POPULARITY
4 episodes with Brian Froud
2 episodes with Brian Froud
2 episodes with Brian Froud
2 episodes with Brian Froud
2 episodes with Brian Froud
2 episodes with Brian Froud
2 episodes with Brian Froud
2 episodes with Brian Froud
3 episodes with Brian Froud
Frazetta, Norem, Roger Dean, Larry Elmore... ilustradores de fantasía que han creado mundos imaginarios que todavía nos hacen soñar. Ojo a la galería que hemos preparado: https://campamentokrypton.wordpress.com/2025/11/30/ck330-grandes-maestros-y-maestras-de-la-ilustracion-fantastica/ Desde el inicio del arte hasta la eclosión de los Prerrafaelitas y la Edad de Oro de la Ilustración se fue creando una generación de artistas que fueron recreando mitologías y personajes de cuento a la par que los sistemas de impresión se iban abaratando. John Bauer, Arthur Rackham o Edmund Dulac fueron algunos de esos pioneros. Tolkien (y C. S. Lewis) contaron con los servicios de Pauline Bynes, a los que se sumarían años después Alan Lee, John Howe, Jimmy Cauty o Angus McBride para recrear la Tierra Media. La irrupción de Virgil Finlay y sobre todo Frank Frazetta, fue una auténtica revolución y la literatura pulp recreaba a héroes como Conan o Tarzan y mundos de ciencia ficción y terror que retomarían Boris Vallejo o Earl Norem. La influencia del cómic fue cada vez mayor y de ahí surgió The Studio con Jeff Catherine Jones, y la revolución de Metal Hurlant con Moebius o Corben. El rock se aprovecharía de los paisajes alucinantes de Roger Dean o Robert Matthews, el cine del las hadas de Brian Froud y los juegos de rol del talento de Larry Elmore, entre otros. De España han surgido el maestro Sanjulián, Corominas que además reflexiona sobre su trabajo en nuestro podcast o Marina Vidal, que también nos analiza cómo es ser portadista de fantasía en nuestro país. Tenemos también tiempo de recomendar tres cómics: Macarras interseculares (Astiberri), La invasión de los hongos del espacio (Diábolo) y Replay (Garbuix) ¡Hemos preparado TODA UNA GALERÍA con el arte que mencionamos en el programa, que podéis disfrutar aquí, para tener una apoyo visual! https://campamentokrypton.wordpress.com/2025/11/30/ck330-grandes-maestros-y-maestras-de-la-ilustracion-fantastica/ Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals
Horror Movie Survival Guide hosts Teri Gamble & Julia Marchese sit down to talk to the writer & director of Rabbit Trap, Bryn Chainey. The film opened in theaters on September 12th. Bryn Chainey is a British filmmaker, folklorist and poet. Exploring the thorny edgeland of nature, technology and the unconscious, his influences include Nic Roeg, David Lynch, Ted Hughes, and Brian Froud. His work has best been described as mythic realism. In 2025 his debut feature film, Rabbit Trap, starring Dev Patel and Rosy McEwen, premiered at the Sundance Film Festival.Bryn is also the co-founder and curator of Pustnik, a non-profit residency and education program that takes place annually in remote locations across Romania.Follow YOUR LOVELY HOSTS! @JuliaCMarchese | Twitter, Instagram, Facebook | Linktreehttps://linktr.ee/juliacmarchese @theterigamble | Instagram, Facebook | Linktreehttps://linktr.ee/theterigambleFollow OUR SOCIALS! HorrorMovieSurvivalGuide | Twitter, Instagram, Facebook | Linktreehttps://linktr.ee/horrormoviesurvival...PATREONHorror Movie Survival Guide | creating a Podcast & More! | Patreon / horrormoviesurvivalguide Horror Movie Survival Guide (@horrormoviesurvivalguide) • Instagram photos and videos / horrormoviesurvivalguide Horror Movie Survival Guide (@horrormoviesurvivalpod) | TikTok / horrormoviesurvivalpod Facebook / horrormoviesurvivalguide TwitterHorror Movie Survival Guide (@WeRIntoSurvival) / Xhttps://x.com/WeRIntoSurvivalSupport the show
Welcome to our first ever holiday special! Having traversed the Summer of '82, Javi, Paul and Producer Brad are back at the multiplex to witness the whirlwind of wonders that is Jim Henson's phantasmagoric puppetpalooza THE DARK CRYSTAL. Audiences young and old were both captivated and confounded by the strange spectacle of this creepy creature feature inexplicably intruding upon their holiday season (who on earth thought it was a good idea to release it on Dec. 17?), but its meticulous magnificence cannot be denied! Join us as we soak in the cinematic sorcery conjured by Jim Henson, Frank Oz, illustrator extraordinaire Brian Froud, and Star Wars producer Gary Kurtz. And this episode is special in more ways than one, as Javi shares his amazing experience working on the film's Emmy-winning prequel series he helped write and produce, THE DARK CRYSTAL: AGE OF RESISTANCE.Follow us!Instagram Bluesky email: Multiplexoverthruster@gmail.com Hosted on Acast. See acast.com/privacy for more information.
"Everything I've done, I've done for you. I move the stars for no one.” After the release of THE DARK CRYSTAL — and its critical and commercial failure — Jim Henson and his collaborator on that project, illustrator Brian Froud, went back to the drawing board for their next ambitious fantasy project. Utilizing the lessons that they'd learned on that film, they looked to craft another story with the same amount of imagination, but with more humor, more heart, more music and… more humans. The resulting film, LABYRINTH, was not much more well-received at the time of its release, but like its predecessor, it's gone on to become a beloved film, one that's now considered a classic and one of the creative pinnacles of Henson's career. In this episode, we tell down the full story of how LABYRINTH was made, from its original concept, to the dozens of script drafts that it went through during its development, to the casting of David Bowie and Jennifer Connelly (and the actors who almost got the parts instead), and all of the innovative puppetry and creature creation that brought it to life. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andrew C. | Andy Lancaster | asotirov | Benjamin Yates | Caverly | Curt M. | Elton Novara | Interzone78 | Jackson_Baker | Justin V. | Lucy Lawson | Nate Izod | Nathan Kelley | qoheleth | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net
"Another world, another time, in the age of wonder. A thousand years ago, this land was green and good - until the Crystal cracked." After the completion of THE GREAT MUPPET CAPER, Jim Henson focused on a project that had been in the works for years — its earliest seeds were planted well before even The Muppet Show had begun production — an ambitious fantasy film made in collaboration with renowned illustrator Brian Froud. That film, THE DARK CRYSTAL, would be Jim's most ambitious project to date. It's a film that pushed the limits of what puppetry was capable of, essentially creating an entirely new artform that would change the landscape of movie special effects for years to come. But it was also a great artistic and financial risk for Henson. When it was released, audiences didn't quite know what to think of it, but the film has become to be considered a bonafide classic in the decades since. In this episode, we'll detail the years long process to bring THE DARK CRYSTAL to the screen. D&D LIVE FOR CHARITY, Hosted by Mr. Todd A. Davis Comedians, Drag Performers, and Pro Wrestlers play Dungeons & Dragons in front of a LIVE audience to benefit The Julie Valentine Center!
From the creative minds of Jim Henson, Frank Oz, and Brian Froud and featuring the voice talents of Jim Henson, Kathryn Mullen, Frank Oz, Dave Goelz, and more. Skeksi appear in the world of Thra and ravage the land while their peaceful counterparts, the Mystics, seek to bring about balance. They send Jen, a Gelfling whose people have been driven to extinction by the Skeksi, on a quest to fulfill the prophecy. Unfortunately for Jen, the supposedly all knowing Mystics are short on important information and send Jen to Aughra for a shard he doesn't know what to do with. Fortunately for Jen, he meets another Gelfling, Kira, who can speak to the animals and joins him on his journey. Together they discover the way to save their land by healing The Dark Crystal, this week on Doom Generation.
