Danvers identity would remain with Rogue for many years, eventually causing Rogue to seek out Professor Xavier for assistance She eventually joined the X-Men, slowly earning their trust and becoming a valuable teammate, even as Danvers continued to control her in periods of stress or unconsciousness - after losing her powers in a battle with Master Mold, she discovered the Danvers identity was also gone As her powers returned, she also began an on-again/off-again relationship with Gambit, but her lack of physical intimacy and his dishonesty caused friction for a long time - after a battle with Destiny robbed them both of their powers, they left the X-Men and moved in together to explore their relationship After another battle with Mystique where her foster mother tried to kill her, she absorbed Mystique's powers and left her for dead - went to the Australian outback to figure out how to control her powers - with the help of Xavier, she was able to control her absorption for the first time in her life Eventually started a relationship with Magneto, although it was largely long-distance, as they both had other commitments Originally stayed neutral during AvX, but joined the staff at the Xavier Institute after a fight broke out on campus and She-Hulk inadvertently injured some children Turned down a marriage proposal from Magneto, and ended their relationship Joined the Avengers Unity Division as a mutant representative, eventually becoming field leader Restarted her relationship with Gambit, and after Kitty Pryde broke off her engagement to Colossus at the altar, Gambit proposed to Rogue on the spot, and they were married instead - got transported to the Mojoverse for their honeymoon, since Mojo wanted a famous couple for his new show Issues (6:15) Authoritarian upbringing caused her to rebel Inability to touch anyone caused problems in her relationships, both romantic and platonic (18:26) Broken relationship with Mystique, where they alternate between trying to kill each other and trying to work together (27:06) Break (34:36) Plugs for BetterHelp, Grief Burrito, and Chris Claremont Treatment (36:11) In-universe - Use other mutants to help transmute the energy flow as a result of contact and help her move past that Out of universe - (40:06) Skit (49:22) Hello Rogue, I'm Dr. Issues. - Hey there, sugah. So, what can I do for you? -I don't know, what can you do? *sarcasm* Hardee har har. I have the ability to listen to what you have to say, synthesize that dialogue in a way that may have some benefit to you and your relationships, while monitoring for any signs of a formal diagnosis that needs more focused treatment. -Shoot, I thought you were gonna get all flustered like most guys do when someone like me talks coy with them. I got over that a long time ago. -Must be nice Meh. -*pause* Well, I guess that's my way of saying I'm stuck. I either push people away too quickly, or I dive in and get myself into stuff I can't just walk out of. Why not? -That's a really easy one. Do you know about my powers? I do my homework, sure. -Well, imagine if your first chance at a physical connection, you destroy their life...I mean, REALLY destroy it. You don't get over that. There's no amount of talking that can fix that. *pause* I'm terribly sorry. From the tone in your voice I can tell it wasn't intentional. -But it doesn't stop there. I was led to do some horrible things to people and I didn't know the consequences. That's the type of thing that some people can't ever live with themselves over. Do you get what I'm saying? Hmm...has it ever gotten to that point for you, where life wasn't worth it anymore? -No! Well, not like that, but to disappear, to not hurt anybody, that's the type of thing I wish for sometimes.  This next question is meant to get to something deep here, so please don't think I'm trying to lead you...why haven't you disappeared? -That's like trying to hide the Juggernaut in a kiddie pool. That dog won't hunt. Besides, every time I did walk away, my past came back to bite me. So I gave up on tryna run. So anonymity doesn't work, but your powers are a huge factor in any basic intimacy...wow, I have to say, I'm impressed you've continued to persevere as well as you have. -Thank you...not many people see it that way besides you. I'm glad to hear that there's more than just me. -Are you always trying to see the glass half full? I try to see the glass with whatever amount is inside, the contents, the condition of the glass, the -I get the point. No stone unturned. Does that mean you want to know who sees the good in me? -Of course! -Let's start with Remy number one. That man...there's something about that man, it's hard to describe. He just...lights me up inside.  Aww, that's sweet! -Hold on, ah don't want it to sound all peaches and cream. Ah mean, when it's good, it's finer than frog hair. But he's got a real stubborn streak. When he doesn't get his way, he doubles down on how he feels. Shucks, I think sometimes he argues with me just to watch me burn up! Maybe; I don't want to speculate on him since I don't' know him as well as you do. But you're the one who says he makes you feel that way. That type of bond doesn't happen overnight. -Damn right it doesn't! How many people get told they have to wait for the right time, and that time might be never? Well, he was there for all of it. Even when I went my own way, he came right back to me no matter what.  As with most relationships, that sounds like a two-way street. However you got to the point that you are on a similar wavelength, I'm genuinely happy for you. To be honest, if you're doing okay with that aspect of things, maybe there's another part of your life that is challenging you. -Everything.  I see that's your style of response, but can we please drill down a bit? -Can we not and say we did? Rogue, I'm really not a hardass. You don't have to be scared of a psychiatrist. -*laughs* Oh sugah, I'm not scared of you. I'm scared of what I'll say to you. You probably lock up half the people you see just for speaking their mind. I only look out for the safety of my patients and the rest of society. Having emotions is not a risk. It's what you do with those emotions that counts. As long as you are not a danger to yourself or others, this is completely confidential. And if it's in the past, then I would never put you through “double jeopardy.” -So if I told you that my second mama wanted to kill me after I had made up with the women she had me nearly kill and take her life, you're not gonna arrest me? *dramatic gulp* Well, I didn't quite expect that, but...no. My main concern is how that -*sarcasm* How did it make me feel? HOW DO YOU THINK?  A lot of people have that reaction...which is why I was going to ask HOW DID THAT AFFECT THE PEOPLE INVOLVED. -*pause* Son of a gun, nobody really asks that. I suppose Carol was really pissed off...wait...I KNOW she was pissed off ***that bitch tried to control me! Do you know what it's like to have your own head telling you all sorts of history that you shouldn't know or even came close to giving a shit about?*** and Mystique was mean, but she always said it was because she cared. I think that's true, she really cared about me in her own sorta way. She should really talk to you, if you'll have her. I'm always an open mind and ear for anyone within reason -The “reason” part might be a problem.  So what's your goal with those relationships? -I'm not a goals kinda gal.Where the wind blows, I'll be there, good Lord willin' and the creek don't rise. Unless I don't wanna go, that is. Aaaaaand hence the name. There's nothing wrong with riding the tide and going where nature follows, and there's nothing inherently wrong with bucking a trend, either. But the balance of those two can get out of whack. It's obvious to me that you have the ability to go wherever you please, but so many times, you've been the center of attention for others because of your talent. Why not take the impulsive energy and combine it with a modest bit of forethought and live the more comfortable, less stressful life that you deserve? - Believe it or not, Doc, I actually did have some good come out of all of that we were just talking about. Carol doesn't hate me...not anymore. And when things are good with Mystique, we work well together. I'm not as dumb as you think I am just because my nature is to fight with whatever everybody says. *insulted* I NEVER thought that -Ah, there's the flustered part that I always look for when I meet someone new. *pause* Touche. Now that you've made it clear you can create any social outcome you want, how much are you willing to focus on making them enjoyable for everyone involved?. -One thing at a time Shug, one thing at a time. We good here? -That we are. - Thanks for the chat, then. See ya ‘round. And if you ever do talk to mah mama, tell her I said hi. Well, maybe see how she reacts before bringin' me up… could be a bad time for you... Ending (57:08) Recommended reading: Mr. & Mrs. X, Uncanny Avengers Next episodes: Dr. Doom, Jocasta, 5 from Umbrella Academy Review read - Justalittlepodcast - I just started listening, but I am hooked. Completely blown away. Such a great podcast that portrays mental health in a revolutionary way. The exploration and deep dive in comic book characters is fantastic. The conversations between these to gentlemen is refreshing, honest, and genuine.  Keep up the great work! Also I really enjoy the skits. Plugs for social References: Carol Danvers episode - Anthony (2:48) Mojo episode - Anthony (5:40) Severe combined immunodeficiency - Doc (20:40) Apple Podcasts: here Google Play: here Stitcher: here TuneIn: here iHeartRadio: here Spotify: here Twitter Facebook Patreon TeePublic Discord

Aaaaaand here's another doozy. As potentially problematic as this passage has been for many, the Great Commission is our scripture for this week. Micah jumps into pulling the threads and differentiating between consent and conquest. 

Aaaaaand welcome back to Great Morning lovely listeners! In this insightful episode, the crew is delighted to host entrepreneurs-Tiffany and Nikki! Join these five fellows as they discuss: Trading misconceptions, the Foreign Exchange Market, Doge Coin, and septs of Loopists! It's never too late to start trading! Stay tuned until the end of the episode to hear, "NOT TRYNA" by: Tye Bradshaw!

Aaaaaand we're back with another episode of PC! Mike and Pav are at it again with a recap of some events from the past two weeks as well as some sets. DJ Pavlo (8:31) Gravity - M-22 & Rhea Melvin Love Line - Shift K3Y & Tinashe Oh My - Parx Roads - KREAM & Dan Caplen Loco - King Topher, MelyJones, Savalla Hypnotic (Progressive Remix) - Paul Okenfeld & Azealia Banks Echoes - SNBRN & Kudu Blue Mike Dices (31:45) Summertime Chi (Jakeshoredrive Remix) - Lee Foss & John Summit Remember - Jerzy Roginkski Jr I'll Be Down - longstoryshort Your Body - Biscits Middle - Noizu Take Care (Maximo Quinones Remix) - Drake feat. Rihanna Hypno - Funkin Matt

Aaaaaand... we are back in level 4. Almost full circle in almost one year! This means we are back to where we started, baking banana bread and cleaning out the cupboards, right? Wrong! This means we have another opportunity to get the foundation right! And this time, Izelle is starting us off with breakfast! Her kind of breakfast, of course! Oats, two ways from her 'Mindful Eating' cookbook!

