Podcasts about anthologies

Host Edith welcomes returning guest Kimberly Sullivan and fellow editors/writers Elaine, Carolyn, Christy, Kay to discuss the anthology Feisty Deeds 2: Historical Tales of Badges and Bruises. They explain eligibility and guidelines within the Women's Fiction Writers Association historical fiction affinity group, including a 3,000-word limit, historical settings (50+ years past), fictional female protagonists, and a “Batches and Brews” theme tied to food, drink, and related dangers. The group describes selection criteria balancing story quality, variety, global and temporal range, and how they organized stories by geography. They outline a multi-round editing workflow (developmental, line, final pass, plus external proofreading), formatting challenges, research and historical authenticity debates, and the timeline from theme to publication. They note proceeds support the WFWA Scholarship Fund and the books are available in print and on major ebook platforms.Find out more about my guests here:https://kimberlysullivanauthor.comhttps://carolynkorsmeyer.comhttps://www.kaysmith-blum.comhttps://christymatheson.comhttps://elaineschroller.comChapters:00:00 Welcome and No Football00:38 What Is Feisty Deeds 201:57 Submission Rules and Theme03:39 Global Settings and Story Selection08:16 Editing Assignments and Author Feedback10:55 Three Round Editing Workflow17:25 Timeline From Theme to Publication24:00 How the Anthology Began27:15 Formatting and Production Challenges29:46 Historical Language and Research Checks36:07 Scholarship Fund and Budgeting37:44 Authenticity and Modern Sensibilities40:57 Modern Values vs Past42:08 Diversity in Historical Stories45:09 Writing Heavy History Well47:47 Why Short Stories Work49:19 Women Writers and Initials53:10 Historical Fiction Boom56:35 Getting People to Read59:53 Novels vs Short Stories01:03:26 Indie Anthology Challenges01:05:26 Collaboration and Rejections01:11:49 Kimberly Returns and Process01:14:07 Where to Buy and GoodbyeIf you like what we do, you might consider buying us a coffee.https://www.buymeacoffee.com/booklovercom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://ko-fi.com/bookcompanion⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow us here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://book-lovers-companion.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/book_companion⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/ez.fiction.7⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/book_companion/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UC6vyAyrh3zzsxNeexfyU0uA⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Feedback is always welcome: bookcompanioncontact@gmail.com Music: English Country Garden by Aaron Kenny Video Link: https://youtu.be/mDcADD4oS5E