One of Dave's childhood favorites, despite a fair sledding from mates, is up for scrutiny this week! And with a 16 year old Jennifer Connely heading up against a middle aged pop star, what could possibly go wrong? directed by Jim Henson, was an ambitious blend of puppetry, live-action, and cutting-edge visual effects for its time. The film was a collaboration between Henson and executive producer George Lucas, with a screenplay by Monty Python's Terry Jones. Conceptual artist Brian Froud, known for his work on The Dark Crystal, played a significant role in designing the fantastical creatures and the world of the labyrinth itself. The movie's central character, Jareth the Goblin King, was brought to life by David Bowie, who also contributed original songs to the soundtrack, adding a surreal, musical dimension to the film. With a cast that included young Jennifer Connelly and over 100 puppets, the production involved complex puppetry, animatronics, and special effects to bring the magical world to life. The film was shot primarily at Elstree Studios in the UK, where elaborate sets were built to depict the vast, dreamlike maze. Henson's Creature Shop faced technical challenges, especially with creating characters like Hoggle, a puppet requiring multiple operators to control its facial expressions and movements. Though the film was not a box office success upon release, Labyrinth gained a devoted cult following over the years, praised for its imaginative design, memorable characters, and Bowie's iconic performance. The film's mix of fantasy, music, and pioneering practical effects has since solidified its place as a beloved classic in fantasy cinema. If you enjoy the show we have a Patreon, so become a supporter. www.patreon.com/thevhsstrikesback Plot Summary: Sarah's a 16-year-old girl who is frustrated by her babysitting duties and wishes her infant brother Toby would be taken away by the Goblin King. When her wish is granted and Jareth kidnaps Toby, Sarah has 13 hours to navigate a vast, magical labyrinth to save him before he is turned into a goblin. Along the way, she encounters a host of strange creatures and overcomes various challenges, learning about bravery and friendship. As she gets closer to Jareth's castle, Sarah must confront her own fears and insecurities to rescue Toby and return home. thevhsstrikesback@gmail.com https://linktr.ee/vhsstrikesback --- Support this podcast: https://podcasters.spotify.com/pod/show/thevhsstrikesback/support
Puntata a cura di UntimoteoA distanza di quarant'anni dal film The Dark Crystal (1982), fortemente voluto dal creatore dei Muppets Jim Henson, Netflix ha distribuito il prequel in 10 puntate di circa 50 minuti: Dark Crystal - La resistenza (2019). Sorretta da una narrazione avvincente e dalla solida regia di Louis Leterrier la serie si dimostra una delle proposte fantasy più convincenti degli ultimi anni. Con il marchio di fabbrica degli Henson, ovvero una parata di splendidi pupazzi animati con le più moderne tecnologie e realizzati secondo tecniche che da millenni sostengono le arti del teatro di figura. Il design è ancora una volta in mano a Brian Froud, tra gli illustratori fantasy più noti al mondo. La sua matita aveva dato vita ai personaggi del film del 1982. Ma anche a quelli dell'altro film cult realizzato assieme al compianto Henson: Labyrinth, dove tutto è possibile.“Animazione” è il format del podcast di Mondoserie dedicato alle diverse scuole ed espressioni del genere, dall'Oriente alla scena europea e americana.Parte del progetto: https://www.mondoserie.it/Iscriviti al podcast sulla tua piattaforma preferita o su: https://www.spreaker.com/show/mondoserie-podcast Collegati a MONDOSERIE sui social: https://www.facebook.com/mondoseriehttps://www.instagram.com/mondoserie.it/ https://twitter.com/mondoserie_it https://www.youtube.com/channel/UCwXpMjWOcPbFwdit0QJNnXQ https://www.linkedin.com/in/mondoserie/
Join us on the Literary License Podcast as we delve deeper into the intriguing world of dark family films. In this episode, we discuss the engrossing narratives of two cinematic masterpieces, "Dark Crystal" and "Labyrinth". These films, defined by their potent fusion of the gruesome with the stunning, encourage children to explore narratives that are often deeply symbolic and spiritual. Listen in as we shed light on the intricate puppetry and artistry in "Dark Crystal", a dark fantasy film directed by Jim Henson and Frank Oz. Despite initially receiving mixed reviews, the richly textured plot, distinctive aesthetic, and well-rounded characters have cultivated a passionate following over time. Journey with us as we uncover this captivating blend of artistry and story-telling. As the conversation progresses, we get lost in the fantastical world of "Labyrinth", another ingenious collaboration between Henson and renowned fantasy illustrator Brian Froud. From Froud's unique faerie and dwarf designs to Henson's visionary puppetry, we discuss how these creative forces created inviting worlds for children to delve into the symbolic and profound aspects of the narratives. Dive into rich, thought-provoking discussions on these two films with us. From Vicky Ray's first reactions to "The Dark Crystal" to insights from Joe Randazzo on the depths of puppetry as an art form, our team promises to bring fresh perspectives and interesting trivia. Hit play, sit back, and let us take you on an unexpected journey into the weird and wonderful world of dark fantasy films.
Programa 73 -Planescape con Joxe Hoy Nacho GM nos habla de Planescape en D&D. Planescape es un escenario de campaña creado por David “Zeb” Cook para el juego de rol de fantasía épica Dungeons & Dragons. Fue publicado en 1994 y se adentra en un intrincado multiverso compuesto por numerosos planos de existencia, abarcando una cosmología llamada la Gran Rueda, tal y como fue plasmado originalmente en el Manual de los Planos de 1987 por Jeff Grubb. Este escenario conecta muchos de los otros mundos de Dungeons & Dragons a través de portales mágicos interdimensionales. La ciudad central de este escenario es Sigil, una metrópolis situada en el centro de todos los planos, y es conocida por su misteriosa gobernante, La Dama del Dolor. Sigil es un lugar de encuentro para aventureros, criaturas extraplanarias y facciones diversas. Cada facción tiene su propia filosofía y objetivos, y los personajes pueden unirse a ellas o enfrentarse a sus intrigas. El diseño visual de Planescape se inspiró en imágenes como las sombrías prisiones de las grabados de Piranesi, las ilustraciones de Brian Froud y el arte surrealista. La Dama del Dolor se convirtió en el icónico logotipo del escenario. En resumen, Planescape ofrece una experiencia única en el vasto multiverso de Dungeons & Dragons, explorando conceptos filosóficos, conflictos cósmicos y la diversidad de los planos de existencia. Si alguna vez tienes la oportunidad, te recomiendo explorar este intrigante escenario de campaña. ¡Que te diviertas explorando el mundo de D&D! Música de Uppbeat: License code: DSJHNLFTIRWBKXPO Música de Youtube
A fun topic this time. We decided to chat about our fave fantasy creatures. Mine was elves, Banes' had the bigfoot and Tantz had dragons! We chat about where our love started, why we think we like the creatures and a bit about the creatures themselves. For me it was because I always identified with the elves I read about in Tolkien and Brian Froud's book on fareies because I was slim and slight, with long hair and sharp features. Banes loved bigfoots because he liked that it was a local monster to him and it was very much into Universal monster type creatures. Tantz loved dragons because they were awesome, beautiful, powerful and mysterious. So what are YOUR fave fantasy creatures and why? Do you agree with what we say about elves, bigfeet and dragons? This week Gunwallace has given us a theme inspired by Pitrats - Deep, heavy, dark, wide, foreboding and awesome in scale and scope. This is drama writ large and very evocative of the serious story of Pitrats and its well crafted setting. Topics and shownotes Links Featured comic: The Brooding Muse - https://www.theduckwebcomics.com/news/2024/jan/23/featured-comic-the-brooding-muse/ Featured music: Pitrats - https://www.theduckwebcomics.com/Pitrats/ - by HenryMueller, rated M. Special thanks to: Gunwallace - http://www.virtuallycomics.com Ozoneocean - https://www.theduckwebcomics.com/user/ozoneocean Kawaiidaigakusei - https://www.theduckwebcomics.com/user/kawaiidaigakusei Tantz Aerine - https://www.theduckwebcomics.com/user/Tantz_Aerine/ Banes - https://www.theduckwebcomics.com/user/Banes/ VIDEO exclusive! Become a subscriber on the $5 level and up to see our weekly Patreon video and get our advertising perks! - https://www.patreon.com/DrunkDuck Even at $1 you get your name with a link on the front page and a mention in the weekend newsposts! Join us on Discord - https://discordapp.com/invite/7NpJ8GS
Welcome in Dear Guest! We know that some of you have been waiting for another visit to this beloved topic for quite some time, so tonight, we have a spritely telling of Fairies in Art! These enchanting creatures live in the hearts and minds of people all over the globe, and thanks to some magically gifted artists, now everyone can see them!... not just us. Your ethereal host will describe for you, 2 paintings, Midsummer Eve, by Edward Robert Hughes, and Spirit of the Night, by John Atkinson Grimshaw. And, several fabulous fairy beings in the astoundingly popular book, Faeries, by Brian Froud and Alan Lee. Now, find your favorite seat... and we'll all have a nice break from boring reality! Special Thanks to Sounds Like an Earful Music Supply for the amazing music AND sound design.