Forgive me for being MIA you guys, this pandemic and the multitude of lockdowns have hit me hard (like many of you) and I hit a rough spot. I experienced symptoms of depression. Not being able to go anywhere and do anything especially for my kids was incredibly hard. Its been a year. I literally cannot take anymore of this. On today's episode, I am working to get back to my routine so we are just going to chat about what I've been up to. Let's talk about it.--Social Media:@dailymombits on InstaSupport the show (https://www.buymeacoffee.com/mombits)

This is a great episode, everything is Moderately Interesting. We have a brand new segment, Go Cluck Yourself, where we will be rating all of the chicken sandwiches available. We start with the OG Chic-fil-A Mitch goes on a rant about Harry Potter and the Half Blood Prince... the movie of course. There is nothing wrong with the book. The movie is the worst. We do a fancast for Mistborn. We answer questions from fans. Aaaaaand of course we talk about the latest Marvel installment... LOKI! Enjoy, and don't forget to leave us a rating and review! Cheers! Twitter: @ModeratelyInte3 Insta: @themoderatelyinterestingpod Gmail: moderatelyinteresting21@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Lots of great questions from our patrons! Lindsey gives us a taser research update; why are puppies cuter than humans? Is PZ Myers wrong about EvoPsych? Spike proteins, anti-vax stuff, and more! Links: TASER study, Kurzban's response to PZ, Russian fox domestication experiment, Contrapoints on AGP, Blogpost on spike proteins, Aaaaaand one bonus link for you

MOST women I talk to are simply “trying too hard” in love. This breaks my heart when I see it because it used to be me! Did you know that a healthy dating mindset is actually something you can work to build?! I want to help you show up effortlessly in your dating life by working smarter not harder in love. In this HIGH VALUE episode, I give you two experiential exercises for attracting the relationship you want. These are simple, to the point, no B.S. exercises that pack a powerful mindset-upgrade-punch! These are exercises designed to create CERTAINTY in your dating life and they are called the: “As If Letter” “Feeling into your Desires” If you want to learn how to implement the magic of certainty and work smarter not harder, tune in to this episode NOW! Aaaaaand, if you’re ready to get off the dating rollercoaster once and for all, and finally step into the securely attached version of you that effortlessly attracts the relationship she has always desired, go apply now to the E.S.L program! CLICK HERE TO APPLY!

Aaaaaand we're back! On the docket this week: Dakota Johnson won the war against Ellen, KStew stars in a new Chanel campaign, it's almost Dev Patel Summer, and cops exist in The Host for some reason! Next week: Ch 49-50 of The Host! Download episode transcripts! bit.ly/ITTtranscripts Buy our merch! bit.ly/ITTSHOP Support us on Patreon! patreon.com/intothetwilight Rate and review us on Apple Podcasts! bit.ly/ittunes Get personal messages and sponsor spots! bit.ly/ITTmerch Where to find us: Cody: twitter.com/codycorrall Ally: twitter.com/intowildplaces Music by Eli Krauss: twitter.com/elisourkrauss Art by Maddie Padilla: instagram.com/yourghosthost44

Aaaaaand we're back! And what a fun episode to return with. We catch up with the Merch Czar of No Laying Up, Neil Schuster, for an explosive episode with no holds barred, brother!Neil gives us some color commentary on our favorite golf travel show, Strapped; gives us an update on where his head's at on the golf course this season; shares the origin story behind the Birdhouse, NLU's pied-à-terre at Sweeten's Cove (shoutout to Adamski!); and gives us an inside scoop on what it's really like to be the Merch Czar.Plus! We hear about how difficult it is to learn a TikTok dance, attempt to figure out what Neil's official tagline should be, and discuss how very real "The Year of the Process" is. Check out No Laying up @NoLayingUp on Twitter & IG, and grab a rainshirt (size up!) or an elephant shirt at NoLayingUp.com. Check out our favorite TV show, Strapped, here. You're gonna love it. 

Aaaaaand we're back! On the docket this week: Kristen Stewart gets cast in a Cronenberg movie, Robert Pattinson's mom is ruthless, we get a tomato update, and Wanderer cant stop injuring themselves in The Host! Next week: Ch 45-46 of The Host! Download episode transcripts! bit.ly/ITTtranscripts Buy our merch! bit.ly/ITTSHOP Support us on Patreon! patreon.com/intothetwilight Rate and review us on Apple Podcasts! bit.ly/ittunes Get personal messages and sponsor spots! bit.ly/ITTmerch Where to find us: Cody: twitter.com/codycorrall Ally: twitter.com/intowildplaces Music by Eli Krauss: twitter.com/elisourkrauss Art by Maddie Padilla: instagram.com/yourghosthost44

Aaaaaand that's a wrap. Sixteen weeks of podcasting and fourteen episodes since the beginning of the year. It's been pretty long, and this is bittersweet, but it's time to move on to the next chapter... Email at mokshareviews@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/moksha-davaloor/message