What's the difference between a bundle, a box set, an anthology, and a collection? How can being part of an anthology be creatively interesting and useful for marketing? With Jamie Ferguson In the intro, Amazon Kindle increases the 70% royalty share; audiobook marketing tips (Voices by InAudio); The Builder's Creed [Seth Godin]; Future Vision XPrize; Researching the dark side of travel [Anna Sayburn Lane]; Photos from Bruges @jfpennauthor; Bones of the Deep: A Thriller – J.F. Penn. Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it's delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Jamie Ferguson is a fiction and short story author, editor, and publisher, with over 20 anthologies and multiple ebook bundles through her own press. Her latest book for authors is Bundle Up! A Practical Guide to Anthologies and Box Sets That Sell. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes The difference between bundles, box sets, anthologies, and collections Why a multi-author project means lots of people promoting the same book, not just you How to find and pitch for anthology opportunities, and what editors look for in a contributor Contracts, rights, and royalty splits explained for short fiction Why Kickstarter and special print editions are changing the anthology game Inkwren, the publishing management tool Jamie built for backlists and anthologies You can find Jamie at JamieFerguson.com. Transcript of the interview ith Jamie Ferguson Jo: Jamie Ferguson is a fiction and short story author, editor, and publisher, with over 20 anthologies and multiple ebook bundles through her own press. Her latest book for authors is Bundle Up! A Practical Guide to Anthologies and Box Sets That Sell. Just for context too, one of my short stories, “The Dark Queen”, is in the Amazing Monster Tales: Into the Briny Deep anthology. So I'm excited to talk about this today. Welcome to the show, Jamie. Jamie: Thanks for having me, Jo. Jo: Lots to talk about. But first up— Tell us a bit more about you and how you got into writing and self-publishing. Jamie: Well, I wanted to be a writer since I was at least six, maybe before then. So it was just something I always wanted to do, but I always did it on the side. I had a year, many years ago, where I was really busy with work, and I just felt like I didn't write anything the entire year, and I thought, “I'm going to give it up.” Then the next year—that was 2011—I started seeing more about self-publishing, and that really invigorated me and made me feel like, “No, why am I giving up something I've wanted to do since before I went to school?” So I got back into a novel I had worked on years before. I went to a writing workshop with Dean Wesley Smith up in Oregon, back in the day, and then I had my energy back. I've been writing ever since. Still on the side, unfortunately, but someday. Jo: Hopefully! Tell us a bit more about what kind of genres you write. Because balancing your own books with also doing these anthologies and things is quite difficult. Jamie: Yes, it definitely is. I'd say I primarily write contemporary fantasy, but I'll write anything in any genre if I'm really excited about it. I also have a soft spot for Westerns. They take a little more time because I like to research all the facts, but those are really fun to write. Creating anthologies on your own is actually quite a bit of work. One of the things I also do is work with two other authors, DeAnna Knippling and Tami Veldura, and create more anthologies with them. That's really fun because then we can each take a different piece. There's also always somebody to talk to, as opposed to doing it on your own. Jo: Let's start with the terminology, because I definitely struggled with this, and I think people still do. We've got bundles, we've got box sets, we've got anthologies, we've got collections—and are these in ebook, audiobook, or print? Can you start by explaining what all of these words actually mean? Jamie: Yes. In my book I actually use the term “multi-author collection” or “multi-author project”, because there are so many different permutations and it does get confusing. From my perspective, I think of a bundle as a collection. It could be a collection of ebooks. Technically it could be a collection of print books, although people generally use “box set” for that—but then a box set can also be a box set that's all ebooks. An anthology, I usually use for something that's a collection of short stories where there's an editor who's actually edited all the stories. I have had stories in anthologies where somebody didn't edit them, and they would technically be called a curator. So it is definitely confusing. I have not done anything with audio collections, but that certainly is another area that I actually think is pretty interesting. Jo: I also think that a single author… so I've done a short story collection, but an anthology is multiple authors. Is that right? Jamie: Yes. Jo: I think when I came into the indie space, there were a lot more multi-author… we all called them box sets back in the day, when it was just ebooks, right? And now we can actually do boxed sets with boxes through things like BookVault. So it feels like the term “box set” has also gone out of fashion. So if people listening are thinking of doing any of this, you do have to figure out what is the thing you might be signing up for. So let's talk about the multi-author projects, as that's where you specialise. What are the benefits for an author to be involved in a multi-author anthology project? Jamie: The biggest benefit is that you are one of multiple people promoting the same project, whether it's print or ebook or whatever. If I put out a short story collection on my own, I'm the one promoting it, and maybe I can get a couple of other people to write about it, but it's really just me. If I'm part of an anthology with 15 other authors, that's 15 other people who are promoting the same project. That's more newsletters, more Facebook posts, maybe something on their Patreons, whatever it is. You get more synergy, and you get more touch points with potential readers. Then hopefully that translates into sales as well. So that's definitely the biggest part of it—the promotion. Then I also personally really enjoy these types of collections because it's just fun to work with other people. There's a nice energy when everybody's like, “Oh, I put this in my newsletter, and I put this here, and I put this here,” and you feel like you're part of something bigger than just your own piece. Jo: What about the creative benefits? Especially with short stories, often people will write them for a collection or for an anthology project. Jamie: Yes. I've definitely written some stories that I never would have thought I'd write, because somebody I knew asked if I would be interested in being in their collection—whether it's an ebook bundle or a print anthology. So at least for me, that's been really fun. One of the ones that stands out is that I was asked to be in a dinosaur collection once, and I was like, “I don't write dinosaur stories.” And then I did. I set a dinosaur story in London, and it was really fun to write, and I never would have come up with that in a million years. Jo: Let's say we've got 12 authors. They've all written short stories, and now it's in this anthology. But what is the market for these kinds of things? Have you found that there is a readership for short story anthologies that carries over to the author's longer work? Jamie: There is. I like to think of it as: if I have a story in a collection or an anthology—whether it's one I'm editing or somebody else is editing—that's one more place for people to find me. A lot of times anthologies will take reprints as well, like your story. “The Dark Queen”—that was a reprint. We asked if you'd be interested in participating in the Amazing Monster Tales series. And I actually really like printing stories again that have already been published, because there are a lot of stories out there that can be hard to find. Or if it's an older book. I have one author I've known for, like, 30 years. I reprinted one of her stories that was originally published in, I think, 1999, and the anthology it was in was out of print. You couldn't find it, and it was a fantastic story. So it's fun to be able to give new life to those stories and give them more opportunities, and also just have more ways for people to find you. Jo: Yes, I definitely think it's a long game. I don't think appearing in a short story anthology in one particular month is going to mean that your whole back collection just sells, right? Jamie: No, definitely not. It's more about avenues to be found. I know there have been some anthologies that have made quite a bit of money, but in general you're probably not going to make as much money, but you will have those extra places for people to find you. Jo: I always feel like yes, there is maybe a small amount of money, but it is more about almost a marketing thing in itself. So let's say an author is listening and they're like, “Do you know, this sounds like a great idea.” How can they pitch for things like this? How do they find out about opportunities, or get noticed to be asked? And what are the expectations for them? Jamie: The biggest thing is networking. There used to be a couple of opportunities where you could make people aware that you had stories that you were interested in potentially having picked up for something. I'm not aware of anything like that now. When I create a collection, I have a mailing list that I send out, and it includes authors I've published before. It includes a couple of extra people who somehow found my mailing list. And I'll publish, like, “Here's what I'm doing.” There are also authors I've met at writing workshops. I've been able to read some of their work, I'll approach them and say, “Hey, I really liked such and such a story. Would you be interested in writing for this?” Then there are a couple of other websites, like Duotrope, and places that advertise markets and calls for submissions. Jo: Yes, I've found them also on small presses that do these kinds of projects. They often put up one call for submission a month or something, and you can write for their particular thing. In general, the short story markets are the places to keep an eye on. Jamie: Yes, definitely. Jo: If an author wants to pitch to have their story as part of an anthology, do you want to know things like platform, or is it just the story itself? Jamie: I personally look at the author's platform. I do make exceptions—there are actually two authors I've worked with a couple of times who don't have websites. They are people I know personally and they are very, very good writers, so I'll make an exception for things like that. But otherwise, if somebody submitted a story to me and I didn't know that person, I would check out their website, I would check out their social media, I would see what else they had done. Part of what you're doing when you're creating a collection is thinking not just about how you, as the person organising this, will promote the collection, but how the authors who are participating will help promote it as well. If it's somebody who has a lot of fans, even if they're not very active on social media, that can help a lot too. There are a lot of different factors, though. Jo: So then talk us through the project timeline. How long do things take, and what sort of involvement do the authors have along the way? Because it's a lot to juggle. Jamie: Yes, it is a lot to juggle. I can give you an example with the Monster Tales series. We'll come up with an idea, and we also like to try to get the artwork done early on in the process. We don't need it that soon, but it's really great to have that taken care of. We'll contact authors. I think for this one we used my mailing list, but we've also contacted a number of people individually that we know who write the style of stories we like. Then, as the submissions come in, we usually wait until we have a nice chunk of them to start going through, and then we'll pick some right away. Sometimes it'll be like, “Oh my gosh, of course we want this story,” and we'll wait to fill out the other slots. Then we'll negotiate sometimes. Sometimes it's like, “I want this story.” “Well, I want this other story.” And we have to figure out how the word count works. Once we finalise the stories, then usually what happens with that anthology is that DeAnna—who is a very, very good editor—will make the first editing pass, and then I'll make the second. And now Tami's involved, so Tami will make the third, and then we'll iterate. Once all three of us have gone through the first time, then we'll send the story back to the author for edits. So the most the author has to do for most of the process is just wait for us to edit their story, and then work on their edits and get them back. Then, once we get closer to launch, we'll give them information about what we're going to do. For example, we're going to launch the next issue with a Kickstarter. So our authors know that we have a Kickstarter coming, and we'll give them more information as we get closer to the actual launch date. Jo: So how long might an author expect before their work is out there? Jamie: It really varies. I've had some collections published very quickly—let's say a couple of months. Some have taken longer just because somebody ends up having some life issue and things get delayed. So I'd say ideally it would be more like three to nine months. Jo: Yes, I think… depending on the— Jamie: —collection and the complexity. Jo: Yes, exactly. Jo: And you did mention word count there. Just give us a range of what word count you like to get. Jamie: So these days I'm shooting for between 75,000 and 80,000 for the total word count for a collection. That includes the stories, but it also includes the opening, the introduction. For one we're working on now, we're going to have some interstitials, where we have little bits of things we're going to write in between each story. So that's the overall size of the collection. I'll keep track of the word count as the stories come in, and then as we edit the stories, sometimes they grow, sometimes they shrink. Sometimes that's a big enough difference where we're like, “Okay, we need one more story to fill it in.” But that's the target. Jo: And how much for each individual story? Jamie: That varies. I've done a bunch of different things. These days, what I'm advertising is between 3,000 and 8,000 words. I also always tell people: if you're outside this range on either side, just check with me, and if it's something that's really an excellent fit for the book, I'll make an exception. The one that's coming out, I think we have a 1,500- or 2,000-word story that was just amazingly perfect for what we wanted. There was another story, actually I think it was the issue that you were in, that was at least 12,000 words, but it also was a perfect fit for the theme. So I will make exceptions, but within reason. I wouldn't put a novella inside an anthology, because then you'd have a 22,000-word story next to a 3,000-word story, and I personally feel like that's really jarring for the reader. You don't want to go from something super short to something super long. It just doesn't feel like it flows well to me. Jo: No, absolutely. Jo: We'll come back to the making of it because you mentioned some really interesting things there. But just on the contractual side—a lot of indie authors don't necessarily do any publishing contracts for their work, unless it's signing the terms and conditions when uploading on Amazon or Kobo. So tell us a bit about the contract side. What rights are we talking about here? Any red lines in contracts around this kind of thing? Jamie: For contracts, I would recommend people read Kristine Kathryn Rusch's posts on this. She is way more informed about this than I ever will be, so when I have questions, I'll look at her posts. I've asked her a couple of questions. What we're doing for the Amazing Monster Tales… this is the first time that I've actually had authors sign contracts. Prior to this, I've used PubShare, which handles royalty splits and all of that, and that was really great. We want to do direct sales and Kickstarters and have lots of other options. So we did put together a contract this time. I'd have to pull it up, but I think we asked for first worldwide rights in English—I'm getting the terminology wrong here—but that was basically it. Jo: Or, I guess, reprint rights if the story's already been licensed. Jamie: Correct. We have two contract templates, one for original stories and one for reprints. We made sure to make that distinction, because it is definitely a distinction. In the book by Kristine Kathryn Rusch—it's called Closing the Deal… on Your Terms—I highly recommend that for anybody interested in learning more about contracts. Jo: Yes, that's great. And just for people listening: when you said you didn't have contracts before, you just used PubShare. So in that way, the author still retained the rights and you just split the royalties—it was more of a co-writing thing. Jamie: Correct. When you publish stories through PubShare, the author signs an agreement with PubShare, and then I, as the editor or organiser, would also sign a separate agreement. So each of us has an agreement with PubShare. We don't have agreements with each other, if that makes sense. Jo: Yes, so it's very different to move into Kickstarter. So tell us about what you're now moving into. Jamie: Well, Kickstarters are a new world for me personally. I have many friends who have had Kickstarters. I've supported Kickstarters. I watch them. But it's something where I'm very happy to have two partners who have done Kickstarters before. I'm not sure how many Tami's done—I think Tami's done the most at this point. So this is all new to me. But it's very exciting. At this point we have a backlist, so part of the plan, for the Monster series, is to offer issues one through four as part of the rewards when we launch issue number five. That's really exciting, because I never had a backlist like that before. Jo: Yes, and in fact the money is in the backlist, as ever, and those add-ons or bundles as part of Kickstarter are great. So are you going to do special print editions, or is it digital only? Jamie: We are talking about special print editions. You mentioned BookVault earlier—we've been looking at BookVault. Our other anthology series that hasn't come out yet will also launch with a Kickstarter. It's dragon-themed, and Tami actually did the cover work, which is beautiful. BookVault just gives you so many options that we never had before, so I'm very excited about that. Jo: Yes, I think it's a really good idea. I did gorgeous hardbacks for my solo author collection, so I think it's a great idea. So from the publisher side, let's come back to that. You've mentioned you have to write things like an introduction and interstitials, and you're trying to balance the stories. What are some of the other things that people might think about if they want to organise their own anthologies? Jamie: Oh gosh, where to start? There's the basic setting up of the anthology, so you have to define the table of contents. You might get a bunch of stories that are really awesome, and you might have to tell somebody who has a wonderful story—and maybe even who's a good friend of yours—that you're going to pass on it because their story doesn't fit with all the other stories. Every time I have to do that, I feel kind of bad. But being on this side, it's really interesting to see how you can tell which stories fit together and which don't. There's also the editing process, which can be a lot of work. Part of what I like about working with Tami and DeAnna is that DeAnna really loves editing. I feel like I'm a good editor, and I can do it, but for me it's more of a job. For DeAnna, she loves it, so she does the bulk of the editing, which is great. When I do it on my own, I feel like it's a task I have to do. There's lots of cat-herding. Sometimes people take a while to get their edits back. Sometimes they have life events, and you have to delay things because you're waiting on them. There are all the little tiny pieces of organising things—like, if you're reprinting stories, you need to make sure you get the copyright attribution correct. A lot of times I'll have to go and look up where something was originally published. An author might say, “Oh, it was published in this year,” and I'm like, “Okay, actually it was published in this other year, by this other publication first.” So I'm trying to be organised there. henT one of the things that very infrequently—I think it's only happened to me twice—every once in a while, you're in the middle of editing a story and you have to pass on it, even though you've already accepted it, because the editorial vision and the author vision for the story are not the same, and you can't reconcile that. Jo: I think that's really interesting, because so much of what you're talking about there—you mentioned vision—it's almost taste. You're saying which stories fit. It's not just a case of, I don't know, a pirate anthology and then picking 10 stories about pirates, right? You seem to be thinking about this in a more artistic way. So can you talk a bit more about that? How do you decide on a theme, and then how do you know that a story doesn't fit? Jamie: In the beginning, I was not this selective. In the beginning I'd say, for example, “Hey, I'm putting out a collection about fairies. Give me a fairy story,” and that was it. As I've edited the stories, it's become easier to see how things fit. So, for example, if I have 10 stories in an anthology and I have an 11th story, and they have different tones—let's say the 11th story is really funny and all the other stories are very serious—then that would be a fit thing. That's not necessarily taste; it's just that you don't want one funny story if everything else is really dark and scary or serious. As far as picking a theme, the theme could be very broad. With this dragon anthology we're working on, we decided we wanted it to be called A Hoard of Books. So the theme was: has to have dragons, has to have books, and that's pretty much it. And then we were like, “Let's just see what we get.” We were very surprised at what we got. We thought we'd have more serious stories, and it turned out most of them were very light-hearted and really fun. And we're like, “You know what? That actually changes the way we're looking at the whole series,” because we did not expect that. With the monster series, we'll pick a theme. So, for example, the next issue is Monsters in Love, and for those it's more like, let's just see what happens. Sometimes I'll have a more specific theme. The next anthology I'm publishing on my own is called Fairy Bargains, and I wanted people to obviously have fairies, but I wanted there to be something related to the mythology and lore of having a bargain with a fairy—and there's a lot of stuff about that. So for some things like that, when I put out a call, I'll provide information. I might say, “Here's a link to a Wikipedia article. Here's some mythology that might be helpful for you,” just because I want things to stick a little bit more to the theme itself. Whereas with Monsters in Love, there's a very wide range of stories, and that was very fun to work through. Jo: Oh, yes. There's a lot of monster, on the spicy side as well. But were you doing a clean Monsters in Love, as opposed to in lust? Jamie: Yes, this is a clean one. That's pretty funny. But boy, when you give authors the room for these types of things, you get all kinds of stories, and it is super fun to work with those collections. Jo: As you're talking, I definitely want to do more short stories. It's really interesting, because you can actually generally get paid more for a first print—first print rights on a short story—but I often want to just publish it myself. Then I was really happy to be in yours, because it was a reprint anyway. So I was like, well, there's absolutely nothing to lose if it goes in as a reprint. So these things can be really interesting. Talking of the finance from your side of things: you have a small press and you're doing this publishing yourself, but you're paying all these authors and doing a lot of work. So how does it work as the publisher, in terms of these anthologies, financially? Jamie: With the ones we've published so far, because we've gone through PubShare, it's been a royalty split. As the editors, we would take a percentage, and then we pay for the artwork, and of course all of our time. I think what we were doing there was saying 70% of the royalties would be split equally between all of the authors and the stories. So, for example, if I had a story as well, I would get part of the author split—the same percentage as everybody else in the collection—in addition to the editor split. For what we're doing now, we've changed this a little bit, and I believe we said 60% goes to the authors, and then we're going to keep a share of the proceeds for the business because we want to be able to pay for the artwork out of the business account. We want to pay for advertising, whatever we need to do—like setting up our store, or if we wanted to invest in anything, we want to be able to do that as the business, as opposed to it just being us doing this on our own. We're just trying to treat it a little bit differently. Jo: And I know it's so much work—a crazy amount of work. How many anthologies and books do you have to do in a year to make it worthwhile financially? Jamie: Oh, I don't know. I would say, unless you get an opportunity—like, for example, to have an anthology in a story bundle or something like that—you may not break even. But if you're going to do this, do it more for the marketing, do it more because you enjoy it. Now, going forward, I think that will change, because we are looking at Kickstarters, we are looking at direct sales. We're very motivated to try to make this more of a business thing than a fun side project. So, ask me in a year. Jo: Yes, hopefully more. I do think Kickstarter is great for short stories. I actually buy quite a few collections on Kickstarter. I think they're actually really hard to discover through, say, Amazon—it's a place that is quite hard to identify short stories. Whereas I've found I've bought collections on Kickstarter because there's so much more of a sales page—there's so much more rich media that tells me how I'm going to feel about the stuff. I've bought short story anthologies and collections from people I don't know. So I think it's a really good thing to do. There is an audience there. Jamie: Yes, definitely. And it does feel like the anthologies on Amazon don't sell as well—you don't make as much as you used to. I've been doing this for, well, gosh, 10 years now, and I feel like the sales numbers on Amazon in the past year were noticeably lower than they would have been six or eight years ago. So I am very excited about Kickstarter. Plus, Kickstarter just feels really fun. You're not just throwing your book up; you also have all the extra stuff with the page, you have the rewards, and it just feels really exciting. Jo: No, I agree. I really love it. I didn't do it for a long time, and now I just love it. Jo: So, staying with the publisher side of things— Any practical formatting and production tips? Because in these types of projects, all kinds of people just send you different stuff. Jamie: I have a style guide. So whether it's me or it's the group project, once all the edits are complete, I'll do a formatting pass, and I'll make sure I use curly quotes and the same em dash format and everything, just so everything in the book is formatted the same way. Every once in a while there's an author who has something particular that they want, and I can work around that, and that's fine. I also work with a lot of Canadian authors, and I'll let them keep their Canadian spellings. I don't think everybody does that, but I feel like that's their voice in a way, so I don't correct those. I might check some things there. I think the formatting is important—it makes things look better if everything has the same style. Then I use Vellum, which makes things really easy. I love Vellum. Because I publish so many authors at this point, I have a Vellum file where I store their biographies and their links, so when I publish a new anthology I'll just go grab, say, Jo's “about the author” page from that collection and put it into the new file. Then I also track when the last time was that I checked with the author about their biography. If it's been more than a year, I'll check in with them and say, “Hey, do you have an updated biography you want me to use? Here are your links—do you have any different links now?” So that makes it a lot easier from the formatting standpoint. Jo: And you mentioned Vellum—having done box sets on Vellum, you can just drag a whole book in there if you want to do a three-book box set, or three short stories, whatever. It's much easier to just drag things in, and it makes it easier to format. So I would say to people: you don't need to worry too much about that. There are lots of things that can help you. But even with doing the print stuff for the Kickstarter—people have opinions, don't they? So in terms of authors' opinions and managing—you mentioned herding cats—how do you manage all of that side of things? Jamie: I haven't actually had a lot of trouble with that. The authors I've worked with seem to feel like they gave me their story, and then once the edits are out of the way… I haven't had anybody have any issues with the covers. Usually they love the covers, especially for the Monster series. So, no problems there. Jo: Oh, that's good. Well, I would say a tip would be to make sure you're communicating, if you're somebody who's organising. So talk a bit about communication. Jamie: Communication is very important. What I try to do is send regular updates, especially if I'm in the middle of edits or working on something and I'm not ready to launch. I'll send an update email out to the authors and just say, “Here's what's going on, here's what the plan is.” Or if the plan has to change, if the launch date has to change for some reason, I'll let the authors know about that. Actually, with the upcoming Monsters in Love issue, we were originally not going to do a Kickstarter. That was a late decision, so I contacted all the authors and said, “We've changed our plans. We're going to launch this with a Kickstarter. Please confirm that you're okay with this.” One author was not comfortable with the Kickstarter idea, so he pulled his story, and then we found a replacement story for that. But I just feel like the communication piece is really essential. It's really important for the authors to know what's going on. Jo: Yes, absolutely. So, we've talked about how marketing is a good thing, in terms of there being lots of people marketing. How are you effectively marketing these kinds of books, as the premise is quite different to a single author project? Jamie: Right. There's the usual—write a release post, write posts on social. I do additional things, so I'll publish what I call a story spotlight for each story in the anthology. That's just where I talk a little bit about the story, I provide an excerpt, and then I provide the author's bio and links to find them. Those are really great, because they're very quick to put together. The hardest part is getting a short excerpt that shows enough about the story to be engaging. But that really isn't that much time, either. Then those are also nicely evergreen. I've actually searched for authors before, when I'm trying to research them for an interview, and I've found my own spotlight posts and my own interview posts with authors come up at the top of the list, which is kind of funny. I also do interviews with as many of the authors in a collection as are willing to participate. Sometimes people just don't have the time—I don't make this required—but I usually get 80 to 90% of the authors participating. So, for example, this year I'm in a couple of bundles on StoryBundle, and I'm doing interviews for people there. It's also really fun, and you're not paying for advertising—you're just creating something that the authors are excited about and they want to share. So it promotes the collection, but it also promotes the author, which I find really nice. It's a nice networking thing too, and I'm happy if someone wants to interview me. It's like free publicity for each person, in addition to the collection. Jo: I love that you've used the word “fun” quite a lot, which I find amazing. You're obviously a super collaborative person. I've co-written a number of books— I've been part of some collections, and I really think that there are two personalities. One is like me, where we really love the creation stuff and the publishing stuff, but we're hyper-controlling. And then someone like you—you're very collaborative, and you're doing such a great job. To people listening, I would say: if you're more like me, don't organise an anthology. What you want is Jamie, or somebody who actually finds it fun to organise a big group of authors. Jamie: Yes. It is definitely interesting working with other partners in this, because when I publish an anthology on my own, I make all the decisions. I pick the artwork, I pick the theme, I do everything, I decide the table of contents. But when you're working with other people, you do need to negotiate. So we've had a couple of times where it's like, “I want this story.” “Well, I want this other story, I don't like the story that you want.” And so we have to barter, in a way. Aside from that, it is nice, because you get to split up the tasks. I could focus on things like the organising—I do the Vellum files, I do the final cover and everything. For the Kickstarters, actually, Tami's got more expertise, so Tami's going to be working on the Kickstarters for our collections together. If I had to do all this on my own, it's a ton of work. It's a ton of work. So it is nice to split it up. Jo: And of course, one of the things is managing so many moving parts—and you've actually built a tool to manage all this. So tell us a bit about that tool, and how it might be useful for people with big backlists as well as anthologies. Jamie: I built what I think of as a publishing management application. The original idea is that, for years and years, I wanted a software tool that would do catalogue management, because I was managing my own catalogue, and I was also managing—at this point I've published at least 20 anthologies, so that's a lot of authors. Then last summer, I had an author who I'd published a number of times, who was going to, I think, WorldCon, and she asked if I could give her covers for five anthologies she'd been in, so that she could make some promotional material. I was like, “Oh, sure, I can do that.” And then I was like, “Well, wait a second—is this in Notion?”—because I started trying to use Notion last year—”or is it in a spreadsheet?” It turned out her information was in, like, three different places, and I had to work to pull it together. And then I was like, “You know what? That's it. I'm just going to finally write this application.” So Inkwren manages your stories. As an author, I can manage my stories—I can track which are published, which are drafts, which are just ideas. I can track my publications. From the publisher standpoint, it's really helpful, because I can track each anthology I've published and what I'm working on. I can track the edits, I can track the contracts. I can upload contract templates—so we talked earlier about the original and reprint contract templates that I use. I upload those, and they have placeholders in them. When I generate the actual contract, the author's name will replace the placeholder—I'll have the text “author name” in the contract template, and it'll get replaced by, like, “Joanna Penn” or whatever. So that saves a lot of time. Then I also added in task tracking, because I started to feel like, well, now all my stuff is in one place, but my tasks are somewhere else. So now I can associate tasks with a publication. For example, for the book I'm working on right now, I know which tasks I need to do for the cover, and which for the interior, and everything. I have a template of tasks. Then I can also track tasks related to promotions. For example, the story bundle I'm promoting right now, I have a task for each interview I'm doing with the authors, and I have a calendar view. I can see when I'm going to publish them and know that they're all spread out. It saves me so much time, and it's so much easier. Jo: I do think building tools when you actually need the tool yourself is very useful. Just say the name again, and spell it out for people. Jamie: It's Inkwren. My own personal publishing company is Blackbird Publishing, and I wanted something related to birds and writing. So I came up with Inkwren, which is I-N-K-W-R-E-N, and it's just inkwren.com. Jo: And it is available for other people to potentially buy and use? Jamie: Yes, it is. Jo: Well, I think that's super useful, because it's very hard when people are starting out and they think, “Oh, I've only got one book—why would I need any kind of tool to manage it?” But over the years, your backlist grows, especially with short stories. So I love that you've built this, and there's probably more that you can add over time as you expand the business yourself. So much potential. So we are at the end. Where can people find you and your books and everything you do online? Jamie: My author website is JamieFerguson.com. And then, obviously, I mentioned Inkwren earlier. My publishing company is BlackbirdPublishing.com. And then the projects I'm doing with Tami and DeAnna—we have a couple of websites, but the easiest way to find us is our press, which is BorogrovePress.com. Jo: Fantastic. Well, thanks so much for your time, Jamie. That was great. Jamie: Thanks, Joanna.The post Bundles, Box Sets and Anthologies With Jamie Ferguson first appeared on The Creative Penn.