You remind us of the podcast! What podcast? The podcast with the power! What power? The power of voodoo. Who do? You do. Do what? Remind us of the podcast! Meandering through this episode, Ben and Chris clumsily navigate the twisting corridors and puzzles of Jim Henson and David Bowie's 1986 fantasy classic, Labyrinth. Spring boarding off the brilliant mind and artwork of Brian Froud, Henson and his team endeavored in the mid-80's to produce a more comedic and light-hearted fantasy adventure than their 1982 The Dark Crystal. The result sent little-known Jennifer Connelly to team up with a misfit band in search of her stolen infant half-brother, knocking out pitfalls and puzzles with greater efficiency than Odysseus could ever muster. Come back with us and remember why no one could get enough of “Dance, Magic, Dance!” Season 4 of 80's High is sponsored by Choose Your Own Adventure! Shop cyoa.com and use code 80sHigh for 20% off your first order of books, box sets, graphic novels, tabletop games, and more! Support the show by tossing us some lunch money at ko-fi.com/80shighpodcast. Write an 80's inspired note when you do, and we'll share it on the show! -- Can I Borrow Your Notes? -- Ten Amazing Facts About Labyrinth (Minty Comedic Arts) Labyrinth Trivia (IMDB) The Bachelor and the Bobbysoxer, You Remind Me of a Man -- Teacher's Pets -- Join the Class of 80's High: 80shighpodcast@gmail.com Follow on Instagram: @80shighpodcast Theme song by Greg Reed, with vocals by Chad Bumford Cover art by Alex Goddard at alexgoddarddesign.com
This week the I am reading from Danielle Oberosler's book 'The Haunted Guesthouse: A True Story' and Bonnie Jean Mitchell's book 'The Shift : A Lifetime of Contact Leading to Higher Consciousness'.Danielle OberoslerThe story of the haunted guesthouse, made famous on Paranormal Witness' The Pit, has finally come to an end. Truth is stranger than fiction. Find out how the exciting tale concludes and if the activity continues by reading the book by the homeowner who was in the center of the action for 13 years.BioI am a career tattooer, who wrote as a columnist for Skin & Ink Magazine. I started the Spotlight column interviewing tattooers usually with less than 10 years in the industry to add more variety to the magazine. I am a single mother who owns and works in my own tattoo shop. I wrote Monstar way before I ever thought about having a child, in my 20s. I actually took the writing job for Skin & Ink to try to network and meet someone who would publish my story. However, my columnist job was freelance, and even as an assistant to the editor I never met anyone in publishing. Along comes a pandemic, and my tattoo shop was shuttered for 10 months. I had the time to try to figure out self publishing an eBook in an attempt to pivot my career, and I took advantage of that time. l am very happy to finally have my story and my good friend Cynthia's illustrations available for purchase! She too has an industry that has come to a complete stop during the pandemic, which is designing fashion. We grew up together, and we loved The Dark Crystal and Brian Froud books. I hope anyone who purchases our book enjoys the story and the artwork that we had fun putting together.https://www.youtube.com/@UnOrdinaryMadeOrdinaryAmazon book link http://rb.gy/8luneBonnie Jean MitchellThis is the realization of who we are. The shift of consciousness is upon us. It is time for spiritual healing. We have entered the age of UFO disclosure and the secret government's Project Blue Beam. The controllers of this world will do anything they can to prevent humanity from waking up and claiming their true power. Will you be able to see the truth within the lie?I have worked with my spiritual family, including the pleiadians and other benevolent, multidimensional entities, to raise my own vibrational frequency to a higher state of consciousness. I share my story with all of you to help assist in the awakening of humanity. It is time for us to remember who we are, where we come from, and why we are here. Most importantly, the shift will bring us into a higher state of consciousness that will allow us to realize our true power as human beings: loving creators and manifestors of reality.This is your handbook, authored in exact synchronicity with the coming frequency shift, offering discernment between the false, satanic narrative and the true, natural awakening and spiritual ascension of mankind. It is time to let go of the old matrix system we were indoctrinated into. The controllers no longer hold power over us. Focus your attention now on manifesting what you truly want in your life. We are leaving behind lower vibrational frequencies and tuning into a new channel of love and light! We are creating this new world together.The Shift details the personal experiences and lessons of a life-long contactee. Along the way, you will learn about: the power of human consciousness and our eternal spiritual nature, raising vibrational frequency, opening the third eye, seeing the truth behind the false matrix system, filling your heart with love and standing your ground, a closer look into military abduction and U.S. patents, facing fear and fighting the controllers including military psychics, reptilians, demons, and dark magicians posing as religious and political figureheads.One of the most important aspects of The Shift is breaking the mind control we have been under our entire lives. We can now release this trauma, re-write our neural programming, and re-create ourselves in a natural way that will allow our highest selves, our true selves, to shine through and take control of our lives and reality on the Earth plane as we create a new world of love and light together.Bonnie Jean Mitchell is a life-long contactee and lightworker who collaborates with benevolent, multidimensional star people toward the highest vibrational frequencies that lead to a profound shift in conscious awareness and the uplifting of humanity. Are you ready for The Shift?BioBonnie Jean Mitchell is a life-long experiencer and contactee. She first saw the star people when I was four years old. It was really bizarre to me then, but I became accustomed to their visits over the years. I saw them throughout my childhood, and they were always friendly toward me. The star people are multidimensional entities who can move in and out of our dimensional space. They come in different shapes and sizes, but most can shape shift their bodies. The star people I am closest with are tall and thin with light-colored, almost white skin. Some have white or blonde hair. If I had to choose a label for them, I would call them Pleiadian, although I realize they are non-physical beings.When I was 19 years old, the star people became my full-time teachers. At night, they would take my conscious awareness from my physical body and transport it to a vibrational frequency where we could both work together for extended periods of time. I call this place the Alternate Reality. They put me through intense training for about five years. They taught me to face my fears and how to defend myself against psychic attack whether from human or alien. At the same time, I dealt with U.S. military trained psychics and military abduction. I was taught that we are in a war; a spiritual battle of epic proportions including factions from this world and other worlds, many of them non-physical but very real and all of us intricately connected.The star people taught me how to use my third eye as a tool to focus and direct energy. I practiced with them and fellow human students in the alternate reality for many years. I refer to this time as the Star People School. Whoever passed the gauntlet of psychic tests and challenges advanced to the next level of training. I eventually went on to learn how to use subtle energy to manifest reality. The most important reason for all the teaching is the Shift of Consciousness. This is the uplifting of humanity…when humans remember who they really are, where they come from, and what their true purpose is. Most importantly, humanity will remember how to control energy and manifest a beautiful reality. This is when the false matrix system collapses entirely and the world is reset.I have continued to work with the star people throughout my life with this cause in mind: to awaken humanity. I know the time is close, very close, when the Shift occurs. In fact, it has already begun. When humans wake up and break the hypnotic spell that was put upon them, the evil Controllers of this world will flee for their lives. This world is a temporary learning ground that we pass through on our way back home. We are eternal, spiritual beings who never die. We only grow and become better as we work toward higher consciousness. Can you feel the Shift happening within you? This is where it starts!My incredible experiences with the star people are documented in my two books, Journey with the Star People and The Shift. Consider signing up for my blog at www.alienabductionhelp/bloghttps://alienabductionhelp.com/Amazon https://rb.gy/y4nsfhttps://www.patreon.com/pastlivespodcasthttps://www.pastliveshypnosis.co.uk/https://www.patreon.com/alienufopodcast
This week I'm talking to Danielle Oberosler about her book 'The Haunted Guesthouse: A True Story'.The story of the haunted guesthouse, made famous on Paranormal Witness' The Pit, has finally come to an end. Truth is stranger than fiction. Find out how the exciting tale concludes and if the activity continues by reading the book by the homeowner who was in the center of the action for 13 years.BioI am a career tattooer, who wrote as a columnist for Skin & Ink Magazine. I started the Spotlight column interviewing tattooers usually with less than 10 years in the industry to add more variety to the magazine. I am a single mother who owns and works in my own tattoo shop. I wrote Monstar way before I ever thought about having a child, in my 20s. I actually took the writing job for Skin & Ink to try to network and meet someone who would publish my story. However, my columnist job was freelance, and even as an assistant to the editor I never met anyone in publishing. Along comes a pandemic, and my tattoo shop was shuttered for 10 months. I had the time to try to figure out self publishing an eBook in an attempt to pivot my career, and I took advantage of that time. l am very happy to finally have my story and my good friend Cynthia's illustrations available for purchase! She too has an industry that has come to a complete stop during the pandemic, which is designing fashion. We grew up together, and we loved The Dark Crystal and Brian Froud books. I hope anyone who purchases our book enjoys the story and the artwork that we had fun putting together.https://www.youtube.com/@UnOrdinaryMadeOrdinaryhttp://thetattooroom.com/same-waveAmazon book link http://rb.gy/8luneSpiritual Awakenings International Conferencehttps://spiritualconference.org/sai-conference-2023/https://www.pastliveshypnosis.co.uk/https://www.patreon.com/pastlivespodcast
In this episode, Madeline Bitter, Roving Library Nerd Reporter, talks imps, pucks, and wee folk. Madeline's book recommendations: Good Faeries Bad Faeires by Brian Froud
In the forty-ninth episode of Season 7 (Fantastical Realities) Kyle is joined by a panel of guests, actor Ben McGinley, editor Katy Baldwin, and screenwriter Gio Maldonado, to discuss the glam rock infused fantasia of coming-of-age responsibility, consequence, and sexuality that defines the puzzling landscape of emerging adulthood in Jim Henson's Labyrinth (1986).