We Make Books is a podcast for writers and publishers, by writers and publishers and we want to hear from our listeners! Hit us up on our social media, linked below, and send us your questions, comments, and concerns for us to address in future episodes. We hope you enjoy We Make Books! Twitter: @WMBCast  |  @KindofKaelyn  |  @BittyBittyZap Instagram: @WMBCast  Patreon.com/WMBCast   Episode Transcript (by Tori P) [Upbeat Ukulele Intro Music] This is We Make Books, a podcast about writing publishing and everything in between. Rekka is a published Science Fiction and Fantasy author, and Kaelyn is a professional genre fiction editor. Together, they'll tackle the things you never knew you never knew about getting a book from concept to finished product, with explanations, examples, and a lot of laughter. Get your moleskin notebook ready. It's time for We Make Books. Kaelyn: Did you get your second shot yet?   Rekka: We get it on Saturday.   K [mumbling]: Okay.   R: ‘Cause cool people get the vaccination.   K: You hear that kids? Be cool, get vaccinated.   R: Be Extremely cool. Be cool like me. [laughing] I don't know if that’s selling it but-   K: [laughing]    R: -that’s what i’m gonna go with.   K: I get mine May second. I got the moderna one so I had to wait four weeks and -   R: Mhm. Yeah, I get two weeks between mine [loudly] it depends on your publisher.   K: [laughing]    K: Speaking of things that come in part two-   R: Yep, speaking of duologies-   K: The covid duology, oh there we go.   R [overlapping]: Yes, well the vaccine duology, not the covid itself-   K [overlapping]: Yeah.   R: Because you don't wanna get covid and then long covid, that’s one duology. The duology I’m all about is the mRNA duology, let’s do that one.   K: We’ve got shots part two coming up here.   R: Mhm.   K: And you know, in many ways the vaccine is kind of similar to a duology. The first one’s the build up, the first one’s to get you a little bit of a taste there, get your immune system going like “hey, what is this? What's going on? What's happening?” and then the second one, that’s BAM, you know? like-   R: That’s when it all happens   K: - fully immune. Yeah and that’s [laughing] that’s why everyone’s getting sick from the second one.   R: Ugh yeah, I don’t think this metaphor’s gonna last us too much longer. But, we are talking today about duologies.   K: As promised.   R: Yes, we are following through on the promise, the commitment we made, to follow last episode’s trilogy discussion with a discussion of duologies, and why they are harder than the thing we made sound really hard.   K: Yeah, so. You know, last episode we talked about trilogies, and how trilogies can be really challenging, and one of the things we touched on was: if you’re really having a hard time with this, maybe you don’t have a trilogy. Maybe you have a duology. So, a duology, obviously, is a series of two books rather than a trilogy being three, although quadrilogies are becoming a thing now. Four books is getting super common. So, just to clarify some things here. If you’re going “I did not hear the word duology ever, until about a year ago, or so,” you’re right, you didn’t. [laughing] This wasn’t really a very common thing.    R: This wasn’t a thing, there was a book and a sequel but there wasn't a thing called a duology.   K: Yeah and by the way, let’s clarify this real quickly here, the difference between a book and a sequel, and a duology. A duology is a story split up into two books. A book and a sequel is, presumably, one complete story and then another complete story.   R: In the same world, usually featuring the same characters, spun off somehow.   K: Yes.   K: Contractual finite book series are kind of a relatively recent thing. You know, for those of you who have been reading science fiction and fantasy for a long time - especially, you know, when it first started, you know, the trade paperbacks and the pulp and everything was really popular - will know that series, especially genre series - and not just science fiction and fantasy: mystery, murder, thrillers, spy novels, war novels -   R: Mhm.   K: - they tended to go on infinitely. Each book would be a standalone story, sometimes encompassing a bigger arc. Fantasy, this was very common, I mean, look at the Wheel of Time -   R: You could start a series, see success, and the publisher would just keep printing it because they felt like they were printing money.   K: Yeah, and a lot of times what they would do is: you’d get a book published, and you’d establish a, typically a main character or a world, or - maybe something like an overarching story plot -   R : or a concept at least. K: Yeah, in fantasy that was a lot more common in this sort of epic quest that was just gonna keep going and going. Lord of the Rings is actually kind of unique, in that it was a specific trilogy published at that time. That wasn’t very common.   R: Right.   K: You know, these epic fantasies tended to just, they just kept writing and writing, and that's why so many of them have such complicated character family histories, a lot of world building, a lot of different races and imagined and created history in them. But anyway. Then you have some of these other series that, each book was its own individual story, and they just keep going.   R: Mhm.   K: That is not a trilogy or even a duology, even if it ended up being only two books. Trilogies and duologies have an overarching story that it’s gonna take three, two, four, however many books to tell. But with a duology - there’s a reason there aren’t a lot of these: they’re really hard to write. A lot of times when you have a duology on your hands, you’re deciding either: do I have a standalone, single book, or do I have a duology, OR, do I have this whole trilogy, or do I have a duology.   R: How much of this ends up being up to the author, and how much of it ends up being a way to market the story? Like, trilogy in general, I would imagine that an author comes in thinking: okay, I have this story and then I can see where it’s going from there and I can wrap it up in three, versus I have this story, is it too big for a book?   K: You kind of hit on something interesting there and something we talked about in the trilogies episodes, is: I have this story, is it three books? Remember what we said in the trilogies episodes, a lot of them - a lot of contracts are: “we’re buying the first book of your trilogy, and then the next two are contingent on sales.”    R: Mhm.   K: So the first book, typically, is somewhat a self contained story. It’s enticing you to the second and third books, but if that’s it, it's a satisfactory ending.   R: Mhm.   K: That does not happen with a duology. Duology -   R: You will not have a satisfying ending, got it. [giggles]   K: You are not gonna have a satisfying ending in the middle of a duology. There is an appeal in marketing for duologyies. Some people don’t want to commit years to waiting for the next book to come out. They just want two books to be done and come out and, by the way, that tends to happen with duologies. Because it’s one big story, you probably get it out faster. Duologies, when someone sits down to write them, you tend to write the entire thing, or at least do really good draft work on the entire story, because at some point you gotta decide where to stop the first book.    R: Can’t you just, like, divide the page number in half?   K: What I would do usually is drop it on the floor, pick up one page, and that was the end of the first book. [pause] Sometimes it was the fifth page into the book, it was really awkward. [laughing] but you know-   R [overlapping]: I was gonna say like, if I just picked up a stack of papers of a printed manuscript and dropped it on the floor, I think the cover page would be the first one I pick up.   K: Well, you have to throw it down the stairs so that it gets a nice -   R: Oh, you have to be specific about your method -   K: Yeah, yeah I’m sorry, you’re right.   R: - we’re supposed to be providing usable advice.   K: Stand at the top of the stairs, face backwards with the stair behind you. You take the unbound pages, throw them over your head, walk halfway down the stairs and pick up a page from the middle stair. And then that’s the end of the first book.   R: What if nothing settles on the middle stair?   K: You gotta get all the pages and do it again.   [both laughing]   R: But you have to put them back in order first- K [laughing]: Yeah, exactly.   R: - because otherwise it’s not authentic. Okay but joking aside, I think you were about to give us very good advice on how you do choose that moment.   K: Okay so, this goes to why duologies are so difficult to write because stories, traditionally, have a beginning, middle, and end. Anything that you’re telling somebody, be it what you ordered for lunch, or your epic road trip doing the Cannonball Run, is going to have a beginning, middle, and end. Granted, in one of them you end up in Los Angeles, exhausted and smelling funny, and in the other, maybe you have a disappointing sandwich from Subway.   K: But there is - so, in a duology, you’re not breaking this up into three pieces, you're taking something that is three segments and doing it in two. This is why they’re hard to write, because  where does the “middle” of the story go? There’s some different schools of thought on this. One of the less popular, if you will, is that the first book of a duology is actually setting up the main story of the second. I don’t buy this. [chuckles] I don’t go along with that because -   R: Yeah, ‘cause that’s what you were sort of saying the trilogy does.   K: Exactly, yes. But also because it’s only two books, you've gotta get going here a little bit. You can’t make the reader think that they just read however many hundred pages of world building. The middle of a duology, in my estimation, should be at the of the first book. This is where everything should really pick up, and the plot and the stakes should be clear. If you finish the first book in a duology and do not have clear, compelling stakes, motivation, and reasoning behind the characters and what they were doing, that’s probably not a good place to end the duology. And if you’re going “well I don't get to that until this point,” maybe you don’t have a duology. Maybe you have a single book and it’s really long and you’ve gotta trim some stuff down.   R [laughing]: I thought you were gonna say “maybe you have a trilogy” and I was like wait a minute!   K [laughing]: No, no.   R: I feel like I’m stuck in an infinite loop!   K: No, but at that point, you may have a single book. And this is hard to - it’s hard to make that distinction of: “Is this a standalone single book or is this a duology?” So, what might make something a duology, why might you want to write a duology rather than a single book?   R: This is sort of what you're describing to me is that I’ve got like a 225,000 word story -   K: Mhm.   R: - and there are, as you described, as a failpoint in choosing where to split them, that there’s a lot of world building.   K: Yes.   R: So what you seem to be describing to me is a book where the author really takes their time developing a world and developing concepts and digging deep into whatever the story elements are.   K: Yes, nailed it.   R: So where I break that is, I assume, where a smaller plot point that maybe had some big stakes is resolved but the overall story is not resolved.   K: I’ll give you the opposite of that, what about a point at which it’s escalated?   R: Well, of course by solving a thing, you’ve fucked up and made it worse.   K: [laughing]   K: Of course, of course.   R: Of course, so that’s - that’s the solve point, is that you didn't solve anything by completing the action you thought was going to solve things. K: Yeah, so duologies have this weird balancing act where you can't backload the end of the first book and you can't front load the beginning of the second. The way these kind of work, and you have to remember that coming at this from the perspective of a reader, there are absolutely very successful books that the next in a series picks up and it’s just chaos and you get thrown right back into it. But frequently you've gotta build the story up again, you’ve gotta ease the reader back into what was going on, remind them of what was happening here, and then, typically reassess and recenter your story and characters. Because at the end of the first book, something should have happened that’s gonna require that they do that.   K: So, duologies are really great for when authors wanna take their time and give a lot of attention and detail to characters, to worldbuilding, to story arcs, to history. It’s taking a long story and breaking it up into two. And so if you’re wondering: well how come there's like 700 page books in the world, why -   R [chuckling]: Right.    K: Yeah, “why isn’t everything just one really long book?” There’s a few answers for that. One is that some publishers are going: “No one is going to just pick up your 700 page book and read this. We need to break this up into two books.” But the other is that in some cases, those giant 700 page books, they’re really just one story. And even though I keep saying a duology is one story, you’re telling it in two parts. So they each have to have their own story elements to them.   R: So there’s an intermission, the curtain drops, you feel like that could have been a mini play but it’s not over yet, you know, let’s come back to see where that cliffhanger leads us.   K: An intermission’s actually a really good way to describe it. You know, think of most plays that you’ve seen or even old movies like Gone With the Wind where there was an intermission. The intermissions are not typically dead smack in the middle of the story.   R: No, when you come back the story has changed -   K: Yes.   R: - something has shifted. I think an example of this that everyone is probably fairly familiar with, at least from Spotify, is Act I vs. Act II of Hamilton.   K: Yes.   R: Very very different experiences. Act I is energy, it’s building up, it’s all this hope, and then Act II is all this grief, and all this loss, and all this settling, and rediscovering hope. It’s very -   K [overlapping]: I was gonna say the Phantom of the Opera.   R: Yeah.   K: Act I is very mysterious and almost enchanting and like wow, you know, look at this.   R: Mhm.   K: Act II of Phantom of the Opera, you come back and you’re like, oh this Phantom is dangerous.   R: Yeah.   K: The tone of everything has shifted to this sort of fanciful “oh yes haha the opera ghost, oh this is such a funny, silly little inconvenience” to “this guy’s gonna kill all of us.”   R: Yeah.   K: So there’s renewed sense of urgency, the stakes are much more clear -   R: Mhm.   K: - and there’s - R: There’s an immediate action that needs to happen in order to save someone’s life.   K [overlapping]: Yes. Exactly, yes, that’s what I was trying to articulate there.   [both laughing]   K: So that is another good component of a duology is, by the second part of the story, something should have shifted.   R: And you gotta act right away, there’s no time to open up your world and introduce characters and all that kind of stuff, you have to get going.   K: The best duologies I’ve read have such a distinct difference between the first and second book, with what I think of the characters and how they’re behaving. If you Google “duology” right now, the first thing that’s gonna come up is The Six of Crows.    R: Mhm.   K: Part of the reason for that is because the Netflix series Shadow and Bone is being released two days after we’re recording this, and they’re incorporating elements from the duology into the trilogy. So, search engine algorithms being what they are... but I read the books; I thoroughly enjoyed them. The first one is very much a heist book. The second one is as well, but the stakes of it have been escalated to the point that it’s “oh, it’s not just that we’re stealing this thing that we want, we are now having to get stuff to save, not only ourselves, but a lot of other people from suffering a terrible fate.”   R: Yeah. You said it was hard though, but then you said it was just “picking a good spot in your book to split it,” so why is that specifically hard?   K: I think, where that becomes hard, is if you don’t know what you have on your hands. If you have -   R [overlapping]: So it’s more in the determination of whether you should split it, or -   K: Yes.   R: - extend it or just publish as is.   K: Well, so there’s two components of this. First is identifying: do I have a duology vs a standalone book or a trilogy.    R: Mhm.   K: If you have a standalone book, and you’re like “well this is just gonna be long and that’s just how it’s gonna go,” then you write the book and that’s what it is. If you’re looking at this and going “I have a duology,” there’s something in there that is indicating to you that this is a duology rather than a standalone book. A lot of times that is that breaking point, so, sometimes finding the part where the first story should stop and the second should start isn’t that hard, but then actually digging down into it and making sure that you’re telling a compelling, engaging story in both parts, can be very difficult. Because you may say “oh this is the perfect part, the door has burst open, everybody’s gasped and we’re cutting it off there.” Is that the best place to end your story? Or do you go to the Pirates of the Caribbean route and reveal that it’s Captain Barbossa coming down the stairs at the end.   