Darlene Williams on the Black Authors Festival, AI Plagiarism Traps, and the Truth About PublishingDarlene Williams is the founder and president of the Black Authors Festival, held annually in Sag Harbor, New York and Atlanta, Georgia. She is also a certified personal and professional development coach, college educator, literacy advocate, and founder of the Higher Level Method publishing imprint.In this episode of Diversified Game, Darlene Williams joins Kellen Coleman for a powerful conversation on literacy, publishing, banned books, AI writing risks, and the deeper cost of illiteracy in Black America.Darlene shares why literacy is more than reading. It is access, power, political awareness, economic mobility, and self-determination. She also discusses the story of her husband, whose life shows what literacy can unlock: from juvenile detention and prison, to teaching himself to read behind bars, earning his GED, tutoring more than 200 inmates, graduating summa cum laude with his master's degree, teaching at the college level, becoming a licensed social worker in two states, and graduating from Columbia University.This conversation goes deep on why banned books matter, how Black history is being erased, why critical thinking must be taught early, and what authors need to understand before trusting AI to write or publish their work.Coach Darlene does not give quick fixes. She gives truth.Connect with Darlene Williams:Black Authors Festival:https://www.blackauthorsfestival.comContact:Marcia Davis / EPi Media Groupimari@epimediagroup.comLinkedIn:Search Darlene Williams directly on LinkedInChapters:0:00 Introduction and Guest Intro0:36 Who Is Darlene Williams and What Is the Black Authors Festival2:15 Why Literacy Is More Than Reading4:10 The Numbers: Over a Third of Black Adults Below Fourth Grade Reading Level7:29 Illiteracy, Voting, and Why Local Elections Matter Most10:55 Banned Books and the Erasure of Black History11:50 Critical Thinking, Self-Banning, and How to Raise Discerning Children17:00 Book Recommendations That Build Critical Thinking23:40 The Testimony: From Prison Illiteracy to Columbia University MSW29:05 Audiobooks vs. Physical Books: What the Data Says31:00 The Business of Publishing and What New Authors Get Wrong32:23 The Higher Level Method, Anthologies, and the Path to Becoming an Author38:17 How Darlene Monetized Literacy Without a Rich Uncle43:52 Black Authors Festival: Honorees, Contacts, and What You Actually Gain49:12 The Peach Tree: A Lesson on Doing the Work Without the Expectation53:29 How Many Editors You Need and Why AI Cannot Be Your PublisherSponsored by MillionaireX AIAI tools, automation, and wealth-building intelligence for entrepreneurs and professionals.Visit:https://www.millionairex.aiDiversified Game PodcastHosted by Kellen ColemanWebsite:https://www.diversifiedgame.comConsulting:https://www.cprfirm.comInstagram, Twitter, and YouTube:@KellenColemanSuggested Videos:Janean C. Armstrong | Sis, Get Your Purse in Order | Financial Literacy for Black WomenL. Kevin Morrison | Morrison Group LLC | U.S. Africa Business and Legacy StrategyDr. Stanley Andrisse | From Prison to PhD | Advocacy, Education, and RedemptionRelated Search Phrases:Black literacy statistics, banned books Black history, Black Authors Festival Sag Harbor, literacy advocacy, critical thinking skills, how to become a published author, AI plagiarism danger, audiobooks vs reading, Black homeschool resources, Darlene Williams coach#DiversifiedGame #DarleneWilliams #BlackAuthorsFestival #LiteracyMatters #BannedBooks #BlackHistory #CriticalThinking #BlackAuthors #PublishingTips #AIWriting #KellenColeman #MillionaireXAI #HigherLevelMethod #FathersLove #DGPDGP&x%

This week, Andy, Dave and producer Dane take a trip into The Twilight Zone as they explore the lost art of the TV anthology series.Andy finally confronts the black-and-white original Twilight Zone and watches the legendary "Time Enough at Last" – discovering that maybe, just maybe, old television isn't quite as rubbish as he thought. Along the way, the team discuss nuclear anxiety, thick-rimmed spectacles, Fallout's possible Twilight Zone influences, and whether the show's famous twists still work today.Dane jumps forward to the 1980s revival with the unsettling "Wordplay", a story in which language itself begins to break down. The conversation turns to communication, isolation, dementia, and why some of the scariest stories contain no monsters at all.Meanwhile, Dave heads into the darker corners of Black Mirror with the Christmas classic "White Christmas", starring Jon Hamm and Rafe Spall. The team discuss digital isolation, AI consciousness, social blocking made real, and why Charlie Brooker's vision of the future feels more relevant than ever.Three anthology classics. Three very different nightmares. And one question: are the most frightening stories really the ones about being completely alone?Featuring:• The Twilight Zone – "Time Enough at Last" (1959)• The Twilight Zone – "Wordplay" (1986)• Black Mirror – "White Christmas" (2014)Plus: Rod Serling, Wes Craven, nuclear war, Christmas existential dread, and why Dane has somehow become the lightning rod for listener complaints.To join Scarred Club and get fortnightly bonus episodes, ad-free listening and access to the members forum - sign-up here - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://scarredforlife.supportingcast.fm/⁠⁠Send us a voice note on WhatsApp - 07457 404 279Follow us on socials:Scarred For Life - ⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠ / ⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠Production Company - ⁠⁠⁠⁠⁠⁠⁠Lock It In Studio⁠⁠⁠⁠⁠⁠⁠Andy Bush - ⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠ / ⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices Hosted on Acast. See acast.com/privacy for more information.