Changelings are part fae, part human. But what about their fellows who are even humaner, or humans who are entirely so, with nothing inherently fae about them? This episode, we return to the library to talk about The Enchanted, Changeling's supplement for "Year of the Ally" and the final(!) book of the 1st edition. While we've seen mortal antagonists throughout the line, here we get a look at the enchanted and the fae-blooded-but-otherwise-ordinary Kinain. They've changed dramatically in the latest edition of the game, so it's a bit of nostalgia to flip through the pages of this book and see how they were presented before. If you'd like to ally with us yourself, you can do so via the social media connection point of your choosing: Discord: https://discord.gg/SAryjXGm5jEmail: podcast@changelingthepodcast.comFacebook: https://www.facebook.com/profile.php?id=100082973960699Mastodon: https://dice.camp/@ChangelingPodPatreon: https://www.patreon.com/changelingthepodcast It also occurs to us that we haven't been including the actual links to the books in the show notes, in case people want to get PDFs of their own, which is... an oversight, to say the least. So here you go! https://www.drivethrurpg.com/product/288?affiliate_id=3063731. (We might have to go back and edit some of the older Lost in the Library posts...) ... your hosts Josh Hillerup (any pronoun) possesses the Fae Gift of always finding a discount on candy beans at the local shops. Pooka G (any pronoun/they) undergoes a warp-spasm whenever yet another crackpot makes an unsubstantiated claim about the Voynich Manuscript. "Faeries lead us astray to show us the way." —Brian Froud
An award-winning, multi-platform content creator and producer, Bergantino has over 30 years of experience working with the top studios, publishers and talent in both traditional and interactive entertainment. He's served as VP of Premium Games Production at Nickelodeon, VP of Creative for THQ's Kids & Family division and been a producer for Disney Interactive, Jim Henson Interactive, the BBC, Spinmaster and DHX/Wildbrain, among others. He has also collaborated with the likes of Wes Craven, Clive Barker, Sean Cunningham, M. Night Shyamalan, Mick Garris, Neil Gaiman, Dave McKean, Brian Froud, Joel Hodgson and Kathleen Kennedy. His console games have sold over 20M units across all platforms, with 10 titles selling over 1M units each, generating over $500M in revenue. He has written 11 published novels, dozens of video games, and even wrote the story and script for the original Mummy theme park ride at Universal Studios Florida, among other projects. He is currently writing content for numerous video game clients, including ByteDance, GameMill, Rage Quit Games and worked extensively on Techland's recently-released Dying Light 2. Most notably, David has been killed three times in two novels, is an official part of the Star Wars universe as two characters and has spent time in the New Jersey Federal Penitentiary with George Jung, the character portrayed by Johnny Depp in the movie Blow. Today I talk to David about his New Nightmare book as well as his work on the much hyped upcoming video game “Killer Klowns From Outer Space “ and how it's been a dream of his to work on this project from a young age . https://coldroomentertainment.com/about/
Puntata 5 - Bentornati al podcast “Storie di Celti intorno al fuoco” un podcast realizzato dalla Celtic Harp International Academy in collaborazione con English Galore School. Durante questa puntata scopriremo le origini del Piccolo Popolo d'Irlanda e andremo alla ricerca di connessioni magiche tra le isole britanniche, la Bretagna e il Piemonte per scoprire come gli esseri fatati che popolano queste terre appartengono tutti al medesimo sostrato celtico. Visita il nostro sito e seguici sui social: https://www.celticharpacademy.com/ https://englishgalore.school Facebook: https://www.facebook.com/storiedicelti https://www.facebook.com/celticharpacademy https://www.facebook.com/EnglishGaloreSchool Instagram: https://www.instagram.com/storiedicelti/ https://www.instagram.com/celticharpacademy/ https://www.instagram.com/englishgaloreschool/ Testi di Paolo Rolfo Editing di Valentino Barbareschi Bibliografia: James MacKillop, Myths and Legends of the Celts, Penguin Books, 2006 William Butler Yeats, Fairy and Folk Tales of the Irish Peasantry, 1888, licenza libera Elena Percivaldi, I Celti, un popolo e una civiltà d'Europa, Giunti, 2005 Tavio Cosio, Roche, Sarvan e Masche, Centre Prouvençal Coumboscuro, 1984 I Sarvanot dal Toumpi, Ass. Primalpe, 2004 Enrico Bertone, Tesori e miti del Piemonte, Priuli & Verlucca, 2018 Brian Froud, Alan Lee, Faeries, Abrams, Inc., Souvenir Press, 1978 Musica: The Humours of Ballymanus Jig (sigla) The New Pup An Dro Performer: Elisa Petruccelli, Laoise Kelly, Alex Bianchi https://www.instagram.com/elisa_loves_harp/ https://instagram.com/laoiseharpo/ https://instagram.com/anwa.feren/ Editing: Celtic Harp Production Copyright: Paolo Rolfo, Valentino Barbareschi, Elisa Petruccelli, Alex Bianchi
Labyrinth is a 1986 musical fantasy film directed by Jim Henson with George Lucas as executive producer. Based on conceptual designs by Brian Froud, the film was written by Terry Jones, and many of its characters are played by puppets produced by Jim Henson's Creature Shop. The film stars Jennifer Connelly as 16-year-old Sarah and David Bowie as Jareth, The Goblin King. In Labyrinth, Sarah embarks on a quest to reach the center of an enormous, otherworldly maze to rescue her infant half-brother Toby, whom she wished away to Jareth. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tradepaperbacks/message --- Send in a voice message: https://podcasters.spotify.com/pod/show/rangerryan/message
Labyrinth is a 1986 musical fantasy film directed by Jim Henson with George Lucas as executive producer. Based on conceptual designs by Brian Froud, the film was written by Terry Jones, and many of its characters are played by puppets produced by Jim Henson's Creature Shop. The film stars Jennifer Connelly as 16-year-old Sarah and David Bowie as Jareth, The Goblin King. In Labyrinth, Sarah embarks on a quest to reach the center of an enormous, otherworldly maze to rescue her infant half-brother Toby, whom she wished away to Jareth.