R: Mhm.   K: And intrigue the heck out of everybody else.   R: I feel like we could do a whole episode on reveals, so maybe we’ll -   K [laughing]: Yeah, maybe we will.   R: - just put a pin in that one ‘cause I wanna talk about that but let’s do that in another episode. Okay, so is that a matter of how much satisfaction you are willing to give your reader at the end of book one, versus just lopping it off where it is the most convenient between what is essentially the midpoint of an arc that can feel like a partial arc or a semi completed arc.   K: So I think with duologies, there’s a lot more leeway to, I don't wanna say mess with, but to play with -   R: [giggles] Be honest, we are messing with our readers. We are always messing with our readers.   K: [giggles] - to play with reader expectation because people who are reading a duology presumably understand that what they’re reading is part one of a story that’s gonna be told in two parts.    R: Do we know when we have a duology though? Is it made very clear when the first book is released? ‘Cause I don't feel like it is.   K: I think that’s a matter of advertising and publishing. Most duologies that I’ve come across, and by the way, this is very common now in publishing because they plan much farther ahead than they used to. The series are finite, you’re contracted for this much, so typically, before a trilogy or duology is actually released, the series already has a name, the books might say, you know, definitely in their description and Amazon and Barnes and Noble, if not on the book itself, book one of however many in the series or book one of the such and such duology, book two of the such and such trilogy.   R: I would say that there are as many new books on my shelf that do not indicate how big the series is going to be as there are that do.   K: Mmkay. But in Amazon -   R: In fact - well maybe in Amazon but you can only create series on Amazon when you have more than one book in it. You know what I mean?   K [overlapping]: Yes, yes.   R: So -   K: But in the description a lot of times it will say that, the cover copy could say that. Publishers sort of expect at this point that anybody who really enjoys a book or even things that they’re thinking of reading, they’re gonna go research it, and, if nothing else, the publisher will likely have something on their website or some description about how long the series is going to be.   R: You give the reader a lot of credit for researching a book.   K: When you go to pick up a book, and it’s clear that it’s a series, you don’t go and see how many books it’s gonna -   R: [overlapping] You think it’s clear that it’s a series, that’s the part I’m debating. I cannot tell you how many books I’ve picked up only to find out - I’ve got one right around here somewhere - I picked up this book -   K: [speech garbled through laughter]   R: Endgame by Anne Aguirre.   K: Yep.   R: “A Sirantha Jax novel” is all it said on the cover. To me, that did not indicate that this was the last book in a six book series. I read the last book first.    K: [laughing]   R: And I read it anyway even though I figured out within a few chapters that it was the last book in a series. But I have done this my entire life. You’d think that, after a few, I would learn. So what is it that does not indicate anywhere on here, that this is a long running series, this is book six in a series? I picked it up because of the cover art. That is always what I do.   K: [laughing]   R: And there was nothing on this to indicate it was book six out of six. That - it was called Endgame and I did not understand that it was endgame of the series.   K [laughing, overlapping]: Yeah, I’m starting - I’m starting to think that -   R: So you may be doubting me, but I’m just saying, I consider myself a fairly intelligent person, I would like to think.   K: [laughing]   R: But on a bookstore shelf, this was the only one there, the bookstore didn’t put out the other books next to it, you know? So why was I supposed to know that this was from a series? There’s literally nothing on here that says “by the way, you picked up a book that’s part of a series, you might wanna go check out book one.”    K: Well, I will say that’s bad marketing and bad work on the publisher’s part.   R: But I wasn’t exposed to the marketing, other than the cover. I was not exposed to the marketing, this was before I started writing and publishing. So -   K: But the cover is marketing.   R: No, I understand that. The cover is product design and marketing, just like the box for a microwave would be. So yes, this was supposed to be marked as book six. If I had seen “book six,” I might have looked for book one. But Ace Science Fiction, an imprint of Penguin, did not deign to make any sort of indication on the outside, presumably because they thought it was pretty clear because of course you’ve heard of Anne Aguirre and of course you have heard of the Sirantha Jax novels by then. But I hadn’t, so I picked up book six in a series and I read it without any backstory, and I really did feel rather dumped into a world that other people knew about.   K: How was it?   R: Um. It was fine.   K: So, here’s what -   R [overlapping]: Some things were not my mode but that’s okay.   K: [laughing]   R: It’s still in my shelf so it can’t be that bad.   K [laughing]: Okay, fair. Yeah, listen, the - how do you know that something is a duology, a trilogy, a what have you?   R: And is your publisher making the conscious choice to not indicate that?   K [overlapping]: That’s very possible-   R: - do they think they are indicating that, you might wanna run it by your grandma or -   K: Rekka.   R: - somebody who hasn’t -   K: [laughing]   R: picked up a book off a shelf apparently without ever failing to pick up the third book in a series.   K: You did tend to to do that quite a lot.   R: I did it a lot as a kid, I think - I picked up The Babysitter’s Club at book number twenty-four and I guarantee you that bookstore had all of them.   K: Wasn’t that all like, standalone stories, kind of, though?   R: Well they were procedural in that every book started with the main character’s POV introducing all of the babysitters in the club, and giving them some tidbit to characterize them that was also a little bit of backstory from one of the other episodes, and - I mean they really were episodes, they were not so much sequels as episodes - and then you’d go into the meat of the story, and everything would return to normal, there might be small developments and like, there was continuity through the books but the characters got older, they added new babysitters to the club, some left, you know, stuff happened and then it didn’t unhappen at the end of the book.  But even though, yes, any book would have been an entry point in the series, I guarantee you I just picked up a book from the middle of the long, very uniform looking line of Babysitter’s Club books, and this one was about a cat, so -   K: Aw, kitty. [giggles]   R: - I got that one. ‘cause Tigger ran away and was missing -   K: Aw :(   R: - so that was the first book I read out of that series! And then I read them a lot, this was my first experience with sequels, so it’s no wonder that I have no problem imagining that you would stick with a world forever and ever and ever and never write anything else. But I also read the rest out of order.   K: Yeah.   R: Like I had no respect for the concept of “oh! I should go back to the beginning and read forward,” that - I read number ten and then I’d read number eighteen, then I’d read number two; I just didn’t care. So it’s interesting to me, like, yes that was me at age twelve -   K: Well, also -   R: - that was very different from an adult reader, but as an adult reader obviously I have continued this. The Chanur saga, I think I read book two before I read book one, I didn’t care. Plus, if the book’s written well enough, you get introduced to it and you don’t lose anything for not reading the first one first in a series, an intentional series, but here we come back to the idea of duology; if you pick up book two in a duology, you have missed some shit.    K: Yeah, and I completely disagree with you, and this may just be -   R: [laughing] Of course you do.   K:  No, this may be just a compulsive thing on my end: I can’t not read a series from the beginning.   R: No, see, I am completely all about my organizational tics, but for whatever reason, growing up, reading books in order was not a big deal to me. And I think a lot of it had to do with the fact that I was not aware that if I asked the bookseller to get me book one because I was picking up book two and I wanted to start from the beginning, that I would have it pretty soon. Like, in my head, that would be -   K: Yeah.   R: - weeks and weeks and weeks of waiting. Plus, in my head, it probably cost more. Like I thought I would have to pay for shipping, I thought I would have to pay for a book that would, like he’d charge me twice as much just because I wanted it.   K: And see that’s just -   R: And also I would have to speak to a human and ask for something which I was very much not all in for, so.   K: And this just goes to show how funny and different we were as kids, because I remember there were book series that, I would go to the library and I would - this is, I’m about to demonstrate something about myself that I have kept secret - I’ve read all of the Wizard of Oz books.   R: Oh, cool! I always meant to.   K: And - they’re interesting. [chuckles] and my library didn’t have book seven, out of, like I think there’s like ten or twelve of them in the series, and I had to get it from my county’s huge central library, and my mom was like “well, just get book eight!” and I was like I can’t, I can’t do that, I will wait two weeks for that book to get here -   [both laughing]   K: But something like - okay, well, getting back on track [chuckles] here, something like The Babysitter’s Club, as you said, each book - the reason the POV character is introducing everyone is there’s a lot of books in this series. The Boxcar Children was like that; the first one is about a group of relatively young children running away from some abusive family member and deciding to live in an abandoned boxcar in the forest, and then eventually their wealthy grandfather finds them, and then every other book is about them solving mysteries [laughing].   R: Oh! Okay.   K: The first book is like a weird survivalist book and then every other one is just them [through laughter] travelling with their grandfather and solving mysteries.   R: At least the continuity is intact.   K: But with duologies, we’re gonna assume that this is a known duology - and I couldn't find any example of this, I swear I did look - a duology that started out intentionally a duology but then became a trilogy after book one was published. I couldn’t find any examples of it, I’m sure it’s happened but, in theory, especially in publishing and especially with contracts being what they are now, you’re going to have - especially for a duology - a contractual set of the books that are going to be in it, the two books. You may even have some specifics in there about book one: this stuff has to happen, book two: this stuff has to happen. Publishers are a lot more hands on with these kinda things now, because before it was just like “cool, you got another one? cool, you got another one? Alright, let’s get the next tale of the otherworldly alien investigator who came to Earth to find the stolen gem of her people but solves mysteries along the way.”    K: So, with a duology, and with where the middle of this is, and what you can play with with reader expectations. I would say you absolutely have a little more leeway. “What if they don’t know it’s a duology?” Well, that's on the reader. I don’t - there’s no good answer -   R: Or is it on the publisher and their marketing department? [laughing]   K: Or that. The thing is that you could stick right on the cover: Book One of the, you know, We Make Books Duology. Maybe someone doesn’t read it, there’s no way to make everyone understand what this series is going to look like. I never buy a book before I know, you know - is it a trilogy that I’m getting myself into here, is it a duology, is this just gonna keep going on and on forever? I understand not everyone’s like that, most people are far less - what’s the word I’m looking for here - less fussy than I am. [laughter] Some people are just pure chaos like Rekka, who walk into bookstores, pull something off the shelf, and just go “look’s good!” [laughter]   R: I’m here for a good time!   [both laughing]   R: Look, I’ve found a lot of books I liked that way.   K: Yeah! No, that’s great.   R: Mhm.   K: But I remember going to Barnes and Noble back when I was in high school and college and we used to hang out there, and they would always have the table of the $5 books -   R: Mhm.   K: If they didn’t have books one and two and this was just book three, I wasn’t gonna pick it up and read it because I needed to know how it got there [laughing]. I think with duologies, you definitely have a little bit more room to play with that because the understanding is that this is more like a first and second act. And the reader should understand that: “you’re being presented half of a story, the second half is coming.” And there’s a difference between having halves of a story versus having to present a whole coherent story like you have to when you get into trilogy mode. Because if you’re breaking up a story into three parts, the first part is going to be really dry if you’re just telling one long, giant story.    R: Yeah ‘cause that’s set up still, that’s just pure set up.   K: Yeah. Find a 700 page book. Go to page - what would it be? - 233 and, in that area, decide if you think that’s about a good place to end a first book that seems like a good story has been told. Now conversely, I would say that picking up a 700 page book and going in the middle could go either way. Depending how the story’s structured, maybe that is an interesting middle-halfway-stopping point. There’s a good chance that it’s not because standalone stories tend to be backloaded.   R: Right.   K: Most of the action, adventure, and intrigue, happens in the last third of the book.   R: I would even say -   K: Last quarter?   R: Last quarter of the book, yeah.   K: How do you know if you have a duology vs a trilogy vs a standalone book?   R: Someone tells you.   K: [laughing] You know what? Honestly, that might be the answer.   [both laughing]   K: That really might be the answer.   R: Please, someone tell me!   K: [laughing]   K: An agent, a publisher, a good friend who reads your stuff might say: “This isn’t a standalone story, this is two books.” You know, with a trilogy it’s a little easier. Are you having trouble filling the middle book? Are you having trouble figuring out what’s gonna happen in book two, and are you just coming up with stuff because you need to create -   R: A third book, yeah.   K: - about 300 pages of content so that you can get to the third book? That’s a good indication that maybe you don’t have a trilogy, maybe you have a duology. For a standalone book, it gets a little harder. One is length. There aren’t a lot of 700 page books published anymore and, depending on the genre you’re writing in, there might be none of them. Fantasy tends to have a little bit more tolerance for that kind of length -   R: We wouldn’t have the phrase “doorstopper” in our current lingo if they weren’t really happening anymore. I think they are still happening. Like you have Jenn Lyons.   K: Yep.   R: Jenn Lyons writes some big books and there’s like, five of them [giggles] in a single series.   K: But you brought up a very interesting point: why we have those doorstopper books. Because, for a publisher - first of all, a duology however many years ago, even a decade ago, that was not a very common thing.   R: Mhm.   K: But if you had a long story, and especially if the publisher was uncertain about it, it was cheaper and less of a risk for them to just do a giant run of one big book, rather than two smaller or three smaller ones.   R: Okay. Because you lose readers as you go further down the series.   K: Well you lose readers, but there’s also overhead.   R: Right.   K: It’s cheaper to publish one giant book than it is to publish two smaller ones.   R: Right because you need cover artists, you pay the printer for each one of those sets, you print a minimum quantity for each of those, yeah. No, I’m not arguing that with you, I’m just saying like -   K: Yeah.   R: - one of the considerations is also to be: how will you be able to earn that back if you lose 20% of the readers each sequel down the line.   K: Yeah, exactly. There’s a lot of factors in why publishers might say, “nope, this is just gonna be one giant book.”   R: No, there’s one factor: it’s money.   [both laughing]   K: There’s a lot of factors that go into the money factor. [laughing]   R: The accountant is taking many things into consideration.   K: Yeah [laughing]. Touché, Rekka.   R: Mhm.   K: But, if you’re writing this story and there is a lot of stuff happening in the first half of the book that is then still not resolved when you’re getting towards the end, you might have a duology on your hands. Now granted, you may be like: “Oh well it’s only 180,000 words.” Well, yeah, maybe you gotta write a little more and flesh this out a bit. The times that I see books where I tell myself this should have been a duology - or authors that I’ve spoken to - are when I'm having trouble keeping track of everything that’s going on because you’re packing too much into this. The best case for a duology is when the reader is feeling like they’re being bombarded with information without proper time to absorb it and apply it to the story.   R: So are you squeezing everything into one side or the other of the fold which is the tear that becomes the intermission in your duology.   [both laughing]   K: Yes, exactly.   R: That’s the official term for it.   K: Yeah, and look, there’s - thankfully in publishing, there’s no standards, there’s no ‘we always do it this way’, ‘if you have this then it’s this,’ no one is going to go: “Sorry Random House, you’re not allowed to publish a 700 page book.” They can publish whatever they want, so if they - R: I mean there is a point at which the book is structurally unsound because it’s more spine than cover.   K: [laughing] Yes, alright, fair, fair.   K: You have leeway, and publishers have leeway for this, and really, there is no correct answer except: what serves the story best? How is this best told? How are you best engaging the reader? In some cases - I’ll use The Six of Crows as an example. I don't think that book works if you take the two halves of that, smoosh it together, do a little creative bridging in the middle, and just present it as one giant book. It doesn’t work. The tone shift between the two is so important that there’s intermission and that you come back and you’re like: “Oh boy, what’s gonna happen now?”   R: Okay, so is that - do you think that’s a critical part of it? Do you have to do that, or you think it just happens naturally because you’re taking a break from one story and coming back with the second piece?   K: I think it tends to happen naturally but, at the same time, this is kind of going into what we were talking about last episode with book two of a trilogy which is: you can’t tell the same story all over again. So presumably at the end of book one, enough has happened to the characters and the story arc where things have changed. So, by virtue of that alone, book two is going to be different.   R: Right.   K: I’ll make the argument, in a trilogy the same thing’s gonna happen. The tones of the books as the progress should be getting more urgent or darker or more mysterious, hopeful, whatever you’re building towards -   R [overlapping]: Sort of like an adventurous story to a, like the fate of the world  -   K: Yeah.   R: - literally the fate of the souls of the world are at stake.   K: The stakes should be being escalated, the characters should be very clear in their motivations. The plot should be very clear cut at that point and there should be a clear point to which the characters, the objects, the McGuffins, the story is moving towards at that point. The end of book one, the reader should have a very good idea of what the objectives are of book two. Now if they work out that way or not, that’s up to the reader, you know, maybe throw a twist or a loop in there or something, and the plan never goes according to plan because plans shouldn’t go according to plans in books -   R: Right. Right.   K: But the reader should have an idea of what they’re in store for in book two. Even if it’s not how that ends up going, the characters should be telling them: “Okay, we've gotta do this.”   R: Mhm. Aaaaaand cut.   [both laughing]   R: “We’ve gotta do this, and we’ll see ya in a year.”   K: Well, you know, duologies tend to come out a little closer together because, as I mentioned, the overall story is frequently written at the same time. And then maybe - okay you’ve done a lot of work on the first book to get it published and now it’s time to do that, but a lot of times it’s written already, it exists -   R: Whereas they really throw writers out and to the wolves for their trilogy like, yeah, we’ve signed you up for a trilogy, how’s that coming? “Uhhh, I don’t really know how it’s gonna end? But it’s great?”   K: You also get all of these contradicting things of: don’t tell them you’ve written all three books already; no, tell them so they know that they’re done; okay, but we just really want book one to have a nice conclusive ending, so I’m gonna need you to rewrite the end of that and then retool the beginning of the first two and figure how that’s gonna fit into the third.   R: And you better hope that the first two sell well, or you don't get to see the third.   K: Writing’s hard.   R: Yeah, so that’s a big part of it though, I never considered that when you sign a duology, you might have already talked to the publisher about where the pair of books is going to go.   K: Yeah, nobody writes a duology with the understanding of: “You need to have a nice neat ending for book one. [laughing] We’ll see how that -” I shouldn't say no one, I’m sure it’s happened. But I would argue in that case that that’s not really a true duology; that’s more of a couple standalone books.   R: So a short sequel run -   K: Yes.   R: - of a single world.    K: Yeah, exactly.   R: So, going back to your definitions then.   [happy go lucky ukelele music]  Rekka: [sing-song] Definitions!    Rekka: And listeners, Kaelyn doesn’t know what I did with that, so don’t tell her. So I think we need to reset our definition because you were defining it earlier in the episode and, to a degree, it felt like you were defining it as a single story divided in two pieces, and then later you said it was not a duology if it’s not a single story, but then, kind of maybe it is? I’m a little confused, so start over.   Kaelyn: SO definitions of duologies and trilogies. The actual definition of them is: “however many stories - two, three, four - of related work in a group.” So this might be the same story, the same world, the same characters. What they typically do is they say: “If you’ve written three books, they’re all about an alien investigator but they’re all individual stories” - Alien Investigator Trilogy. Duology, same thing. Technically any three books or any two books or four books, or whatever you wanna call it, is a “that.” Now, at a certain point - and I don’t know where this point is - I think you stop applying the duo- tri- quad- etc. to it and it just becomes a series. Now, from my side, what really defines a duology or a trilogy is the intent of the overarching story plot. That you didn’t just write three books because you had three stories in you so it ended up being a trilogy. You didn’t just come up with two stories and now it’s a duology.   K: There’s some - I won’t say argument about this, but I think it’s something that we see more in publishing now, that if you're contracted for a trilogy, the presumption is going to be that the trilogy is three books explaining a single story. It’s a single story arc. It may take a long time to get there, but -   R: Mhm.   K: - if they’re signing you up for three books that’s in the same world but not in the same story arc, that’s a three book contract, that’s not a trilogy contract. R: Okay, fair.   K: So that’s the distinction I would make. That said, by broad definition, duologies - trilogies, we’re just obsessed with the number three?   R: It’s a nice balanced number, you know?   K: Yeah. Three and seven. But I think this goes back to the ease of the beginning, middle and end. And that’s where I think trilogies and duologies really shine through is this intentional story of : It’s gonna take me this long to do it versus just writing books and however many you end up with, adding that number label to it. I would say, something like a duology contract vs a two book contract, and I don’t know that I’ve ever really heard of two book contracts unless [laughing] it’s a duology.   R: But I have seen a lot of contract announcements, book sale announcements lately that said:  “So-and-So’s Title plus an unnamed future book.”   K: Yes, but those would likely be standalone books.   R: Right, but it’s still a two book contract.   K: Okay, fair.   R: As opposed to just saying future works -   K: Yes. [laughing]   R: You know what I mean?   K: Yeah. And so by the way, what we’re talking about here - and I know we’ve touched on this in previous episodes, specifically the contract ones - a lot of times if you sign on with, sometimes an agent, usually a publishing house and they really like what you have and think you have the potential to grow a fanbase, they’re gonna try to lock you down. So they’re gonna say: “Cool, you’re gonna write a trilogy and three books to be named later.” It’s like signing athletes to multi-year contracts, a lot of times you have to take a chance on somebody after college or, sometimes in the NBA, right out of high school. You don’t know how they’re gonna perform, they’re gonna need training, they’re gonna need help. So you have to put the time and investment into them and you wanna make sure that if they turn out to be really good they’re not just gonna go “Hey thanks but I’m gonna go to New York because they’re gonna pay me twice as much as you did.”    R: Right, right, now that you’ve proven yourself. Now it’s good if you get a multi book contract from a single publisher and maybe your debut launch isn’t as strong as you hoped, and it takes two books to kinda gain some traction. That’s good for the author but -   K: Yep.   R: Like we said, if the other team would have paid you twice as much, now you’re stuck selling your book for debut prices. Which, okay yes, we’ve all heard about the debut windfalls, but debut authors don’t typically make a whole lot of money.   K: [overlapping] Yeah, there’s a reason you hear about them, it’s because they’re a big deal.   R: Yeah, it’s ‘cause they’re outliers -    K: [laughing]   R: - much like all things we make a big fuss over, ‘cause we love a rags to riches story.   K: Yeah, so that’s why my clunky - and this is personal, sort of clunky definition of this - but I would say that that is certainly the trend of where you’re seeing these definitions in publishing is: if  you’re signed on for a trilogy, the understanding is that it’s going to be a three book story arc, if it’s a duology, it’s gonna be two.    K: When Rekka and I are finished here, I’m going to go sit down, pour myself a glass of wine, and finally try to finish the fourth book of The Ember and the Ashes quadrilogy. That’s one that I really thought was a trilogy, and I don’t know what happened there, I don’t know if it changed and they were like -   R: Aha!   K:  - “ah we’ve got more story to tell here” -   R: They got you, too. [giggles]   K: Yeah, they did get me on that one and I had to wait for quite a while for that book to come out and I just, I need to sit down and get into it, you know? [laughing]   R: Alright, well let’s wrap it up. What the heck are we talking about when we say it’s harder? Did we give concrete advice on how to tell? And you can say, like, yes, I feel like I did.   K: I feel like I did and I think I didn’t because sometimes, as you mentioned, someone else is gonna have to tell you. I think it’s easier to tell if you’re working on a trilogy that, maybe it’s a duology. Because I think when you’re hitting a wall with the trilogy, trying to come up with ways to fill the middle, that’s a good indication that you actually have a duology.    R: And now that’s gonna be harder to write because you said so.   K: [laughing] Yes.   R: Congratulations, you just leveled up.   [both laughing]   R: You had a hard time filling a middle book, now you’re gonna somehow make it worse by trying to fit everything across the divide of an intermission between two books.   K: [laughing] Yeah and, to go back to what I said -   R: So you’re welcome.   [both laughing]   K: To go back to what I said about the standalone, I think a good indication there that you may have a duology on your hands, is if you feel like you’re sprinting through information, and you’re feeling like you’re having to take things out to stay within whatever you consider to be a reasonable word count. If you feel like there’s more story there - and writers, I know you always feel like there’s more story there - if you feel like you can’t tell the story and that it’s going to be confusing, or that it’s going to lack context or information or character development or anything, that’s a good indication that you might have a duology. Because what that’s indicating is that you have a lot to show the reader, and duologies give you great room to do that.   R: So here's a thought I just had.    K: Uh oh.   R: You mentioned word count.   K: Yeah.   R: So if you’re drafting, you don't know how many words you’re gonna end up with necessarily. Is this a decision you make during revisions?   K: Listen, there’s no definitive “this is a duology” time.   R: [giggles]   K: No one’s gonna bring you into a room, put the Sorting Hat on you and go: “Duology!” [laughing]   R: So it’s not going to suddenly smack you in the head.   K: Some people absolutely set out to write duologies. They say: “I have a story that I am gonna tell in two parts.” Some people draft the whole story and go: “This is too long for a single story, or this is too short for a trilogy, maybe I have a duology.” I feel like with duologies, unless you set out to intentionally write one, you're going to have to figure it out organically somewhere along the writing process.    R: Here’s another thought.   K: You’re just full of these today.   R: Yeah, sorry about that. I will stop, next time I won't have a single one, I promise. We’ve been mentioning word count a lot as the moment where you realize you might have too much or too little, but could it also be story elements?   K: Absolutely.   R: In that, I could wrap up some of these plot elements in one book, but not the whole thing, and that there’s an equal, if not mathematically equal, number of plot elements that could wrap up if I kept going in a second book. I mean, basically, it’s all magic, right?   K: Yeah, absolutely. There’s no definitive answers here unfortunately, like so much of this. I hope if you’ve been listening to this podcast this whole time and you have come here for somebody telling you: this is how it always is, you figured out a while ago that you’re in the wrong spot.   [both laughing]   R: Or that you still have to trust our word. Just grab a big glass of wine and go read a book. It may or may not be the last in the series, we don’t know. Nobody knows!   K: We don’t know, nobody - what is even time by now? [laughing]   R: Alright, so duologies are hard, trilogies are also hard, standalone books are hard. Have I covered it?   K: Everything’s hard.    R: [overlapping] Got it. Okay, cool. We did it.   K: But they’re all hard for different reasons. [laughing]   R: Oh, now I get it. Okay.   K: Yeah. Yeah.   R: Now I get it, alright. So the point is: you write the story. Hopefully, either you know how many books you’re supposed to end up with and you can calculate out from there how you’re gonna write the story. Or you write the story and you break it up into the number of books it demands that it should be.   K: Exactly.   R: Or that your publisher demands that it should be. [chuckling]   K: My advice to people always is: write the story. Just write it. Then take a step back and see what you have.   R: [overlapping] Then do the math.    K: There’s no formula for this, there’s no ‘this must happen at this time.’ If I had astounding amount of money to just throw away at whatever, I swear I think I would hire people to select books from different genres and map out common elements of them and put them into some sort of excel spreadsheet where I could make a nice pivot table, and see where these common element points occur, and I guarantee you almost none of them would line up.   R: Okay, I know there’re people who would disagree, but we’ll have to have a debate episode sometime.   K: [laughing] Excellent, excellent.   R: So, wrapping it up, write a damn story. It’s gonna be hard enough to get it published anyway, don’t worry about it.   K: It’s gonna be hard enough just to write the thing!   [both laughing]   K: So just write it and then work from there!   R: [overlapping] Okay-   K: Tell the story you want to tell.   R: - so with that sage advice, I probably shouldn’t tell you that you can find us on twitter and Instagram @WMBCast and on Patreon.com/wmbcast, which you are definitely not gonna want to support after listening to this one.   K: [laughing]   R: But it would be helpful if you could leave a rating and review on Apple Podcasts, and remember to subscribe using whatever podcast app you like. And we will see you in two weeks with another poorly formed episode discussion. Thanks everyone.   K [laughing]: Thanks everyone.