Podcasters Of Horror Episode 37 – Discussing The Twilight Zone Episodes ‘Mr Denton Doomsday', 'The Sixteen-Millimeter Shrine' and ‘Walking Distance' with Super Marcey, Bede Jermyn and guest Julian Meyers Continue reading →

PseudoPod 1027: This Thing of Darkness is a PseudoPod original. C/W: grief, approaching death Nissa Harlow: nissaharlow.com Tina Connolly: tinaconnolly.com ‘Don't Put a Rug on a Polished Floor' public information film Scarred for Life on Bluesky: @scarredforlife.bsky.social Writers from the Antarctic call Anthologies and Collections 2026 call 7… Source

THE BOOK OF LOST INNOCENCE Nine dark, unforgettable tales of magic, love, honour, sacrifice and the blood-soaked cost of a happy ending. A queen of the damned will burn the world to find true love. A scarred woman trades her soul for fleeting beauty. A young woman scales a forbidden hill to slay her fears. A loyal warrior risks everything when he falls for the Emperor's bride. And five more haunting journeys where innocence is not just lost...it's torn away. If you love dark fantasy with a heart of tragedy—where fairy tales twist into nightmares and the choices we make define who (or what) we become—this collection is for you. TOPICS OF CONVERSATION The inspiration behind The Book of Lost Innocence and its blend of dark fairy tales, folklore, and myth, all tied together by tragic endings. What “lost innocence” means across the collection, and how the stories strip away naïveté to reveal harsher truths about the world. Human nature at its messiest: morally complicated villains, blurred lines between good and bad, and the danger of believing you are doing the right thing. Why myth and folklore can hit differently than straight horror, especially when readers can pull meaning and parable from the darkness. Glenn Taylor's creative process, from revisiting older stories and shaping them into a collection to balancing prose, screenwriting, and future projects. ABOUT THE AUTHOR Born in Mississauga, I am a writer, creator, and novelist. Best known for co-writing 40 Acres with R.T. Thorne, a post-apocalyptic film set in a future where food is scarce, and a family has to defend their homestead from an organized militia. The film premiered at TIFF 2024 and was widely praised by critics, including The Hollywood Reporter, Variety, and Playback. I've been writing and creating for most of my life. I started in animation and comics, but then shifted to my second love—design. I became a creative director and a business owner. But I never let go of my first love of creating and writing. I published my first book, The Book of Lost Innocence, the same year my film 40 Acres premiered in theatres.  The book has won a few awards, including the Independent Press Award and Reader Views in four categories (Short Story collections/Anthologies, Regional Winner, The Autocrit Emerging Writer Award and The Inside Scoop Live Award for Most Innovative Short Story Collection), and 40 Acres has won many awards as well as being nominated for the Canadian Screen Awards for Best Original Screenplay.  I love almost every genre, but my favourite is science fiction and fantasy. I don't think I can stop creating or writing. It's a function of my being and something I cannot excise even if I wanted to. So, I might as well embrace it and continue to make incredible, entertaining things for people to enjoy.  CONNECT WITH GLENN TAYLOR Website: https://www.andthenwhathappened.net/ Instagram: https://www.instagram.com/glenntaylor/ Facebook: https://www.facebook.com/glenn.taylor.3591267/ Get the book: https://amzn.to/4sLAkaV 

Aaron Cohen and Alex Schumacher join Splash Pages Comic Book Club to talk Schticks & Stones, Scott Snyder's The Cloakroom, anthology work, and building new creator-owned projects from the indie side of comics. This one should be held for podcast upload after the episode has aired and the final edit is locked. Interview page: https://splashpagescomicbookclub.com/interviews/aaron-cohen-alex-schumacher-2026/ Send us your feedback online: https://pinecast.com/feedback/splash-pages-the-comic-book-cl/dec8a07d-fbb5-4352-8712-df8f2900617a

Send us Fan MailWoHos!This week we had a look at two Anthology/Portmanteau films: TALES FROM THE CRYPT & SOUTHBOUND. We enjoyed one of them.Mac and I spent the episode comparing the two anthology films with very different levels of success. SOUTHBOUND got a mixed response—we found one segment that worked, but overall the film didn't quite hold together. There's a sense that it had potential but didn't fully deliver across all its stories.In contrast, TALES FROM THE CRYPT (1972) (have you seen it? Do yourself a favor!)  stands out as a high point of the genre. You both agree it's one of the best anthology horror films ever made, with strong, memorable segments and a consistency that keeps it engaging from start to finish. Next up on the pod we are looking at Witches with VIY from Russia and SEASON OF THE WITCH from the seventies. Gerry Entriken: WoHo Outro ThemeSupport the showOpening Theme "Bucket" by Gerry EntrikenClosing Theme "Mop" by Gerry Entriken Interstitial Musicalso by Gerry Entriken. We love you, Gerry!Subscribe to the Podcast for a Special shout-out!World of Horror's InstagramMom's InstagramMac's InstagramDonate to Translifeline

Podcasters Of Horror Episode 36 – Discussing The Twilight Zone Episodes ‘Eye of the Beholder' and ‘The Masks' with Super Marcey, Bede Jermyn and guest Brad Reiter Continue reading →

As always, the Coode Street Motel Six bestrides continents, so after briefly comparing notes on the weather in Perth and Chicago, Gary and Jonathan get down to it and chat about the subjects of the moment.   How do you talk about books and what was the weather like? The importance of settings in fiction, especially regarding climate and weather, and the broader question of whether readers can ever fully appreciate a setting dissimilar to their own and how book reviewers might take this into account. This includes a brief discussion of translated fiction—a welcome new category in this year's Locus Awards.   Anthologies and activism The significance of advocacy anthologies that may reflect anything from feminist SF (as in Vonda McIntyre and Susan Janice Anderson's Aurora: Beyond Equality (1976) to antiwar works to promoting the New Wave.    Books we're looking forward to In a new segment,  we list a few books that we are looking forward to that will be published in the coming weeks.   Jonathan talks about A.G. Slatter's A Forest, Darkly, Adrian Tchaikovsky's Pretenders to the Throne of God, Paul McAuley's Loss Protocol, and A.D Sui's debut The Iron Garden Sutra.   Gary's list includes  Rebecca Roanhorse's River of Bones and Other Stories and The Best of Adrian Tchaikovsky, a novella by Ian McDonald, Boy, with Accidental Dinosaur, and nonfiction study of SFF by Ada Palmer and Jo Walton, Trace Elements: Conversations on the Project of Science Fiction and Fantasy. 

The Short List for our New Award Division is here! The Collection & Anthology Awards are here! Congratulations to all of the authors who made the list!

Rebecca Rowland returns to The Dark Mind Podcast to discuss her new novel Eminence Front, releasing January 20th from CLASH Books.Set on a single New England street during a brutal snowstorm, the novel follows neighbors as an ancient entity preys on their secrets, sins, and regrets.We explore why snow creates such effective psychological horror, from its sound-muffling properties to the sensation of being smothered alive.Rebecca reveals how the title came from a Who song about false facades and self-deception, themes that run through every character on the street.We discuss agoraphobia as both vulnerability and advantage, dementia as a Cassandra narrative device, and why betrayal trauma appears in all of her work.Rebecca shares her extensive research process, from the science of snow to real historical blizzard accounts that inspired scenes in the book.We dig into the challenge of writing deeply flawed characters who are neither heroes nor villains, just people making terrible choices under pressure.Rebecca also talks about her novella Shagging the Boss, her background in psychology, and why she believes most people are fundamentally good despite writing horror.This conversation goes deep into quiet horror, art house atmosphere, and what happens when suburban pretense collapses under supernatural weight.Guest Websitehttps://rowlandbooks.com​Books Page (All Titles & Anthologies)https://rowlandbooks.com/the-books​Unburied: A Collection of Queer Dark Fictionhttps://rowlandbooks.com/unburied​Generation X-ed Anthologyhttps://rowlandbooks.com/generation-xed​Guest Social MediaInstagramhttps://www.instagram.com/rebecca_rowland_books/​Blueskyhttps://bsky.app/profile/rebecca-rowland.bsky.socialX (Twitter)https://x.com/BecRowlandTikTokhttps://www.tiktok.com/@beccalrowGoodreads Author Pagehttps://www.goodreads.com/author/show/4738797.Rebecca_Rowland​Denver Horror Collective Profilehttps://denverhorror.com/rebecca-rowland/​Buy Rebecca Rowland's WorkAuthor Hub for All Books (various retailers linked per title)https://rowlandbooks.com/the-books​Amazon – Rebecca Rowland Bookshttps://www.amazon.com/s?k=rebecca+rowland+authorThriftBooks – Author Pagehttps://www.thriftbooks.com/a/rebecca-rowland/924284/​Godless – Rebecca Rowland Page (eBooks and more)https://godless.com/products/rebecca-rowland​Powell's Books – Search Results for Rebecca Rowlandhttps://www.powells.com/books/search?query=Rebecca+Rowland​Goodreads – Works by Rebecca Rowlandhttps://www.goodreads.com/author/list/4738797.Rebecca_Rowland​Dead Sky Publishing – White Trash & Recycled Nightmareshttps://deadskypublishing.com/portfolio-item/white-trash-recycled-nightmares/​(Unburied, Generation X-ed, American Cannibal, and other titles also link out to individual purchase and audio options from the books hub on her site.)​Support The Dark Mind Podcasthttps://www.patreon.com/c/thedarkmindpodcast

"Science and speculative fiction has always been about responding to the preoccupations of the time. I was attracted to the genre by the imaginative possibilities it offers by allowing the creation of a different world that then lets you shine a light back onto our world. While putting this anthology together we were looking for anything that could broadly fall under the category of spec fic. If could be sci-fi, magical realism, even horror. Indian readers and writers are in a dystopic frame of mind right now. There are specific forms of caste and patriarchy that show up in Indian speculative fiction that makes it different from what's written in the West. Anthologies create a culture where there is space for both readers and writers to explore the genre. It's also a great way of platforming new writers"- Gautam Bhatia, editor, Between Worlds; The IF Anthology of New Indian SFF Vol 1 Learn more about your ad choices. Visit megaphone.fm/adchoices

Happy New Year! In a change to the proposed episode on The Woman in Black, Howard and Dan conclude their discussion of Milton Subotsky's horror anthologies, begun in the episodes listed below. The Woman in Black episode will first be made available to Patreon supporters. Discussion excerpts are already available on our Patreon page.   Works Cited   Dr Terror's House of Horrors (Amicus Productions/Regal Film Distributors, UK 1964, director: Freddie Francis) - our episode on this, Torture Garden and Tales That Witness Madness The House That Dripped Blood (Amicus Productions, UK 1971, director: Peter Duffell) - our episode on this Asylum (Amicus/Harbor Productions Inc, UK 1972, director: Roy Ward Baker) - A Very British Horror on this Tales from the Crypt (Amicus/Metromedia Sales Corporation, UK 1972, director: Freddie Francis) The Vault of Horror (Amicus/Metromedia Sales Corporation, UK 1973, director: Roy Ward Baker) From Beyond The Grave (Warner Bros./Amicus, UK 1974, director: Kevin Connor) The Uncanny (Rank/Cinevideo, UK/Canada 1977, director: Denis Heroux) The Monster Club (Sword and Sorcery Productions, UK 1980, director: Roy Ward Baker) Cat's Eye (De Laurentiis Entertainment Group, US 1985, director: Lewis Teague)   Hutchings, Peter. Hammer and Beyond: The British Horror Film (Manchester University Press, 2021)     Artwork by Kirsty Worrow (Instagram: OneCrowLeft).  Music by Greg Hulme.   To hear our next episode early please go to our Patreon page and become a supporter - an excerpt from The Woman in Black discussion is available now Socials: BlueSky Mastodon Twitter Instagram (also on Threads) Facebook All clips are used in the spirit of Fair Dealing (Commonwealth law) and Fair Use (US law) for the purposes of criticism and education.  No copyright infringement intended. Visit our website, andnowpodcast.com  