Thanks for joining us! This week is a bit of a breather: we're talking about ten books that inspire us for Changeling: the Dreaming. The show notes are therefore pretty straightforward, as we'll just have the list below with a few notes. (You are encouraged to find, borrow, or purchase these books at a library or bookstore, for we will not be linking to a certain bookselling megacorp on this post.) In a more general sense, we're opening a conversation here about media as inspiration; we anticipate talking about another stack of books in the future, but also graphic novels, television, film, even artwork. Given that the game is to some extent about inspiration and story, it seems fitting to think about more than just "books about faeries." How can players and STs get the most out of the media they encounter for their games? What qualifies as a narrative that has something to do with Glamour and Banality, or the other themes of the game? Things to consider for future iterations of this series of episodes... (Also, we threw in three honorable mentions at the end, because stopping at ten books just wasn't going to happen.) the list Emma Bull, War for the Oaks — Blurb: "Eddi McCandry sings rock and roll. But her boyfriend just dumped her, her band just broke up, and life could hardly be worse. Then, walking home through downtown Minneapolis on a dark night, she finds herself drafted into an invisible war between the faerie folk. Now, more than her own survival is at risk—and her own preferences, musical and personal, are very much beside the point." There was some talk long ago about adapting it for film (to the point that a low-budget trailer got made), but alas, it has not yet come to be...John Crowley, Little, Big; or, the Fairies' Parliament — A truly magnificent 25th anniversary edition just came out...which actually makes it a 40th anniversary edition, so how's that for a publishing delay? But anyway, even though that version is frighteningly expensive, you can at least get a sense for the book by reading the first couple chapters here: https://littlebig25.com/.Charles de Lint, The Wild Wood — Blurb: "A young artist returns to her cabin in the deep woods of Canada to concentrate on her illustrations. But somehow, strange and beautiful creatures are slipping into her drawings and sketches. The world of Faerie is reaching out to her for help--and she may be its last chance for survival." See an example of the Brian Froud art paired with this book below (used for the cover, in fact).Cory Doctorow, Someone Comes to Town, Someone Leaves Town — This one is freely available for download, presumably because Doctorow is a big proponent of Creative Commons and whatnot: https://craphound.com/category/someone/Joanne M. Harris, Honeycomb — Author's website with some Q&A and other information: http://www.joanne-harris.co.uk/honeycomb/Neil Gaiman, Neverwhere — Multimedia moment: Neverwhere was actually a TV series first, some of which you can watch for free because some kind soul has put it online (start with https://www.youtube.com/watch?v=tKlsXquUKdA). So technically the novel is a novelization, and we might cover this again for when we talk about TV... but then, it's also been made into a stage play, and a radio drama, and a graphic novel. Many options for your media-consumer pleasure. Seanan McGuire, the October Daye series — Author's website: https://seananmcguire.com/toby.php; you can check out her other series as well here.Terry Pratchett, Hogfather (and many other Discworld novels besides) — Another one with a TV adaptation, featuring Ian Richardson and Michelle Dockery (of Downton Abbey fame), which you can fairly easily watch online as well (https://www.youtube.com/watch?v=JoWifSyA9NQ). Salman Rushdie, Haroun and the Sea of Stories — A brief excerpt: "So Iff the water genie told Haroun about the Ocean of the Stream of Stories, and even though he was full of a sense of hopelessness and failure the magic of the Ocean began to have an effect on Haroun. He looked into the water and saw that it was made up of a thousand thousand thousand and one different currents, each one a different colour, weaving in and out of one another like a liquid tapestry of breathtaking complexity; and Iff explained that these were the Streams of Story, that each coloured strand represented and contained a single tale. Different parts of the Ocean contained different sorts of stories, and as all the stories that had ever been told and many that were still in the process of being invented could be found here, the Ocean of the Streams of Story was in fact the biggest library in the universe. And because the stories were held here in fluid form, they retained the ability to change, to become new versions of themselves, to join up with other stories and so become yet other stories; so that unlike a library of books, the Ocean of the Streams of Story was much more than a storeroom of yarns. It was not dead, but alive."Bill Watterson, any or all of the Calvin and Hobbes books — It almost seems a travesty to direct you to an internet version of the comic, but if you haven't come across the strip before, allowances must be made... you can read some of the old daily strips at https://www.gocomics.com/calvinandhobbes. ... your hosts Josh Hillerup (any pronoun) keeps finding library cards between the cushions, in their pockets, on buses, on trains, behind other people's ears... something mysterious is clearly afoot. Pooka G (any pronoun/they) once ate 38 pages of Finnegan's Wake, binding and all, to see what would happen, and woke up two days later drenched with absinthe in the doorway of a downtown Tarrytown taxidermy shop. ... "Books break the shackles of time, proof that humans can work magic." —Carl Sagan (psst! email us at podcast@changelingthepodcast.com if you want) (and join our Discord at https://discord.gg/SAryjXGm5j !) (support us on Patreon for additional treats at https://www.patreon.com/changelingthepodcast!)
Hello and welcome to Faecraft, a journey into tales of wonder, whimsy, and woe. Join us, the Burk sisters, for a romp with the Seelie and Unseelie courts in this our very first episode. Chelsea digs into historical research and origins of the magical Scottish courts of lore, while Holly shows us the lasting legacy of these creatures in popular culture. SourcesAn Encyclopedia of Faeries, Katherine Briggs, 1976. British Faeries Wordpress website- The Good and the Wicked Wichts; The Seelie and Unseelie Courts; Two Tribes- Good and Bad Fairy Folk"The Cult of Seely Wights in Scotland," Folklore vol. 123 no. 2, Julian Goodare, 2012.The English and Scottish Popular Ballads, 1882-1898, Francis James Child, 1882-1898.Forgotten Realms wikiGood Faeries, Bad Faeries, Brian Froud, 1998"Seelie," Oxford English Dictionary. Shadowhunter wikiWriting In Margins website- The Seelie and Unseelie CourtsMusicIntro and outro: Underneath the Christmas Tree (Instrumental) by myuu http://www.thedarkpiano.com/ Creative Commons — Attribution 3.0 Unported — CC BY 3.0 http://creativecommons.org/licenses/by/3.0/ Music promoted by Audio Library https://youtu.be/q8fX3In7Qng
Michelle Alderson of Heartfelt Illustrations is back again to tell us all about fairy folk. What do you think when you think of fairies? Do you prefer Disney fairies or Brian Froud fairies? What actually is a fairy? What is the history of fairies? What group were you in Brownies? Who do you call when you have an elf infestation? How many words are there do describe fairies? Who and what were the Cottingley Fairies? How was Sir Arthur Conan Doyle involved? Click here to visit Heartfelt Illustrations' website. Click here to visit the We Knew The Moon website. Don't forget to check out our cool new MERCH!