As you start exploring plant-based eating, you might find yourself browsing the wide array of vegan goodies in the aisle on your weekly shop. Is that a tummy rumble? Hmm. Those vegan cheeze puffs sure look tasty.  Aaaaaand there goes the grocery budget.But wait a second. Isn't plant-based eating supposed to be cheaper? That, my friend is the rub. In a modern grocery store, you can find a vegan version of just about anything, and all those goodies are tempting. But never fear! A balanced plant-based diet (and grocery budget) is made possible with a little planning and a handy vegan shopping checklist.  With a little meal-prep and will power, you'll find yourself eating better while saving money doing it.  In today's episode I'll share 6 tips for making your foray into vegan eating better for you, the planet and your wallet. Follow me on Instagram  Subscribe to the blog Share your podcast review  

Aaaaaand we're back! On the docket this week: Cody finds the best Wikipedia page, Ally is on the run from Caroline Kepnes, and Wanderer gets extremely traumatized in The Host! Next week: Ch 41-42 of The Host! Download episode transcripts! bit.ly/ITTtranscripts Buy our merch! bit.ly/ITTSHOP Support us on Patreon! patreon.com/intothetwilight Rate and review us on Apple Podcasts! bit.ly/ittunes Get personal messages and sponsor spots! bit.ly/ITTmerch Where to find us: Cody: twitter.com/codycorrall Ally: twitter.com/intowildplaces Music by Eli Krauss: twitter.com/elisourkrauss Art by Maddie Padilla: instagram.com/yourghosthost44