In this week's episode, I take a look back at my writing goals for 2025, and see how many of them I met. I also take a loog ahead at my writing goals for 2026. This coupon code will get you 25% off the ebooks in my Anthologies series at my Payhip store: STORIES2025 The coupon code is valid through December 29, 2025. So if you need a new ebook this winter, we've got you covered! 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 282 of The Pulp Writer Show. My name is Jonathan Moeller. Today is December 19th, 2025 and today I'm taking a look back at my writing goals from the start of 2025 and seeing how many of them I reached. We'll also take a look ahead at my writing goals for 2026. Before we get to that, we will have Coupon of the Week and a progress update on my current writing projects. This week's coupon code will get you 25% off the ebooks in my anthology series at my Payhip store. And that is STORIES2025. And as always, I will put the coupon code and a link to the store in the show notes. This coupon code is valid through December 29th, 2025, so if you need new ebook to read as you travel for this upcoming Christmas week, we have got you covered. A reminder that the anthology series is collections of my short stories, which I tend to release every year. And in fact, next month, if all goes well, we'll have 2025: The Complete Short Stories. Now for an update on my current writing projects. Wizard-Assassin, the fifth book in the Rivah Half-Elven series is now done. By the time this episode goes live, you should be able to get it off Amazon and Kindle Unlimited since it is my series that is in Kindle Unlimited. So I hope if you are looking for something to read, you will give that a shot. Now that Wizard-Assassin is done, my main project is going to be Blade of Storms, which will be the third book in my Blades of Ruin epic fantasy series. And I believe I'm 12,000 words into that. I'm hoping to have that out in January, but depending on how January goes, it might slip to February, but January would be ideal. And after that, my next main project will be Cloak of Summoning, the 14th book in the Cloak Mage series. And I literally just started it this morning before I went to the gym, which puts me at 250 words into it, so there's definitely a ways to go in that. In audiobook news, we are still waiting on Cloak of Embers (as excellently narrated by Hollis McCarthy) to get through processing at the various platforms, which always, as you imagine, tend to slow down this time of year. And Brad Wills has just started working on recording for Blade of Shadows. So hopefully we should have Cloak of Embers available for you at all platforms before too much longer. And Blade of Shadows will probably be our first audiobook for 2026. So that is where I'm at with my current writing, publishing, and audiobook projects. 00:02:28 Main Topic: 2025's Writing Goals and My Writing Goals for 2026 And speaking of 2026, in this week's episode, we're going to take a look back at my writing goals for 2025, see how many of them I met, and then look ahead for my writing goals to 2026, which is in fact just around the corner. So first off, a big thank you to everyone who read one of my books over the year of 2025. 2025 for me was an interesting year, both in a personal and a professional way, and sometimes in both the good and bad senses of the word interesting. Sales were down from 2024, but given all the economic turbulence of the year, I am grateful they were only down a relatively small amount compared to 2024. Facebook ads went from my main advertising platform at the start of 2025 to near uselessness by the end of the year due to all the AI nonsense Meta has injected into them. Spotify converted Findaway Voices to Inaudio and made a total mess of it this summer, which after that got settled is why I now upload my audiobooks directly to Google Play and Kobo rather than through Findaway Voices. It seems like a lot of companies are pursuing AI in the desperate hope that it will somehow magically become profitable even as the expense of running AI services devours them from the inside out and renders them incompetent at their primary missions. I was so annoyed at all the half-baked AI stuff Microsoft shoved into Windows 11, I did all my writing on a Mac Mini this year and have been pretty happy with it as a writing platform. Apple, of course, has AI stuff as well, but what Apple has that Microsoft doesn't is a switch that flips it all off at the system level and doesn't do any "install later" passive aggressive crap that Microsoft does. On the plus side, my Super Summer Of Finishing Things let me finish The Shield War, Stealth & Spells Online, and Ghost Armor one after another. Five unfinished series at once was too many. Three has been more manageable. And after five years, I finally got my weight down to what it was before COVID in 2025. Watching some relatives go on Ozempic and the side effects they experienced was very inspirational in the sense of wanting to avoid that experience myself. I thought I would take a lot of exercise and vegetables to do lose weight. It turns out instead it takes a whole freaking lot of exercise and a truly staggering quantity of vegetables. I tell myself the carrot sticks are really just like potato chips when I eat them, and I can almost convince myself of it. They're crunchy, right? Just like potato chips. I told myself that often enough that I very, nearly almost believe it. So let's start with a look back at my writing goals for 2025 and see how many of them I reached. #1: Write as many new words as possible, hopefully hitting one million new words of fiction in 2025. And I'm pleased to report that I hit this one. 2025 was the second year in a row where I reached a million words of new fiction and will come in at 1.12 million words with Wizard-Assassin. It did get a bit tight, but I passed the million word mark with Blade of Shadows in November, so is a nice milestone to reach. Two years of a million words in a row! #2: Finish The Shield War. I did that one! Shield of Power, the final book in The Shield War series, came out in July. It's even available in audiobook (as excellently narrated by Brad Wills). #3: Finish Ghost Armor. I did this one as well. Ghost in the Siege, the final book in the Ghost Armor series, came out in August. It's also available in audiobook (as excellently narrated by Hollis McCarthy). #4: Continue Cloak Mage. There was a year gap after Cloak of Illusion, but I'm pleased to report I finally got back to Cloak Mage with Cloak of Worlds in October. As I mentioned earlier, in 2024, I had five unfinished series, which is way too many. So my goal was to finish some and then limit myself to only three unfinished series at any one time. By the end of summer 2025, I successfully achieved that. So going forward (barring any illness or Unexpected Events), there shouldn't be another year-long gap between Cloak Mage books. In fact, I'm hoping to write the outline for Cloak of Summoning this weekend, if all goes well. And in fact, I started this morning. #5: Continue Half-Elven Thief. It went down to the wire with only 12 days left in the month, but I was able to publish Wizard-Assassin and meet my goal. Like with Cloak Mage, there's a yearlong gap between the books, but that should be much shorter going forward. I'm hoping to start work on Rivah #6 in March or February, if all goes well. #6: Conclude Stealth & Spells Online. I did this as well. I'm not going to lie, it really was quite challenging. I originally thought of Stealth & Spells Online as a seven or eight book series, but it sold weakly enough that I didn't want to put six books' worth of effort into it. So I thought about it and figured out how to wrap up the story in one volume, and I wrote most of it at 500 words a day from like October 2024 to July 2025, squeezing it between other things as time allowed. Then in July, I was far enough along from all that cumulative work that I finished it in like one quick burst. I think I had only like one full-time day working on it. So I'm very glad that people liked the ending for the trilogy and thought that it worked. I'm hoping to release a single volume edition of the audiobook sometime in 2026, if all goes well. Fun fact: the book was 116,000 words long, and since I published 1.12 million new words in 2025, it was in fact Stealth & Spells Online: Final Quest that got me over the million word mark. #7: New epic fantasy series in the Andomhaim/Frostborn world. I did that as well with Blade of Flames and Blade of Shadows. As I mentioned before, I'm about 12,000 words in Blade of Storms, and hopefully that will be the first book I publish in 2026, ideally in January, but it might slip to February. #8: New audiobooks as time, budget, and narrator availability allow. This worked out as well. Like I said, in 2024, I've brought as many of my old series into audio as I'm going to, so instead we're going to focus on recording the books in the new series. We have books from The Shield War and Blades of Ruin narrated by Brad Wills, new books from Ghost Armor and Cloak Mage [narrated] by Hollis McCarthy, and a new Half-Elven Thief audiobook [narrated by] Leanne Woodward. So I am pleased to say that I met all my 2025 writing goals. Now with that in mind, let's take a look at what I would like to do in 2026. I'm not planning on starting anything new in 2026, but I don't think I'll reach the end of any ongoing series in that year. So basically 2026 will be The Year of Continuing. #1: Publish a million words of new fiction. I'm going to try and hit a million words again, but there's a chance ... I'm going to say right up front, there's a chance it might not work out in 2026. I'm going to have to spend at least a couple of weeks on travel, and I know for sure there are a couple of mandatory Real Life Activities that will take up an unknown amount of time. The older I get, the more I can emphasize with former UK Prime Minister, Harold McMillan when he said his biggest problems were "events, dear boy, events." But assuming we can avoid too many "events," I will aim to publish a million new words of fiction in 2026. #2: Continue Blades of Ruin. I also want to continue with Blades of Ruin, which will be my main series for a while. I'm planning for 12 books in this series, so we should hopefully make some good progress with it in 2026. #3: Continue Cloak Mage. I would also like to continue Cloak Mage in 2026. Cloak of Worlds was number 13 in the series and I'm planning for 18. Since I'm only working on three series at a time now, like I said before, we shouldn't have those yearlong gaps between books like I've had in the past for Cloak Mage. #4: Continue Half-Elven Thief. I'm also continuing Half Elven Thief in 2026. I had planned for six books originally, but there was just too much story to fit into six, so we're going to end up with nine. So I'm planning to continue that in 2026 as well. There was a year's gap between Orc-Hoard and Wizard-Assassin like there was with Cloak Mage but hopefully won't have as big a gap for Half-Elven Thief now that I'm only writing three series at the same time. #5: New audiobooks as time, budget, and narrator availability allow. I did this in 2025 and it worked pretty well. I don't want to bring any more of my old backlist books into audio, but instead I'll focus on Blades of Ruin, Cloak Mage, and Half-Elven Thief as time, budget, and narrator availability permit. #6: Other opportunities as available. I think it is fair to say we live in turbulent times, which is often unsettling. The flip side is that sometimes this can bring unexpected opportunities your way, so it's wise to remain alert and flexible. So we will see what 2026 brings. So those are my six writing goals for 2026. Once again, thanks for reading and listening. I hope I have new books for you to read in 2026. And as ever, when I make plans for the new year, it seems like a good idea to reflect on this quote from the book of James: "Go to now, ye that say, Today or tomorrow we will go into such a city, and continue there a year, and buy and sell, and get gain: Whereas ye know not what shall be on the morrow. For what is your life? It is even a vapour, that appeareth for a little time, and then vanisheth away. For that ye ought to say, If the Lord will, we shall live, and do this, or that." So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.  