Based upon Winsor McKay's pioneering comic strip and animated short, Little Nemo: Adventures in Slumberland was a joint production between Japanese and American animation studios that went through almost fifteen years of development hell before it was released to dismissive reviews and indifferent ticket sales in 1989. The roll call of those who worked on the film in some capacity can feel like a list of people who guided children's film for the next thirty years; notable names include Brad Bird, Jerry W. Rees, Brian Froud, Chris Columbus, Osamu Dezaki, Hayao Miyazaki, Andy Gaskill, Roger Allers, Isao Takahata, and many others. While the movie was a flop, it did attract a modest cult audience on home video (a decent pair of video games for the arcade and the NES console didn't hurt either). Ryan is joined by Cheryl for a breakdown of this interesting crossroad in the history of animated film. Discussion topics include the incomplete characterization of the main character, how the visual splendor of McKay's art nouveau-inflected style was translated to the screen, and the general grumpiness of Mickey Rooney. --- Support this podcast: https://anchor.fm/ryan-valentine3/support
Puntata a cura di UntimoteoA distanza di quarant'anni dal film The Dark Crystal, fortemente voluto dal creatore dei Muppets Jim Henson, Netflix distribuisce il prequel in 10 puntate di circa 50 minuti. Sorretta da una narrazione avvincente e dalla solida regia di Louis Leterrier la serie si dimostra una delle proposte fantasy più convincenti degli ultimi anni. Con il marchio di fabbrica degli Henson, ovvero una parata di splendidi pupazzi animati con le più moderne tecnologie e realizzati secondo tecniche che da millenni sostengono le arti del teatro di figura. Il design è ancora una volta in mano a Brian Froud, tra gli illustratori fantasy più noti al mondo. La sua matita aveva dato vita ai personaggi del film del 1982. Ma anche a quelli dell'altro film cult realizzato assieme al compianto Henson: Labyrinth, dove tutto è possibile.“Animazione” è il format del podcast di Mondoserie dedicato alle diverse scuole ed espressioni del genere, dall'Oriente alla scena europea e americana. Parte del progetto: https://www.mondoserie.it/Iscriviti al podcast sulla tua piattaforma preferita: https://www.spreaker.com/show/mondoserie-podcast Collegati a MONDOSERIE sui social: https://www.facebook.com/mondoseriehttps://www.instagram.com/mondoserie.it/ https://twitter.com/mondoserie_it https://www.youtube.com/channel/UCwXpMjWOcPbFwdit0QJNnXQ https://www.linkedin.com/in/mondoserie/
Mercy Mission Synopsis:Radio Announcer: Tragedy has struck Aleen.On the way down to the planet the clones see an Aleena riding a giant insect thing and says ‘Great, it's going to be another one of those planets' in case you'd forgotten that teenage boys are the absolute worst. The design of the Aleena suggests that Brian Froud has snuck into Lucasfilm; let's see if we get a darkly whimsical fairytale allegory that will give kids nightmares. Or even David Bowie's crotch (fingers crossed!). 3PO promptly falls down the hole and R2, who is always down for a weird LSD trip, is right behind him. They start walking and are immediately swarmed by faeries. They enter a subterranean world that immediately references Dagobah. Revelation here we come. 3PO and R2 meet the Kindaloo, who look like an Ent and a Landstrider got lost in a Piers Anthony novel. The Kindaloo see a potential solution in 3PO and send him to see Orphne. The faeries coalesce into Orphne who promptly tastes 3PO in case you didn't know which kind of faerie queen we were dealing with. Orphne says that 3PO will do what he is meant to do and gives a riddle. Fortunately 3PO's speciality is riddles and Never Ending Story references, so he gets to work. R2, who is basically Puck, gets there first and pees on the right floor symbol and unlocks a water elevator into a flower and 3PO and R2 are spit back onto the surface. Underground vapors remember that they exist and commence to poison the Aleena. R2 and 3PO, because they don't breathe, are able to seal the breach and bring peace back to Aleen. A small Aleena does what we all wanted to do as kids and hugs R2 in thanks. The clones are still being giant wangs. The end.Nomad Droids Synopsis:We open on 3PO Spacetiming (™) with Padme to tell her of their adventures. The cruiser gets attacked by Grievous. R2 and 3PO “commandeer” a Y-wing and the two end up crashing on a nearby planet. The locals attack, but they're only about 6” tall. The Lilliputians proceed to pull a Gulliver's Travels on the two droids. While bumping proverbial chests with the king, R2 is knocked over by 3PO and crushes him to death… 3PO decides to instill democracy upon them, but that quickly descends into voter fraud (no joke).The droids leave the planet on their newly repaired Y-wing, but don't have enough power, so they land on another nearby planet. They're brought to this planet's leader, some repair droids doing a great and powerful OZ impression. The locals revolt and destroy the hologram and lightning producing machine, causing R2 and 3PO to wander away as their power reserves fall to zero. The clones and Jedi run across the pair. We end the episode with 3PO telling their story to a captive and unwilling audience in Commander Wolffe.The Clone Wars: Season 4 Episodes 5 and 6: https://www.disneyplus.com/video/1d717a67-fdce-4404-aed6-3cca361e0946https://twitter.com/ClosingCrawlhttps://podcasts.apple.com/us/podcast/closing-crawl/id1530133296https://www.closingcrawl.com/On YouTube: https://www.youtube.com/channel/UCz9X-57K6-VV_GkUBaqvyeAMerch: https://bit.ly/spacetimetm
"Voices in the forest tell of dark and twisted enchantments - as dark and twisted as the roots and grasping branches of the trees themselves. Even the most gnarled tree is eloquent in the telling of its own tale." -Brian Froud. The fae have always been an intriguing mystery for storytellers and lovers of all things fantasy. But... there is a darkness to the beauty. The CryptoSquad delves into that darkness, discussing the Unseelie Court of the fae. This is the first part of a two-segment episode exploring the world of faeries and other creatures of folklore. Our question is... Which side are you on? Music is "Running Man" by oldways. Provided by TuneTank. --- Send in a voice message: https://anchor.fm/necnerdicon/message
Pit and Tantz join me to talk about about fairies, fae, Faery, Fair folk, Yokai, and all that good stuff. They're like the dark-matter of the supernatural world: they're not really gods, demons, monsters, or ghosts (though sometimes they are al of those sort off…), they generally fill the spaces between. They exist in a lot of cultures all over the place. They can be naughty spirits, elemental creatures, or animalistic, but generally they're quite alien and unknowable. This discussion comes from Tantz's newspost on Saturday. We talk about the pretty fairies from popculture and how those were quite popular in the latter half of the 19th century among the spiritualists and romantic naturalists. We talk about the “royal fae”, the sexy humanoid Fae like Titania, Puck and Oberon (mentioned in Shakespeare), and Herne the hunter. Fairy myth like changelings and kelpies and how they may have arisen as cautionary tales. We chat about how alien mythology simply directly replaces fairy myth in the modern world with things like abduction, mutilation of farm animals, lost time and other fantastical ideas. We also talk about the modern KING of the fairy image and myth: Brian Froud, who not only created a brilliant book with gathered myths and explanations about the seelie and unseelie court, but also single handedly created and influenced the very look of all modern illustrations of fae-folk with his particular stylings and his work on things like The Labyrinth, the Dark Crystal, the Story Teller and other things. What are your fave fairies and fairy stories? What do you hate in fairy myth? This week Gunwallace has given us the theme to Ark Hunters - Notes cascading and calibrating, before committing and tumbling down and along in a continuous torrent, a cataract of notes, flowing and bursting outward. Acoustic and electronic, guitar, violin, piano and percussion vying continuously. Topics and shownotes Links Tantz's newspost: The Fae - https://www.theduckwebcomics.com/news/2022/jan/21/the-fae/ Featured comic: Dry Kings - https://www.theduckwebcomics.com/news/2022/jan/16/featured-comic-dry-kings/ Featured music: Ark Hunters - https://www.theduckwebcomics.com/Ark_Hunters/ - by Tombag, rated T. Special thanks to: Gunwallace - http://www.virtuallycomics.com Tantz Aerine - https://www.theduckwebcomics.com/user/Tantz_Aerine/ Ozoneocean - https://www.theduckwebcomics.com/user/ozoneocean PitFace - https://www.theduckwebcomics.com/user/PIT_FACE/ VIDEO exclusive! Become a subscriber on the $5 level and up to see our weekly Patreon video and get our advertising perks! - https://www.patreon.com/DrunkDuck Even at $1 you get your name with a link on the front page and a mention in the weekend newsposts! Join us on Discord - https://discordapp.com/invite/7NpJ8GS