Ever been overwhelmed when trying to fall asleep? When this happened to Paul, he felt the old neighborhood was calling out to him. It wanted to be remembered. This type of personification seems odd, but truly happened. From some wonderful positive neighbors, to one possibly from Area 51, this episode centers around those neighbors with whom Paul and his family were blessed AAAAAAND cursed. The gruff ex-marine who was tattooed head to toe and worked on cars, the retired one who called the police on Paul six times. The one that told Paul’s mom he was ‘too oafish’ to walk in her yard. Add Tilley, the Bangs, the Johnsons and Walt and you have Paul’s environment growing up. Don’t miss the go cart story .  Paul gets INVITED BACK HOME to have a talk with his awkward, eccentric and quirky past.Support the show (https://lifeslearningcurve.org)

On today's episode, we wish SB a happy one year anniversary! Aaaaaand we dive into some pretty deep updates on our lives. A lot has changed recently, and it continues to change and move forward. But, God is faithful, and we are blessed to have our history, and we're excited for our future. Thanks for listening!

Aaaaaand we're back! On the docket this week: Cody loves Dolly Parton, Ally can't stop thinking about the big ship, Rob wants a big check to return to Twilight, and it's tribal council time in The Host! Next week: Ch 37-38 of The Host! Download episode transcripts! bit.ly/ITTtranscripts Buy our merch! bit.ly/ITTSHOP Support us on Patreon! patreon.com/intothetwilight Rate and review us on Apple Podcasts! bit.ly/ittunes Get personal messages and sponsor spots! bit.ly/ITTmerch Where to find us: Cody: twitter.com/codycorrall Ally: twitter.com/intowildplaces Music by Eli Krauss: twitter.com/elisourkrauss Art by Maddie Padilla: instagram.com/yourghosthost44

A weekly look at all things Sheffield Wednesday - news, views, boardroom politics and the all important performances on the pitch. Bringing some levity to life as a Wednesdayite, enjoying the highs and only occasionally wallowing in the lows. Aaaaaand breathe. We've only gone and won one! The sweet relief of victory, the strange comfort of boring moments, the turning of a cruise ship with a draw at Huddersfield - a positive week and a boisterous mood on the pod. They say its the hope that kills you...bring it on. WAWAW Stay Safe www.differentgravypod.co.uk 

Gav was joined by Bomber, Mike and... Red Stripe... after another win for Sunderland in the league!You can listen for FREE on Acast, iTunes, Spotify, & YouTube - get stuck in. What's the crack?Aaaaaand it's another 3 points so we're still on our way... Pompey next...The Lads rated by the panel; Where does each player stand?A few of your three word reviews, some mixed reviews of some of the Lads, and some chronic salivating over our Luke and Dion..Cheers for listening!HAWAAAAAAY! #SAFC #EFL See acast.com/privacy for privacy and opt-out information.

49. Ever feel like you're juggling allllll the balls, just waiting for some of them to drop? Me too. It can feel like a real live circus up in here! Home life, work life, mom life… #allthethings, right?! I got you, girl. Your life is about to be CHANGED (promise!) Today's podcast guest, Toni-Ann Mayembe knows what it feels like to be a busy mom who's juggling it all! She's a full-time dentist, a reservist in the Navy, and the blogger and podcaster behind the brand Real Happy Mom. Aaaaaand lucky for us mamas, she's dropping all her best secrets about how routines can up our productivity in today's episode. You're gonna love this!  With Great Joy!  Katie ————————— LAST CHANCE!! Enroll in the Joy Filled Mama Membership @ JoyFilledMama.com  Hurry!! Limited availability!!  ————————— Learn | KatieHedrick.com  Connect | Katie@KatieHedrick.com Community | facebook.com/groups/happychicks  Work with Katie | KatieHedrickCoaching.com Free Gift | KatieHedrick.com/eBook Support the Show | KatieHedrick.com/Patreon 

Aaaaaand we're back ladies and gentlemen! Hope you didn't miss David too much. Join David this week as he engages in typical podcast antics as well as interviewing a very special guest, young entrepreneur Jimmy Geib. If you're still reading this, just listen to the episode, I promise you it's gonna be Arkay (with David Arkay).

Aaaaaand...we're back!  Welcome to episode 69! We discuss a variety of topics (as always) including stocks, entrepreneurship, and I'm so sorry we don't actually don't talk about The Bachelor. I just thought it looked good in the title. Ok then...enjoy! Deyus Life is a show about interesting people and interesting conversations. Have a question or want to be featured on the show? Email deyuspod@gmail.com or visit deyuspod.com. We read and respond to EVERY email - including yours.

Promises made, promises kept: the foundations for friendship and heartfelt conversations. As promised, Roberta Damon and Kathrin sit down for a meandering dialogue through the forests of thought, feelings, and belief. Stories are shared, discoveries are made, and they encounter gratitude, generosity, and hope….oh my! Some links to share:Here’s a link to the movie, Pay It Forward Roberta’s Four Thoughts about Gratitude (and Generosity & Hope, but mainly Gratitude):1. Gratitude can help us not be defined by the injustices in our lives. Don’t let the injustices define us and who we are.2. By being Grateful, we become more Generous…. Likewise, by being more Generous, we become more Grateful.3. What kind of Person do You want to be? Look around you, Observe how others treat people, and Decide the Person you wish to be in the world.4. Gratitude (and Generosity and Hope) can make you more compassionate and selfless.Roberta’s quote about people…The nicest people in the world are in church.Aaaaaand…..The meanest people in the world are in church.Kathrin used the phrase, Lord, protect me from your followers. Did you know there’s a movie called, Lord, Save Us From Your Followers? Well, there are bumper stickers that say Lord, save me from your followers. Here’s an article titled, “Please Lord, Save Me From Your Followers” written by Lorelei Nettles, which asks a great question. Kathrin found it challenging to find a biography about Alice L. Humphrey, author, so if you have any information about Alice L Humphrey, please let Kathrin know! Here is the list of books Roberta mentioned:Angels in PinaforesHeaven in My HandThe Lady in Red (a story in the book, Heaven in My Hand)And both Angels in Pinafores & Heaven in My Hand are available at Amazon!Edgar Allen PoeThe Cask of Amontillado (acknowledgment to AmericanEnglish.Englich.Gov)Edgar Allan Poe House in RichmondHappy Birthday to Pastor Peter James Flamming, Pastor Emeritus of First Baptist Church!Pastor Jim SommervilleLove Lives On is an online resource center dedicated to educating families in end-of-life issues, including Writing Your Own Epitaph Roberta’s epitaph: “Y’know, She Left It Better Than She Found It.” &n

Aaaaaand we're stayin spiritual, folks. Elizabeth Tripp is a New York based Lifestyle Design Coach and Spiritual Teacher. As a featured radio talk show host on TalkRadio.NYC, a Thrive Global Contributor, and a national public speaker, Elizabeth is recognized as a thought leader in spirituality, well-being, and prosperity. She is the owner and founder of ElizabethTripp.com, a coaching practice where she awakens ambitious women and men to the beauty of their soul's journey by helping them see the true beauty of their body and their life. It is Elizabeth's calling to empower other people to feel truly healthy, happy, and radiate with joy because they love themselves and their life more than they ever have before. She believes the secret to loving your body and your life starts with believing you deserve to. Elizabeth teaches her clients to see their own journey and create their own path by helping people to understand who they really are and the purpose behind why they have chosen their body and the life they're leading. With Elizabeth's unique capacity for sensing and understanding the feelings of others as well as her ability to feel and communicate with spirit guides and past loved ones, she helps her clients believe it's possible to love their body and their life and therefore dissolve their struggles with their well-being once and for all. Elizabeth shares about: • A pivotal moment getting bullied in middle school that led to 20 years of chasing beauty and enough-ness • Losing 76 pounds in one year and getting mad attention and validation, but still not feeling worthy on the inside • Becoming an RD and feeling like a fraud because of binge eating + drugs + drinking + over exercising • Being a deeply sensitive and empathetic human without the tools to process emotions as a youngin • Trying to be like other people to like herself • Wondering what the point of life was after a long time relationship ended • The spiritual mentor/moment that led her to realize she could let go of the external stories and value assigned to her • The path to seeing herself as beautiful, and how that led to her treating herself beautifully • The challenges and setbacks of the journey ….And SO much more CONNECT WITH ELIZABETH: Empowered Soul FB group https://www.facebook.com/groups/1104936926541678 Insta https://www.instagram.com/elizabethmtripp/ LISTENER CONNECT FORM https://forms.gle/E4jcT3NcbCe1jemR8 HANG W ME ON INSTA https://www.instagram.com/jenniesthriving/

Aaaaaand we're back! New season, new content and now BACB CEUs! Yes, we now offer continuing education credit for our podcast content! **THIS EPISODE IS ELIGIBLE FOR .5 HOUR BACB CEU CREDIT If you are a BCBA, BCBA-D, or BCaBA and would like to receive continuing education credit, while supporting our 501c3 non-profit efforts, use the following link to obtain credit for this episode: CEU Request Form Welcome/Business: Shoutout goes out to an amazing on of our BCBAs. Hop, Hooves and Humanity is an official non-profit! In Good, Bad, Ugly: we catch up on the goings on in our absence. In the Applied Beer Analysis segment: Eric reviews CryoStash, an imperial IPA by Hop Valley (Eugene, OR). Main Topic: This week, we discuss evidence-based practices, ethics and the importance of listening to the communities and stakeholders we serve. Sites and Resources to check out: Please consider donating to our animal rescue and family support efforts by any of the following means: Our website: Hops, Hooves, & Humanity where you can donate through our PayPal link as well as Amazon Wish List options. https://adventureswithautism.net/fundraising-efforts To see more information on some of our fundraising efforts Adventures with Autism on Etsy See some staff generated art to support our clients and families. Become a Hops and Hooves Patron Check out our Patreon for exclusive catered content --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/hopsandhooves/support