WE REVIEW  -THE COBBLER -THE TEN FROM TUBI

Ep. 225 If you've been doubting your growth this year, this episode will open your eyes to just how far you've come and why you deserve to end 2025 proud, grounded, and unapologetically in your power. In this deeply reflective episode of HealingHer Within, host Maryann Rivera-Dannert walks you through 25 things she's truly grateful for in 2025 — and invites you to pause, reflect, and honor how you've evolved this year. From healing her past to holding firm boundaries, expanding her business, stepping into visibility, embracing divine timing, and nurturing herself with intention, Maryann breaks down the inner work, the breakthroughs, and the bold decisions that shaped her year. This episode is not just a gratitude list — it's a blueprint for how to close your year strong, aligned, and fully awake to who you are becoming. Whether you're celebrating wins or navigating hard truths, you'll walk away feeling inspired, grounded, and ready to greet 2026 with clarity and confidence. Key Takeaways Reflection is a power move: You can't grow what you don't track. Maryann emphasizes checking in with your yearly goals before December 31st. Healing is ongoing, not a finish line: Your past is part of your story — not the whole story. Your message is magnetic when it's aligned: The “liberated woman movement” is attracting the right women because Maryann is speaking boldly to her true audience. Boundaries are self-care in action: They're not about others — they're about honoring your peace. Visibility creates opportunity: Stepping into your voice leads to increased impact, income, and influence. Self-nourishment is non-negotiable: You can't pour into others when you're running on empty. Divine timing > forced timing: Peace comes from releasing control. Resilience is a superpower: You are not defined by what happened to you — only by how you rise. Chapters: 00:00 – Year-End Energy 01:00 – A December Check-In 02:20 – Becoming the Woman I Am Today 03:10 – Healing My Past & Releasing Shame 04:25 – The Liberated Woman Movement 05:05 – New Books, Anthologies & Growth 06:10 – The Impact of This Podcast 07:10 – Coaching That Creates Real Shifts 08:00 – Costa Rica, Ayahuasca & Deep Release 09:50 – Standing Firm in My Boundaries 11:00 – Business Growth & Expansion 11:55 – New Events & 2026 Summits 12:35 – Creating the 365 Affirmation Book 14:30 – The REAL Method & Healing Framework 15:50 – Confidence, Visibility & Monetization 17:00 – Brand Clarity & Authenticity 17:50 – Creative Flow & New Collaborations 18:20 – Financial Growth & Possibility 19:05 – Family Support & Legacy Building 20:25 – Nourishing Myself First 22:00 – Purpose & Voice Alignment 22:40 – Trusting Divine Timing 24:00 – Women Who Say Yes to Healing 24:50 – Rising in Resilience 26:15 – Speaking, Teaching & Leading 26:55 – Building a Community of Liberated Women 27:40 – Living Boldly & Unapologetically 28:30 – A Challenge for You 28:50 – Closing Message & What's Coming Next Learn more about your ad choices. Visit megaphone.fm/adchoices

Anthologies make Andrew uncomfortable. The Rev has a crush on Leslie Nielsen or something. Also Halloween Follow us on Facebook and Instagram @thesharkpod patreon.com/sharksacrosshollywood Music by The Drag  

This month's Anthologies of Horror rolls on with Night Train to Terror! I'm join by Derrick from Bad Movies Worse People podcast not only the dance with me, dance with me but also try to make sense of this movie. Everybody's got something to do. Everybody but you so why not give this fun episode a listen!Follow Bad Movies Worse Peoplehttps://www.instagram.com/badmoviesworsepeople/Join me at the Esquire theater on the 3rd Friday of the month for Frightful Fridays! ⁠⁠⁠⁠https://www.esquiretheatre.com/Follow me ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://letterboxd.com/OldManBrad/https://linktr.ee/oldmanbradBecome a patron for even more content! ⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/OldManBradSupport me on Kofihttps://ko-fi.com/oldmanbradA huge thank your to the patrons of Old Man Brad: Two Peas on a Podcast, Flicks and Friends, Nerdrovert, Chris Yeany, Brett Parker, KaraMusic:Everybody But You by Joe Turano as seen in Night Train to TerrorGhoul by Carl Kasey @ White Bat Audio

It's time for the 3rd Annual Tales from Tubi event! This October is the Anthologies of Horror. Each Friday look for a new anthology discussion with a special guest. To kick things off I'm joined by 2/3 of The Barrens Hideout podcast to talk the 1972 anthology Asylum. This is a film from Amicus Productions who were known at this time for their anthology films. Where does this land? Is it worth watching? Did we start October off with a banger? Listen to find out!Follow The Barrens Hideouthttps://www.instagram.com/thebarrenshideout_podcast/Join me at the Esquire theater on the 3rd Friday of the month for Frightful Fridays! ⁠⁠⁠⁠https://www.esquiretheatre.com/Follow me ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://letterboxd.com/OldManBrad/https://linktr.ee/oldmanbradBecome a patron for even more content! ⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/OldManBradSupport me on Kofihttps://ko-fi.com/oldmanbradA huge thank your to the patrons of Old Man Brad: Two Peas on a Podcast, Flicks and Friends, Nerdrovert, Chris Yeany, Brett Parker, KaraMusic by Carl Kasey @ White Bat Audio

In this celebratory 100th episode of Panel Chewing, hosts Steve and Jared reflect on their journey through comic book discussions, share insights on recent releases, and delve into the nuances of superhero narratives and anthologies. They explore the evolution of characters, the impact of storytelling in comics, and the significance of thematic elements in series like X-Men. The episode wraps up with a look ahead to future reads and a heartfelt thank you to their listeners.Send us a messageSupport the showFilm Chewing Podcast: https://www.buzzsprout.com/2235582/followLens Chewing on YouTube: https://www.youtube.com/@lenschewingSpeculative Speculations: https://creators.spotify.com/pod/show/speculative-speculationsSupport the podcast: https://www.paypal.com/ncp/payment/7EQ7XWFUP6K9EJoin Riverside.fm: https://riverside.fm/?via=steve-l

Lonnie Pena and I talk Anthologies 1-3, the previous video releases, and fun with Disney+.    We follow with thoughts on the last twenty years of "Revolver" and "Sgt. Pepper".     Rolling Stone Magazine has had Pepper on a bit of a downward trajectory (it was "the greatest album of all time in 2003"), while Revolver has maintained a higher standing.     Why?   Was it the standardization of the catalogue?   CDs?    Streaming?   Psychedelia?    All this and more...   #madeonzencastr.

Check out the twitch channel: http://twitch.tv/magicmics Visit our subreddit: http://www.reddit.com/r/magicmics Follow us on Twitter: http://twitter.com/magicmicscast Like us on Facebook: http://facebook.com/magicmics Co-Sponsors: https://www.manatraders.com/ (use code MAGICMICS_VG8)   First Pick   Arena Anthologies: https://magic.wizards.com/en/news/mtg-arena/announcements-august-18-2025#Anthologies https://cdn.discordapp.com/attachments/410942703623208960/1407054838491119686/image.png?ex=68a6afaf&is=68a55e2f&hm=e414a1b624d2412ccbb578f8a1f94b124ff298ea2e782d4d2aea7f9085fed0c0&   Gather the Townsfolk   Less Direct to Modern Sets? https://mtgrocks.com/direct-to-modern-mtg/    Avatar Roundup Beginner Box: https://www.ign.com/articles/avatar-the-last-airbender-magic-the-gathering-beginner-box-card-reveal-spoilers Barrier to Entry: https://www.tiktok.com/t/ZT69mgJN6/ Better-Than-Official Art: https://cdn.discordapp.com/attachments/410942703623208960/1406265278064623627/image-2.png?ex=68a67359&is=68a521d9&hm=b5f0782ca0af379981d1552a57efef21350224ea2e6bf4bd8da4f360a78c4b89& Most Cards Previewed This Early: https://bsky.app/profile/castanearie.bsky.social/post/3lwker2bkpc2t   Desperate Ravings   Release Density: https://markrosewater.tumblr.com/post/791980596663599104/mark-i-would-like-to-voice-a-grievance-i-and https://bsky.app/profile/rhysticstudies.bsky.social/post/3lwmbxvwia22t https://bsky.app/profile/cardsbyprox.com/post/3lwos2yymb223 https://bsky.app/profile/vorthosjay.bsky.social/post/3lwovt2fbj22k   WotC Squashes “Single Print Run” Rumors: https://bsky.app/profile/tomrmarks.bsky.social/post/3lwp5asqzbs22   Steel City Spectacular https://mtgdecks.net/Commander/steel-city-spectacular-20k-cedh-main-event-tournament-208416   Red Zone   Vivi not getting banned in Standard?   The Finisher   As we noted earlier, MaRo posted this week about pulling back the reins on straight-to-Modern sets, which is perhaps calling to an end a trilogy of sorts. Now, most movie franchises are calling it quits after the third, and we all know the Rule of Three, so tell me: what trilogy are you rooting to conclude next?

What happens when grief, abuse, and horror collide in the most intimate spaces of our lives? In this episode, I sit down with author Emma E. Murray to discuss her searing new novel, Shoot Me in the Face on a Beautiful Day. We explore the psychology behind toxic relationships, how abusers weaponize love and grief, and why the real horror often hides in plain sight.Emma opens up about writing through the eyes of both victims and predators, the influence of abnormal psychology on her characters, and the visceral power of body horror to express what words alone cannot. We also dive into her haunting depictions of decomposition, the blurred line between care and control, and the shame that clings tighter than any monster.This is not just a conversation about horror fiction—it's about the human condition, survival, and the stories we carry in silence.

Ben and Kirk dive into Skeleton Crew and two anthology series and provide their thoughts on why so much of the new Star Wars content is struggling to recapture the greatness of the original trilogy.

In this episode, Steve and Jarrod discuss their comfort reads in comics, exploring personal favorites and the nostalgia associated with them. They delve into recent comic releases, reviewing various titles and discussing the impact of artwork and storytelling. The conversation also touches on the evolution of comic characters, the role of villains, and the dynamics within the X-Men series. The hosts share their thoughts on adaptations and the importance of titles in attracting readers, concluding with reflections on the enjoyment of comics, even the less favorable ones.Send us a messageSupport the showFilm Chewing Podcast: https://www.buzzsprout.com/2235582/followLens Chewing on YouTube: https://www.youtube.com/@lenschewingSpeculative Speculations: https://creators.spotify.com/pod/show/speculative-speculationsSupport the podcast: https://www.paypal.com/ncp/payment/7EQ7XWFUP6K9EJoin Riverside.fm: https://riverside.fm/?via=steve-l

HT2313 - Anthologies As we all know, you can't please all the people all the time. This is one of the foundational philosophies behind the anthology nature in both LensWork and in my personal work published in Kokoro. The strategy here is that even though a reader might find any given project uninteresting, an anthology increases the possibility that each viewer will find something they like and appreciate. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

Can fairy tales really shape a child's moral compass? Join me as we navigate the enchanting realm of classic fairy tales, inspired by literary giants like Dr. Vigen Guroian and Bruno Bettelheim. We'll unravel the mysteries behind these timeless stories and their profound influence on nurturing a child's moral imagination, contrasting the enduring narratives of the Brothers Grimm and Hans Christian Andersen with their modern retellings. To ensure you're reading the most authentic versions, I'll share my top recommendations for fairy tale collections and translations. You'll find guidance on choosing rich, unaltered stories that resonate with both children and adults. BOOKMARKS: Downloadable Bookmarks with Quotes:  Download on cardstock and print double-sided. REFERENCES: Tending to the Heart of Virtue: How Classic Stories Awaken a Child's Moral Imagination by Vigen Guroian. The Uses of Enchantment: The Meaning and Importance of Fairy Tales by Bruno Bettelheim The Literary Life Podcast with Angelina Stanford RECOMMENDED FAIRY TALE ANTHOLOGIES:  The Original Folk and Fairy Tales of the Brothers Grimm: The Complete First Edition: by Jacob & Wilhelm Grimm; translated by Jack Zipes Brothers Grimm Selected Tales by Jacob & Wilhelm Grimm; translated by David Luke Hans Christian Andersen: The complete Fairy Tales and Stories by Hans Christian Anderson; Erik Christian Haugaard (translator) The Victorian Fairy Tale Book by Michael Patrick Hearn The Classic Fairy Tales by Iona and Peter Opie The Complete Children's Fairy Tales by George MacDonald King of the Golden River: An Enchanting Tale of Greed, Magic, and Redemption by John Ruskin SCHOOL TO HOMESCHOOL RESOURCES:  Sign Up for the School to Homeschool Newsletter Private Mentoring with Janae: Schedule a Free Discovery Call School to Homeschool YouTube Channel Etsy Store: Shop for Homeschooling Swag *Please note that some of the links included in this article are Amazon affiliate links. CONNECT with US Join the Private Facebook Group  Learn more about School to Homeschool Contact Janae: schooltohomeschool1@gmail.com