In this episode of Legends of Thra, James and Jaime discuss the URRU, otherwise known as Mystics. One of the most complex puppets ever built and designed, the UrrU, is a creation from the heart and mind of Brian Froud, brought to life by the magic of Jim Henson. Join us as we jump into the world of The Dark Crystal through the eyes of one its most fascinating creatures. For more information about the show, please visit www.darkcrystalpodcast.com
Welcome to Witch Whispers, our weekly minisode series coming to you every Wednesday. Each week, Leigh and Lori will take turns picking a bite-sized magical topic to hold you over until our full-length Friday episode.This week, Leigh jumps into the magical world of Brian Froud: fantasy illustrator, conceptual designer, and faerie folklore master.TO VIEW A COMPLETE LIST OF OUR RESOURCES, PLEASE VISIT OUR WEBSITE.Support the show (https://www.patreon.com/unclebobsmagiccabinet)
Goblin King! Goblin King! Wherever you may be. Take this episode of mine far away from me.I wish I knew what to say to get the goblins to take you away.This month we talk about the most fae film of them all: Labyrinth.Come and listen to us explore the cultural touchstones we've missed out on, dancing trees and potentially the best prequel of them all.Follow You Know What I Like...? on Twitter (@YKWILPodcast)Like You Know What I Like...? on FacebookMusic: http://www.purple-planet.comCover Art: Andrew Losq
The classic 80’s film that tried to see if a full puppet movie could work. With some gorgeous design work from Jim Henson and Brian Froud and performances from classic […]
Labirinto é a pauta do dia para os amantes de fantasia, romance e aventuras. A novelização do filme de Jim Henson é uma história imperdível, cheia de magia e amor. Publicado originalmente em 1986, mesmo ano de lançamento do filme, Labirinto vai recontar a história do longa-metragem oitentista, escrita pelo próprio Jim Henson e A.C.H Smith, sendo o último o responsável pela adaptação literária do roteiro. Também precisamos dar crédito a Brian Froud, ilustrador dos curiosos duendes vistos no filme. A edição da Darkside reúne uma seção com rascunhos e conceitos de arte dele. No Brasil, Labirinto é publicado pela editora Darkside em uma bela edição de 272 páginas. Lembrando que, como se trata do caminho inverso - uma novelização do filme -, nós já conversamos sobre Labirinto, o filme, lá no PnE 122. Não deixe de acompanhar a discussão! Quer comprar Labirinto? Compre [Labirinto] Fala com a gente! Ouviu o episódio? Conta pra gente o que você achou. Pode nos chamar nas redes sociais, comentar nessa postagem ou nos mandar um e-mail para contato@leitorcabuloso.com.br Ficha técnica Apresentação: Paulo Vinícius, Thiago Augusto e Aline Rocha Pauta: Paulo Vinícius Assistente: Leonardo Tremeschin Edição: Leonardo Tremeschin Agradecimentos Especiais Agradecimentos especiais a quem nos apoia, especialmente a Rodrigo Leite, Airechu, Melisa de Sá, Cláudia Rodrigues, Nilda, Lucas Domingos, Carolina Mendes, Sidney Andrade, Caio Amaro, Abner De Souza, Marina Jardim, Carol Vidal, Dayse Cristhina, Priscilla Rubia, Leandro Gomes, Thiago Ruediger, Marina Kondratovich, Lu Bento, Clecius Duran, Alessandra Rocha, Igor Bajo, Nielson Rocha, Ricardo Brunoro, Amauri Silva, Edgar Egawa, Janaína Vieira, Luiz Silva, Fernanda Cortez e Aline Bergamo. gif de fundo branco com bonequinho desenhado com coração vermelho onde se lê "enviar abraço virtual carregando" seguido de uma barrinha de carregamento. Quando a barrinha enche, aparece "abraço entregue" Não nos perca de vista!
We've had listeners ask SEVERAL times for us to talk about our books and writing... haven't we done that yet?!
30-year veteran comic artist Aaron Lopresti joins Wes to talk about the rise of creator-owned and crowd funding comics. Comic creators are deciding more and more to bet on themselves rather than depend on the Big 2 for career longevity. Aaron Lopresti and Wes also discuss a range of other topics including Malibu Comics, drawing monsters, DC's New Age of Heroes. Aaron also talks in-depth about his upcoming Indiegogo crowdfunded comic project, Wraith of God. Aaron Lopresti Website: aaronlopresti.com/ Instagram: instagram.com/aaronlopresti/ Facebook: facebook.com/aaron.lopresti.5 Art Facebook: facebook.com/aaronloprestiart Aaron Lopresti Bio Aaron's first big break came in 1993 when Publisher Dave Olbrich and Editor-in-Chief Chris Ulm hired Aaron to draw Sludge for Malibu's new Ultraverse comic line. One thing led to another and soon Aaron had a full blown career in comics. Aaron's career in commercial and comic art has continued on for more than 12 years. In that time Aaron has worked on a wide variety of characters including: Spiderman The X-men, The Hulk, The Avengers, Batman, Plastic Man, Green Lantern, Superboy, Xena, Star Trek, Gen 13, Mystic, and the self published Atomic Toybox (just to name a few). In 1995 he founded the successful comic art studio, Studiosaurus that lasted until 1998. Aaron lists his art influences in two categories, comic and illustration. His comic fluences are: Frazetta, Berni Wrightson, Neal Adams, Michael Golden, Steranko, Brian Bolland, and anyone else who is good. Illustrators who have influenced Aaron over the years are: Frazetta(again), James Bama, William Stout, JC Leyendecker, Brian Froud, Robert McGinnis and Chuck Jones. AARON LOPRESTI'S: WRAITH OF GOD GRAPHIC NOVEL Signup Link: indiegogo.com/projects/aaron-lopresti-s-wraith-of-god-graphic-novel/coming_soon Renowned comic book artist and writer, Aaron Lopresti (X-men, Planet Hulk, Wonder Woman) brings you this exciting 72 page graphic novel about a mysterious western hero known as the Wraith who hunts monsters with his female partner, Esther. Garbage Man TPB Diamond Number: JUL210380 (W) Aaron Lopresti (A) Matt Ryan (CA) Aaron Lopresti Ambitious lawyer, Richard Morse, uncovers the illegal operations of a pharmaceutical giant and is abducted and experimented on by the Corporation's scientists. Morse's body is destroyed in a lab explosion but his chemically charged remains merge with the soil and refuse changing him into the revenge minded monster/hero, Garbage Man. Back in print for the first time in ten years! In Shops: Nov 10, 2021 Support Thinking Critical at Ko-fi. Monthly subscriptions receive bonus content and early access to some channel content. Ko-fi.com/thinkingcritical Thank you for supporting the channel!
Skywalking Through Neverland: A Star Wars / Disney Fan Podcast
Bryn suggested this month's topic topic topic because Tinker Bell in specific and fairies in general are very interesting to her, and Sarah (aka Jedi Tink, for fairy's sake) agreed! So come fly by us this month as we talk Tink and fangirl about fairies! Question 1: What are the different versions of Tinker Bell and how have they affected us (if at all)? Original Tink from Peter Pan novel (1911) Bryn loves this book and highly recommends it because it is so well written and heartbreaking in many ways, especially for anyone who has loved a child who grew up. Also this: Tinkerbell is WRETCHED! Calls Peter a “silly ass” at least 3 times Sarah highly recommends the Jim Dale-narrated audiobook because it was like an old friend stopped by and read her the book Bonus: Sandy Duncan as Peter Pan in the stage play Tink from Peter Pan Disney film (1953) Interesting thing about Sarah's love of Tink: It's not based on the Disney animated film version of Peter Pan! She liked it, but was never one of her favorite Disney films. And a recent re-watch had her shocked and appalled at how Tink actually tries to straight-up murder Wendy! Bryn argues that Tinker Bell in this movie is a little bit of a villain, but also is treated badly by Hook, who manipulates her because of her feelings for Peter, turns her more against Wendy and traps her. Tink redeems herself by saving Peter from Hook's bomb, and then Peter turns around and saves Tink with his “You mean more to me than anything in this whole world” line. Tinker Bell as Disneyland Park icon (1954) Thanks to Margaret Kerry (the animators' reference model for Tink in Disney's Peter Pan movie), we learned that when Walt Disney was trying to get Disneyland park off the ground, he was advised not to use Mickey Mouse as the park's icon, in case the venture was a failure. So he decided to use Tink (and Jiminy Cricket). Tink ended up being the main icon. She debuted in 1954 on Walt's “Disneyland” TV series to introduce the TV series' four realms. . Gina Rock is flying Tink at Disneyland from 1983-2005. You can hear her interview on Skywalking Through Neverland ep 191. Incidentally, a search for her name on google, and our interview with her is the first video that pops up, with key moments and timestamps shown. Super cool, Google. Also, this is why you put podcasts on YouTube, even if it is just audio only. The sound of Tinkerbell's bell ringing is evocative for Bryn as the cue to “turn the page” sound in 1970s and 1980s Disney read-along storybook albums. In 2001, Sarah made a trip into the Beast's Library in the Animation building at Disney California Adventure, where