Aaaaaand... we're back! Thank you so much for sticking with me during an unplanned hiatus!  This week is all about "Take This Job and Shove It," where we discuss Joel just not getting it, an unpleasant look at a hand in a zipper, Zoe and Wade's brand new friendship! We're also learning about all of the reasons Brick wants to unfriend Cam on Facebook, and I can't say that I blame him!  We're also discussing Lemon's "resistance," saying "Aw" to Frank, and contemplating a different role on the show for Lynly. Don't forget to join the conversation on Twitter @HartOfDixiePod, on Instagram at longlivethehartpod, or e-mail the show longlivethehartpod@gmail.com! Link to our Hart of Dixie "Rammer Jams" Spotify Playlist: https://open.spotify.com/playlist/4Xebgdnbwl37yeOK4b1xJH  

What's the future of unconventional innovation when geography is disrupted? And why is people watching so satisfying? [26:20] Aaaaaand we're back! This week, Joey and Aaron and Jess talk about San José-sized places, people sharing knowledge, the crosswalk in Downtown Napa, mirror neurons,—A Classic Joey Camire Maneuver—the challenge with ethnography, and Lego Santas. They don't talk about how you can watch what people watch from the comfort of home. references Berkes, Enrico and Gaetani, Ruben, "The Geography of Unconventional Innovation". July 19, 2019. Rotman School of Management Working Paper No. 3423143. Psychological Science: The Neuroscience of Empathy Psychology Today: The Expert's Guide to People Watching

This week is our first episode of 2021! Aaaaaand it's predictably ridiculous. Every week we have a ten-question news game based on the funniest, dumbest news from all around the world. Visit our comic store: [www.ignoblecomics.com] (http://ignoblecomics.com) Music from https://filmmusic.io "Acid Trumpet" by Kevin MacLeod (https://incompetech.com) License: CC BY (http://creativecommons.org/licenses/by/4.0/) "Just As Soon" by Kevin MacLeod (https://incompetech.com) License: CC BY (http://creativecommons.org/licenses/by/4.0/) MBD is a proud member of TitanCast Network

This week is our first episode of 2021! Aaaaaand it's predictably ridiculous. Every week we have a ten-question news game based on the funniest, dumbest news from all around the world. Visit our comic store: [www.ignoblecomics.com] (http://ignoblecomics.com) Music from https://filmmusic.io "Acid Trumpet" by Kevin MacLeod (https://incompetech.com) License: CC BY (http://creativecommons.org/licenses/by/4.0/) "Just As Soon" by Kevin MacLeod (https://incompetech.com) License: CC BY (http://creativecommons.org/licenses/by/4.0/) MBD is a proud member of TitanCast Network

If the last few years have taught us anything, it’s that trauma victims will no longer be silent about abuse or imbalances of power. It finally feels like a shift is happening.Hallelujah, is all I can say.But there’s a long road ahead of us. This newfound visibility highlights the lack of resources available for victims to cope and heal from their pain.That’s exactly what my guest, Jennifer Storm, talks about in today’s episode. An award-winning victim’s rights expert, she is also a survivor of childhood rape, and drug and alcohol addiction, and she’s a best-selling author.It was an honour to be able to chat with her and listen to how she’s moved through darkness and suffering to find an inner strength - showing other survivors that you can overcome trauma and thrive in your life.In this episode we uncover: ✅ One thing you can do to help yourself heal;✅ The practical steps you can use if you’re a survivor of sexual trauma and substance abuse;✅ The kind of collective trauma we’re all experiencing due to the current pandemic;✅ How you can find victim support and make the most of it to heal; and✅ How writing 5 books has been an incredibly cathartic experience for her.Mostly the message of today’s episode is that you’re not alone and it is possible to reclaim your life and your happiness.Are you ready? Let’s dive into just a handful of what I’ve discovered and researched for you! Tune into episode 98 here.Resources:You can find more Storm inspiration on Jennifer’s website.If you want more fundamental shift goodness listen to this episode of UNTAPPED where I talk to master level coach Rob Scott about unleashing your superpowers.You can also heal your childhood trauma and gear yourself up to be unstoppable when you listen to my conversation with multi-million dollar biz builder Mia Hewitt.Aaaaaand...Want more purpose, potential and profit in 2021? Then make sure you take advantage of my Plan your profitable freedom year like a BOSS course today! See acast.com/privacy for privacy and opt-out information.

It’s time to reclaim that inner child, lovely. But how do you do that? That is the million-dollar question! And I have the answer: You play. Yup. You rediscover your purpose using play.Sounds easy, but when we’ve been told 'NO' approximately 148 000 times by the time we’re 18, it’s no wonder you and I are so afraid of playing and being who we are.Me? I love doing cartwheels and handstands and making up stories. I’m all about curiosity and imagination, so learning to rediscover your purpose using play, with Jeff Harry was so exciting for me.You spend so much of your time pretending to be a very serious and important grownup. When you let go of this BS, let your hair down, and PLAY, that’s when magic happens. It’s time to embrace your inner child - nerdy, silly, gawky, fun, energetic...whatever she looks like. Give her all the love she deserves, and watch her make a difference and change lives. Jeff believes that we already have many of the answers we seek, and by simply unleashing your inner child, you can rediscover your purpose using play and, in turn, help to create a better world.In this episode we uncover: ✅ How Jeff frames his whole day for play;✅ How play can help you rediscover your purpose;✅ How embracing a play-oriented mindset may not only help your business survive but thrive;✅ How ye can tap back into your inner child; ✅ How to deal with A-Holes through play; and✅ What happens when you really get quiet.Jeff’s energy is infectious. You will not be able to listen to this and not feel playful. Just. Not. Possible.Resources:Grab even more playtime on Jeff’s website.Want to read more about letting your creativity flow? I gotcha.Aligning your passion with your work is something I take VERY seriously. Because that’s when we truly play.Remember that I have all the goodness when it comes to getting paid to be you, so grab that deliciousness now.Aaaaaand...Want more purpose, potential and profit in 2021? Then make sure you take advantage of my Plan your profitable freedom year like a BOSS course today! See acast.com/privacy for privacy and opt-out information.

Aaaaaand we're back! Brian is a bullhorn of opinions and is a lot of fun to talk/listen to. He is single and will literally speak his mind right out of a "Good time" lol. He has goals and one of them was to compete in a wrestling tournament after not really training to hard. This episode is a ton of fun and if you have an opinion...please leave it in the comments on my YouTube Channel (UNHINGED EPISODE) Now let's Start That Party in your Earholes! @DarrenCarterComic * Venmo tips are appreciated --- Send in a voice message: https://anchor.fm/pocketparty/message Support this podcast: https://anchor.fm/pocketparty/support

Aaaaaand we're back! We're joined by Emily Wheeler finally answer the most important question: which vampires are sexy, spooky, and sad? Also we discuss airport shenanigans and Bella almost dying in chapters 25-26 of Midnight Sun! Next week: Midnight Sun chapters 27-28 Follow Emily! tiktok.com/@edwerdcullen twitter.com/EMlGAY Support us on Patreon! patreon.com/intothetwilight Rate and review us on Apple Podcasts! bit.ly/ittunes Get pins, personal messages and sponsor spots! bit.ly/ITTmerch Where to find us: Cody: twitter.com/codycorrall Ally: twitter.com/intowildplaces Music by Eli Krauss: twitter.com/elisourkrauss Art by Maddie Padilla: instagram.com/yourghosthost44

Y'all! I'm taking a break! Whuuuuuut? Yes! After over 6 years of producing (at least) weekly episodes for this show, I'm talking a wee break, and in this week's episode, I'm sharing why I'm pausing now, what that's going to look like for the podcast, and how you can take a break as well. Listen this week to find out the practical things I'll be doing during my break (because I have to make it as useful as possible, don't I? lol.) as well as the ways I'm holding space for myself. Aaaaaand you'll get to hear a little bit about what might be coming down the track for RYHSY. A new podcast name?! Maybe, just maybe. WHO EVEN KNOWS ANYTHING ANYMORE??? Oh! If you're already wondering when new episodes will be coming, don't fret! I've got a bunch of my faves queued up for your ears while I'm away!! What I said: "Just because you can keep going doesn't mean you should." "Your break doesn't have to be all or nothing."  "Let 'I don’t know' be normal. Accept it for where you are right now instead of working harder and pushing more." Those Timestamps: 01:55 - Importance of breaks... and why I'm taking one  11:07 - Step #1: Know what you want 20:54 - Step #2: Give yourself permission to do so 23:03 - Step #3: Identify what stays 24:37 - Step #4: Create some structure/tracking  25:29 - Step #5: Stay so curious and be willing to be surprised  29:50 - Step #6: Let yourself be guided Show Notes: Sign up for Tiffany's Newsletter Submit a q or topic idea for a future podcast episode Take the Agency Archetypes Quiz

Donald Trump doesn't think much of America's military and he thinks even less of its members who sacrificed their lives or freedom for the country. And, now he wants another four years as commander-in-chief of that military. And he's got a shot at getting re-upped for another tour. Because...what the fuck, America? We discuss the latest outrages with Kori Schake of the American Enterprise Institute, Rosa Brooks of Georgetown Law School, Ed Luce of the Financial Times and David Sanger of the New York Times. Don't miss it. See acast.com/privacy for privacy and opt-out information.