Today's show is sponsored by Dreamhost. The first step in owning and controlling your own work is creating a website, and Brad and Dave have relied on Dreamhost for years. Check out Dreamhost.com/comiclab to find out how you can lock in a rate of $2.59/month for three years!Every beginning cartoonist agonizes over drawing eyes! Why is that — and while we're at it, what's the right way to do it? Next, we'll talk about why we hate anthologies, and answer a listener who suspects his webhost is throttling his traffic.Today's showHow to draw eyesSusan MacTaggart's personal affirmationDreamhostAnthologies"Is my host blocking my traffic??"SummaryIn this engaging conversation, Dave Kellett and Brad Guigar explore the nuances of cartooning, focusing on the art of drawing eyes and the importance of expressiveness in comics. They share personal anecdotes, discuss the evolution of their styles, and provide valuable insights for aspiring cartoonists. The discussion highlights the balance between maintaining a unique style and adapting to the needs of storytelling, emphasizing that style often emerges from solving artistic challenges over time. In this conversation, Brad Guigar and Dave Kellett explore various aspects of comic art, including the importance of flexibility in artistic style, the significance of character-specific design choices, and the challenges associated with comic anthologies. They emphasize the need for experimentation in developing a unique style and the forgiving nature of comics as a medium. The discussion also touches on personal affirmations, sponsorships, and the humorous dynamics between the hosts. In this conversation, Brad Guigar and Dave Kellett delve into the complexities of anthologies in the comic industry, discussing the dynamics of collaboration, the challenges faced by creators, and the reader's perspective on anthologies. They also touch on the importance of portfolio sites and the misconceptions surrounding web traffic and SEO. The discussion highlights the frustrations and joys of comic creation, emphasizing the need for professionalism and the impact of collaboration on the final product.TakeawaysThe way eyes are drawn can significantly impact a character's expressiveness.Cartoonists often obsess over how to draw eyes more than other features.Style in cartooning is often discovered in hindsight, not planned.Using simple eye representations can be effective in storytelling.Different expressions can be conveyed through variations in eye design.It's important to adapt eye styles based on the emotional context of the scene.The dot is a versatile starting point for drawing eyes in comics.Cartooning styles can evolve significantly over time.  Comics allow for flexibility and experimentation in art.Don't lock yourself into a specific style too early.Your artistic style will evolve over time.Character design should reflect the moment and emotion.Comics can be forgiving in terms of artistic rules.Anthologies can be challenging due to varying contributor commitment.It's important to find what works best for your characters.Trust your instincts and do what looks best in the moment. Anthologies often succeed when creators are in a specific career stage.The dynamics of collaboration can lead to frustration in anthologies.Reader experiences with anthologies can vary widely.Portfolio sites serve a different purpose than high-traffic sites.SEO may not be the primary issue for low traffic on portfolio sites.Social media can drive traffic to portfolio sites effectively.The quality of contributions in anthologies can greatly affect the overall product.Professionalism and deadlines are crucial in collaborative projects.The importance of having a clear theme in anthologies is often overlooked.Creatives should focus on their own work rather than anthologies.   You get great rewards when you join the ComicLab Community on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.If you'd like a one-on-one consultation about your comic, book it now!Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. Dave Kellett is the creator of Sheldon and Drive.

In this episode, David reads some selected short stories and posts from his Instagram that helped build his account.  If you've been following him for a while, you'll recognize some of these posts, and more importantly you'll recognize the illustrations done by Ettore Mazza.Many of these posts have to do with dogs, wolves, and anthropology but the final one has to do with tattoos and the Lord of the Rings.David stresses that these posts were originally a lot longer pieces of work, but had to be cut down to only 2,200 characters to fit within the limits of Instagram's rules. But that also helped make him a better writer than reader.In a sense, these are the posts that originally went viral when he was just starting Instagram,  and serve as the foundation for how David communicates science in an artistic yet educational way.TranscriptsFull TranscriptLinks:PDF to follow alongdavidianhowe.comDavidianhowe.com/storeArchPodNetAPN Website: https://www.archpodnet.comAPN on Facebook: https://www.facebook.com/archpodnetAPN on Twitter: https://www.twitter.com/archpodnetAPN on Instagram: https://www.instagram.com/archpodnetTee Public Store: https://www.teepublic.com/stores/archaeology-podcast-network?ref_id=5724AffiliatesMotion: https://www.archpodnet.com/motion

Travel through time as we take you on a journey to explore the darker side of technology! That's right, folks, for tonight's shift, Kyle & Abby Smith read two Inks Bones Press horror anthologies. First, we have THERE'S NO ESCAPE (2024), the darker side of cinema and theater, and second we have CAPTURED (2024), the darker side of VCR's & camcorders. So, are any of these anthologies any good? Well, give this review a listen and find out...if you DAAAaaaare!Already read them? Let us know your thoughts!OMINOUS MEDIA LINKS:WebsiteOminous NewsletterHumming Fools - PodcastEvil Cast - ComicINK BONES PRESS:WebsiteKYLE LINKS:WebsitePatreonInstagramLetterboxd ABBY LINKS:InstagramLetterboxdMUSIC:Intro - Cory NelsonOutro - Karl Casey @ White Bat Audio

In this conversation, I discuss the challenges and strategies for authors navigating collaborative writing projects, such as anthologies and multi-author series. I emphasize the importance of maintaining a unique voice while adhering to project parameters and goals. The discussion includes practical tips for authors to set their own objectives, understand the expectations of collaborative projects, and utilize the 'same and different' method to create compelling stories that resonate with readers. This is a great episode for how to write in multi author series and how to write for anthologies.Prefer to read? Click the transcript button the Substack page - you can read straight through or use the transcript to skip around on the video.Author Culture is a reader-supported podcast. To receive new posts and support my work, consider becoming a free or paid subscriber. Paid subscribers also get unfiltered bonus episodes covering an array of current events (plus, they can choose episode topics). This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit authorculture.substack.com/subscribe

Novelist, memoirist and biographer Edmund White joins co-hosts Whitney Terrell and V.V. Ganeshananthan to talk about his recent book, The Loves of My Life: A Sex Memoir. White talks about the changes he has witnessed the LGBTQ+ community go through over the years and the hostility the transgender population faces under the Trump-Vance regime. He discusses a general concern older members of the community have about losing Social Security and health coverage should gay marriage become Trump's next target, as well as this administration's attempt to erase queer language from governmental archives. White previews his forthcoming novel about Louis XIV's gay brother titled Monsieur and reads from The Loves of My Life. To hear the full episode, subscribe through iTunes, Google Play, Stitcher, Spotify, or your favorite podcast app (include the forward slashes when searching). You can also listen by streaming from the player below. Check out video versions of our interviews on the Fiction/Non/Fiction Instagram account, the Fiction/Non/Fiction YouTube Channel, and our show website: https://www.fnfpodcast.net/. This podcast is produced by V.V. Ganeshananthan, Whitney Terrell, Ian Johnson, Hunter Murray, and Vanessa Watkins.  Selected Readings: Edmund White  The Loves of My Life (2025) The Humble Lover (2025) Nocturnes for the King of Naples (2024) A Previous Life (2023) A Saint from Texas (2022) The Unpunished Vice (2018) The Flaneur (2015) Inside a Pearl (2015) Jack Holmes & His Friend (2012) City Boy (2010) A Boy Story (2009) Marcel Proust - A Life (2009) Anthologies, Foreword & Others: The Passion of Gengoroh Tagame (2022) A Luminous Republic (2020) The Stonewall Reader (2019) Such Small Hands (2017) The Violet Quill Club, 40 Years On - The Gay & Lesbian Review by David Bergman, January-February 2021 Felice Picano, Champion of Gay Literature, Is Dead at 81 - The New York Times Edmund White and Emily Temple on Literary Feuds, Social Media, and Our Appetite for Drama Fiction/Non/Fiction Season 2, Episode 4 Learn more about your ad choices. Visit megaphone.fm/adchoices

Novelist, memoirist and biographer Edmund White joins co-hosts Whitney Terrell and V.V. Ganeshananthan to talk about his recent book, The Loves of My Life: A Sex Memoir. White talks about the changes he has witnessed the LGBTQ+ community go through over the years and the hostility the transgender population faces under the Trump-Vance regime. He discusses a general concern older members of the community have about losing Social Security and health coverage should gay marriage become Trump's next target, as well as this administration's attempt to erase queer language from governmental archives. White previews his forthcoming novel about Louis XIV's gay brother titled Monsieur and reads from The Loves of My Life.To hear the full episode, subscribe through iTunes, Google Play, Stitcher, Spotify, or your favorite podcast app (include the forward slashes when searching). You can also listen by streaming from the player below. Check out video versions of our interviews on the Fiction/Non/Fiction Instagram account, the Fiction/Non/Fiction YouTube Channel, and our show website: https://www.fnfpodcast.net/.This podcast is produced by V.V. Ganeshananthan, Whitney Terrell, Ian Johnson, Hunter Murray, and Vanessa Watkins. Selected Readings:Edmund White  The Loves of My Life (2025) The Humble Lover (2025) Nocturnes for the King of Naples (2024) A Previous Life (2023) A Saint from Texas (2022) The Unpunished Vice (2018) The Flaneur (2015) Inside a Pearl (2015) Jack Holmes & His Friend (2012) City Boy (2010) A Boy Story (2009) Marcel Proust - A Life (2009) Anthologies, Foreword & Others: The Passion of Gengoroh Tagame (2022) A Luminous Republic (2020) The Stonewall Reader (2019) Such Small Hands (2017) The Violet Quill Club, 40 Years On - The Gay & Lesbian Review by David Bergman, January-February 2021 Felice Picano, Champion of Gay Literature, Is Dead at 81 - The New York Times Edmund White and Emily Temple on Literary Feuds, Social Media, and Our Appetite for Drama Fiction/Non/Fiction Season 2, Episode 4 Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Hailey Gregor interviews Kacey Ezell on editing Noir Fatale, No Game for Knights, and Down These Mean Streets; and One Jump Ahead by Mark L. Van Name, Part 2. View the podcast in video form at https://rumble.com/embed/v6oey7g/?pub=1jib3s and the Baen YouTube Channel.

   Let it never be said we don't listen to our listeners! This week we answer a question a listener posted on our Discord (see link at the top of the page, or further down in the notes here) expand a bit on a concept we've mentioned a few times on the show. That being "Anthology Campaigns". For us, they're just another way to tell a story, and maybe also to just engage ourselves a little more, so listen and enjoy!   GamerNation Con X tickets are on sale now! April 3-6 in Dallas (North Plano) TX!  https://tabletop.events/conventions/gamer-nation-con-x Hotel block info: https://www.ihg.com/holidayinnexpress/hotels/us/en/find-hotels/select-roomrate?fromRedirect=true&qSrt=sBR&qIta=99801505&icdv=99801505&qSlH=DFWAN&qCiD=02&qCiMy=032025&qCoD=07&qCoMy=032025&qGrpCd=GNC&setPMCookies=true&qSHBrC=EX&qDest=3340%20Central%20Expressway,%20Plano,%20TX,%20US&srb_u=1&qRmFltr=   Game of the Week      Steve G: The World Below -- https://www.drivethrurpg.com/en/product/500655/the-world-below-core-rulebook?src=hottest&affiliate_id=2018399      Steve S: Adventure Crucible -- https://www.drivethrurpg.com/en/product/448975/adventure-crucible-building-stronger-scenarios-for-any-rpg?affiliate_id=2018399   *We have an affiliate link with Drive-Thru RPG.  All this does, is give us a small percentage of your purchase cost on Drive-Thru as a "referral bonus".  It does not cost you, as a consumer, anything extra.*   We greatly appreciate the donations of our Patreon supporters: Eric Witman, Jeff McKinney, Joshua Gopal-Boyd, Dave Smith, Brett Bowen, Streety, Nate Doverspike, and Dec!  Y'all make keeping this going possible!   As always folks, have fun, be kind to each other, and go play some rpgs!   Join the conversation on our Discord! Me And Steve RPG Discord  https://discord.gg/5wWNcYW You can reach us at meandsteverpg@gmail.com On Facebook as Me and Steve RPG Podcast On BlueSky @meandsteverpg.bsky.social Our Drive-Thru RPG affiliate link https://www.drivethrurpg.com/?affiliate_id=2018399 Support us on Patreon:  https://www.patreon.com/MeandSteveTalkRPGs We are proud members of the d20 Radio Network! http://www.d20radio.com/main/    

Grab a seat by the fire and join Mike and Jeremy as they countdown their favorite horror anthology movies.Thank you for listening!

This episode Mike and Jeremy breakdown their favorite horror anthologies.

In this episode of Panel Chewing Pick of the Week, hosts Steve and Jarrod discuss various comic book series, focusing on their reading experiences and the themes within the stories. They explore the appeal of origin stories, review specific titles like Absolute Batman and Drawing Blood, and delve into the nuances of character development and storytelling in comics. The conversation also touches on the impact of fame, the challenges of rebooting classic characters, and the unique perspectives offered by independent comics. In this conversation, Steve and Jarrod delve into various comic book reviews, exploring the complexities of storytelling, adaptations, and unique concepts within the medium. They discuss the impact of anthologies, the future of superhero narratives, and the significance of character-driven stories. The dialogue highlights both the successes and failures of adaptations, the importance of presentation in comics, and the evolving landscape of the comic book industry.Send us a messageSupport the showFilm Chewing Podcast: https://www.buzzsprout.com/2235582/followLens Chewing on YouTube: https://www.youtube.com/@lenschewingSpeculative Speculations: https://creators.spotify.com/pod/show/speculative-speculationsSupport the podcast: https://www.paypal.com/ncp/payment/7EQ7XWFUP6K9EJoin Riverside.fm: https://riverside.fm/?via=steve-l

In this special episode of our Author Spotlight series, Dr. Robyn McKay, founder of Engelheim Press and She{ology}, shares her journey from aspiring writer to accomplished author and publisher. Interviewed by Dr. Alaina Puff, a school psychologist and contributing author, Dr. McKay delves into her passion for nurturing new authors and helping them find their unique voices. Highlights: Early Inspirations and Writing Journey: Dr. McKay reflects on her childhood ambition to become a writer, influenced by family members involved in writing and publishing. Transition to Publishing: She discusses her decision to establish Engelheim Press, aiming to integrate intuition with professional expertise in the publishing world. Mentoring New Authors: Dr. McKay shares insights into her author development program, emphasizing the importance of integrating intuition with professional credentials to produce authentic and impactful writing. Overcoming Resistance: She addresses common challenges authors face, such as visibility concerns and the balance between personal storytelling and professional boundaries. Future Vision for Engelheim Press: Dr. McKay outlines upcoming projects, including solo works and anthologies, aimed at changing conversations in various professional fields. Timestamps: 00:00 – Introduction to the Author Spotlight Podcast 00:41 – Dr. McKay's Journey: From Aspiring Writer to Publisher 02:20 – Founding Engelheim Press: Integrating Intuition and Professionalism 05:15 – Mentoring New Authors: Developing Unique Voices 08:23 – Overcoming Resistance: Visibility and Authenticity 15:14 – Future Projects: Solo Works and Anthologies 17:41 – Conclusion and Reflections

Authors : Robbie Banfitch, TJ Price, Christi Nogle and Rob Costello Narrators : Robbie Banfitch, Brent Lambert, Dani Daly and Justin Riestra Host : Alasdair Stuart Audio Producer : Chelsea Davis “Summer Night” was first published in the 2024 anthology Bury Your Gays: An Anthology of Tragic Queer Horror “Chosen” was first published in the […]

This week on Hey YA, Kelly talks about five upcoming 2025 YA anthologies you'll want on your TBR. Subscribe to the podcast via RSS, Apple Podcasts, or Spotify. To get even more YA news and recommendations, sign up for our What's Up in YA newsletter! At Tailored Book Recommendations, we've recommended over 150,000 books to readers of every type. And we've got good news— TBR makes a novel gift for the book lover on your list! All your gift recipient has to do is fill out a survey about their reading likes and dislikes, and our expert bibliologists will use their bookish knowledge to round up three personalized recommendations for reads we think they'll love. Whether they're a mystery maven, a historical fiction fanatic, or a contemporary connoisseur, we've got the chops to match the book lover in your life with their next favorite read. And it only takes a few clicks to gift TBR! Simply head to mytbr.co/gift to get started. You can even schedule the delivery of the welcome email, which means no more waiting on gifts to arrive last minute. This content contains affiliate links. When you buy through these links, we may earn an affiliate commission. Books Discussed (Wh)Y A(n) Anthology: On the Rise and Reach of YA Anthologies YA Anthologies: Discovering and Using New Collections for Teen Readers (School Library Journal) (Don't) Call Me Crazy: 33 Voices Start the Conversation About Mental Health, Here We Are: Feminism for the Real World, and Body Talk: 37 Voices Explore Our Radical Anatomy edited by Kelly Jensen All The Love Under the Vast Sky edited by Kip Wilson (January 14) Banned Together: Our Fight for Readers' Rights edited by Ashley Hope Perez (March 4) Generation Queer: Stories of Youth Organizers, Artists, and Educators edited by Kimm Topping, with illustrations by Anshika Khullar (May 27) Legendary Frybread Drive In edited by Cynthia Leitich Smith (August 26) Ancestor Approved edited by Cynthia Leitich Smith Why on Earth: An Alien Invasion Anthology edited by Vania Stoyanova and Rosiee Thor (February 4) Learn more about your ad choices. Visit megaphone.fm/adchoices

S.20 Ep.31: In Which Mur and Gwynne Garfinkle Discuss Short Stories, Anthologies, and the Joy of Fanfiction "I write about what I know, and what I know is family." - Gwynne Garfinkle (This post went live for supporters on November 12, 2024. If you want early, ad-free, and sometimes expanded episodes, support at Patreon or Substack!) Join me as I welcome back author Gwynne Garfinkle to discuss her anthology of short stories and the art of writing across different lengths. We dive into Gwynne's journey from novels to short stories, exploring the freedom and challenges of each format. Gwynne shares her love for fanfiction and how it rekindled her passion for writing fiction. We also delve into Gwynne's poetry, discussing her unique approach to capturing untold stories from classic films, and her process of deciding whether an idea becomes a poem or a short story. Transcript Links: Gwynne Garfinkle Escape Pod Strange Horizons Aqueduct Press Readercon Blue Sky Query Tracker Fantasy Magazine Psycho (1960 film) Evergreen Links Like the podcast? Get the book! I Should Be Writing book. My newsletter, The Hot Mic, and the community of Fabulists over at Patreon. Supporting either of those will get you perks like access to the discord, exclusive content, and early, ad-free episodes. Socials: Bluesky, Mastodon, TikTok, Instagram, YouTube, Focusmate. Theme by John Anealio Savor I Should Be Writing tea blends Support local book stores! Station Eternity, Six Wakes, Solo: A Star Wars Story: Expanded Edition and more! OR Get signed books from my friendly local store, Flyleaf Books! All books featured in Season 20   "From Fanfiction to Fantasy: Gwen Garfinkel's Writing Adventures" is brought to you in large part by my supporters, the Fabulists, who received an early, expanded version of this episode. You can join our Fabulist community with a pledge on Patreon or Substack! Some of the links above may be affiliate, allowing you to support the show at no extra cost to you. Also consider leaving a review for ISBW, please! CREDITS Theme song by John Anealio, art by Numbers Ninja,and files hosted by Libsyn (affiliate link). Get archives of the show via Patreon. November 15, 2024 | Season 20 Ep 31 | murverse.com "From Fanfiction to Fantasy: Gwen Garfinkel's Writing Adventures" by Mur Lafferty is licensed under CC BY-NC-SA 4.0

When I read about this anthology and the group that sponsored it, I couldn't contain my excitement. Jenny Gossell signed up for the dream school for aspiring young authors and this anthology shows just how brilliant the program is. Listen in to learn more about her, her book, and the school that helped produce it! note: links may be affiliate links that provide me with a small commission at no extra expense to you.  I feel like this college alternative is a brilliant idea, and boy do I wish I could have had that opportunity.  That said, however, the anthology itself contains a bunch of stories that will appeal to a variety of people.  Jenny says most fall in the realm of some sort of spec-fic, but... there is a contemporary as well.  Voices of The Future: Stories of Family and Fearlessness by Multiple Authors Discover the next generation of storytellers… This inaugural edition of Voices of the Future weaves together short stories of family and fearlessness in a memorable and heartwarming collection. Experience the next generation's creativity and vision through tales of hope and belonging from rising young creatives. Olivia G. Booms “A Book Dragon's Story” Jenny Chasteen “People of the Rain” Rachel Elizabeth “Fairies in the Garden” Hope Jian “Shattered Echoes” Cara Peregrino “The Penny Dragon” Madigan Thompson “Obsidian Wings” Abi Lyn Voss “The Little Tire Shop” Valari Westeren “Symbiosis” Amie Woleslagle “Colors of Grief” The Author Conservatory is a college-alternative program for gifted writers focused on raising up the next C.S. Lewis and J.R.R. Tolkien. 100% of your purchase goes to help students attend writing conferences where they can pitch their work to agents and publishers.  You can get a copy of this anthology directly from Jenny on her WEBSITE. and follow her on Goodreads. Learn more about the Author Conservatory on their WEBSITE. Like to listen on the go? You can find Because Fiction Podcast at: Apple  Castbox  Google Play Libsyn  RSS Spotify Amazon and more!

Coming Friday Nov. 8 (Free feed Nov. 15): The Anthology of Anthologies season!We've switched it up to all classics since last discussed but here is the new run-down going in reverse chronological order:Body BagsCat's EyeTwilight Zone: The MovieCreepshow Hosted on Acast. See acast.com/privacy for more information.

“Why am I fighting this? Like, why am I fighting the thing that I want to write? For who? For like a teacher that I haven't seen in five years or ten years? For a critic who I don't know?” - Zoraida CórdovaZoraida Córdova doesn't care about what a book should be. When she writes, she's interested in.. well… what she's interested in. That means Zoraida doesn't prioritize following rules or meeting pre-set expectations. If she wants to write about sappy zombies, she will. If she wants to create a deep, profound novel, she will. Above all, she values creative freedom.She has always made a way for herself and her spirit to shine through her work. Whether it's writing for Star Wars or Disney's Meant to Be collection, short stories for one of her anthologies about creatures like vampires, mermaids and faeries, or her epic novel “The Inheritance of Orquídea Divina," Zoraida keeps it fresh and original. And her readers love it! By following her own passions instead of trying to satisfy what she “should do,” Zoraida delivers something readers crave—authenticity.Zoraida Córdova is an award-winning author celebrated for her genre-blending, magical tales like “Labyrinth Lost,” the first book in her Brooklyn Brujas series, which earned her an International Latino Book Award. Her versatility spans adult literary fiction, romance, young adult fiction, editing anthologies, and even adding a touch of romance to the Star Wars universe.In this episode, Zoraida reflects on the importance of writing for yourself, shares the “about the author” blurb that changed her life, and details her tween years as a green-haired Wiccan screamo-punk (you can't make this stuff up). Let's just say that Zoraida's commitment to rejecting the expectations placed on her began at an early age. (And she has the journals to prove it!)***For her reading challenge, Screw the Comfort Zone, Zoraida leans into her love of breaking the rules. To break free from her comfort zone. For her reading challenge, she selected a list of books she has read over the past few years that she adored but seemed "hard to pitch" to publishers because of how they defy convention. Difficult to pitch but still infinitely loveable.

Subscribe to TTFA Anthologies here. This is an episode about two letters. One of those is the letter Jim left for his wife, Annie, before he died by suicide. The second is the letter Annie wrote to Jim after his death — and as she dealt with her own mental health issues and suicidality in the wake of it. When someone dies by suicide, people want it to be someone's fault, so they can (hopefully) feel less like it's their fault. But the thing is … it's never anyone's fault. _ Terrible, Thanks for Asking tells the real stories of real people who have lived through the terrible things in life. TTFA Anthologies are a curated collection of some of our best stories; released in seasons that focus on a specific topic. You can find our entire episode catalog ad-free on Apple+ or Patreon. – Find Nora's weekly newsletter here! Also, check out Nora on YouTube. _ The Feelings & Co. team is Nora McInerny, Claire McInerny, Marcel Malekebu and Grace Barry. _ Find all our shows and our store at www.feelingsand.co. Learn more about your ad choices. Visit megaphone.fm/adchoices

Subscribe to TTFA Anthologies here. Terrible, Thanks for Asking tells the real stories of real people who have lived through the terrible things in life. TTFA Anthologies are a curated collection of some of our best stories; released in seasons that focus on a specific topic. You can find our entire episode catalog ad-free on Apple+ or Patreon. – Find Nora's weekly newsletter here! Also, check out Nora on YouTube. _ The Feelings & Co. team is Nora McInerny, Claire McInerny, Marcel Malekebu and Grace Barry. _ Find all our shows and our store at www.feelingsand.co. Learn more about your ad choices. Visit megaphone.fm/adchoices