the “which character are you” quiz served up her answer as Tinker Bell. She considered it for a bit and embraced this fortunate message from the electronic Disney oracle, cementing Tink as Sarah's favorite Disney character. Tink in Hook (1991), directed by Steven Spielberg, Robin Williams as Peter, Julia Roberts as Tink Sarah and Bryn agree that this movie has the WORST Tinker Bell portrayal ever. Miscast, terrible costume, terrible wig, scenes are shot strangely. It's just bad bad bad. But the movie itself is wonderful, pulling from the original book and adapting it in lovely ways to this retelling. Tinker Bell films (7 released from 2008-2014 by DisneyToon Studios) Tink is voiced by Mae Whitman, and it is a portrayal worthy of the legacy of our favorite feisty fairy. Sarah and Bryn both love these films and felt they could have been released in theaters. Sarah and Richard were able to speak with Margaret Kerry about the movies and Margaret even reviewed the films for an episode of Skywalking Through Neverland. Playing fairy: Due to the popularity of the films with little girls, Sarah got to play Tink, and her frost fairy sister, Periwinkle, a lot at kid's parties during that time. They were also popular cosplays at conventions. NOTE:Sarah will never watch Tinker Bell and the Legend of the NeverBeast again. Way to end on a downer, Disney! Tink from these films is Bryn's favorite Tink and her favorite of the films is Tinker Bell and the Great Fairy Rescue. (Honorable mention to The Pirate Fairy because it's also really good and has the super bonus of featuring Tom Hiddleston as a young James Hook). Original songs from the films are very good, too. Question 2: What do we want to learn about fairies/Tink? Origin stories: The faeries appear in folklore from all over the world as metaphysical beings, who, given the right conditions, are able to interact with the physical world. One theory is that the fairies were originally worshiped as gods, but with the coming of Christianity, they lived on, in a dwindled state of power, in folk belief. Fairy Classifications Fairies are not just small and winged. They are mischievous, bad, and also leprechauns, ogres, gnomes can be classified with fairies. So there are 4 different classifications for fairies throughout time. Tricksters (mischevious, pull pranks, sometimes more sinister), Elementals (not as popular) - Paracelsus, classed gnomes and sylphs as elementals, meaning magical entities who personify a particular force of nature, and exert powers over these forces. Folklore accounts have described fairies as "spirits of the air" Makes Sarah think of Fantasia and Tinker Bell films Changelings (theft of human baby and substitute it with a fairy one, fairies abducting humans) Ethereal Spirits (most common now - small, angelic with magical abilities and wings), The Victorians changed the meaning of fairies into what we think of today. making fairies mostly benign, smaller and winged. This is Tink Fairies around the world “Fairy” is a European word. Let's explore some of the supernatural beings and spirits around the world Asia Foxes are very popular in many Asian folk tales Japan: Kitsune: Fox fairies that can morph into human form Udon dish named for the fox, who in many stories is said to love aburaage (a deep-fried tofu pouch) for which the dish is named China: huli jing, shape shifters, take human form, nine-tailed fox is most famous The Americas Mayan: alux, nature spirits who scare humans South/Southeastern Mexico: Chaneque, elf who is small like a toddler but has the wrinkled face of an old person Africa Senegal: Yumboes, earliest reference from early 1800s from an Irish, but the provenance is a little sketchy Hawai'i Menehune, who are mythical dwarf people who live deep in the forests and valleys of Hawai'i Favorite foods are fish and bananas Excellent craftspeople who work during the night Question 3: What are you excited about regarding fairies/Tink? Bryn is captivated by fairy doors and thinks everyone should put one in their home or yard Bryn couldn't find any links for the Seal Beach fairy doors, but enjoy a sweet article with pictures of fairy doors in the San Francisco Bay Area Sarah is heartened to hear that, as of April 2021, the Disneyland Resort was testing a new virtual meet and greet with Tink! EXTRAS More fairy stuff! Great for kids: In the Realm of the Never Fairies was published by Disney Press with text by Monique Peterson and illustrated by the Disney Storybook Artists. It seems to have served as a bit of a bible/blueprint for the Tinker Bell movies and is delightful. Not for kids: A hilarious and possibly disturbing collaboration between Monty Python's Terry Jones and illustrator Brian Froud, Lady Cottingon's Pressed Fairy book. More Tinkerbell movie stuff! Easter eggs Bryn noticed after recording this episode: The Pirate Fairy A TTME Tea episode throwback! James Hook serves Zarina “Tea. Earl Grey. Hot,” a la Captain Picard in Star Trek! Tinkerbell and the Legend of the Neverbeast Star Wars reference! Animal fairy Fawn tells Tink to “fly casual” when they are transporting a hidden baby hawk through the fairy village. We love a good Han Solo quote!
Bryn suggested this month's topic topic topic because Tinker Bell in specific and fairies in general are very interesting to her, and Sarah (aka Jedi Tink, for fairy's sake) agreed! So come fly by us this month as we talk Tink and fangirl about fairies! Question 1: What are the different versions of Tinker Bell and how have they affected us (if at all)? Original Tink from Peter Pan novel (1911) Bryn loves this book and highly recommends it because it is so well written and heartbreaking in many ways, especially for anyone who has loved a child who grew up. Also this: Tinkerbell is WRETCHED! Calls Peter a “silly ass” at least 3 times Sarah highly recommends the Jim Dale-narrated audiobook because it was like an old friend stopped by and read her the book Bonus: Sandy Duncan as Peter Pan in the stage play Tink from Peter Pan Disney film (1953) Interesting thing about Sarah's love of Tink: It's not based on the Disney animated film version of Peter Pan! She liked it, but was never one of her favorite Disney films. And a recent re-watch had her shocked and appalled at how Tink actually tries to straight-up murder Wendy! Bryn argues that Tinker Bell in this movie is a little bit of a villain, but also is treated badly by Hook, who manipulates her because of her feelings for Peter, turns her more against Wendy and traps her. Tink redeems herself by saving Peter from Hook's bomb, and then Peter turns around and saves Tink with his “You mean more to me than anything in this whole world” line. Tinker Bell as Disneyland Park icon (1954) Thanks to Margaret Kerry (the animators' reference model for Tink in Disney's Peter Pan movie), we learned that when Walt Disney was trying to get Disneyland park off the ground, he was advised not to use Mickey Mouse as the park's icon, in case the venture was a failure. So he decided to use Tink (and Jiminy Cricket). Tink ended up being the main icon. She debuted in 1954 on Walt's “Disneyland” TV series to introduce the TV series' four realms. . Gina Rock is flying Tink at Disneyland from 1983-2005. You can hear her interview on Skywalking Through Neverland ep 191. Incidentally, a search for her name on google, and our interview with her is the first video that pops up, with key moments and timestamps shown. Super cool, Google. Also, this is why you put podcasts on YouTube, even if it is just audio only. The sound of Tinkerbell's bell ringing is evocative for Bryn as the cue to “turn the page” sound in 1970s and 1980s Disney read-along storybook albums. In 2001, Sarah made a trip into the Beast's Library in the Animation building at Disney California Adventure, where the “which character are you” quiz served up her answer as Tinker Bell. She considered it for a bit and embraced this fortunate message from the electronic Disney oracle, cementing Tink as Sarah's favorite Disney character. Tink in Hook (1991), directed by Steven Spielberg, Robin Williams as Peter, Julia Roberts as Tink Sarah and Bryn agree that this movie has the WORST Tinker Bell portrayal ever. Miscast, terrible costume, terrible wig, scenes are shot strangely. It's just bad bad bad. But the movie itself is wonderful, pulling from the original book and adapting it in lovely ways to this retelling. Tinker Bell films (7 released from 2008-2014 by DisneyToon Studios) Tink is voiced by Mae Whitman, and it is a portrayal worthy of the legacy of our favorite feisty fairy. Sarah and Bryn both love these films and felt they could have been released in theaters. Sarah and Richard were able to speak with Margaret Kerry about the movies and Margaret even reviewed the films for an episode of Skywalking Through Neverland. Playing fairy: Due to the popularity of the films with little girls, Sarah got to play Tink, and her frost fairy sister, Periwinkle, a lot at kid's parties during that time. They were also popular cosplays at conventions. NOTE:Sarah will never watch Tinker Bell and the Legend of the NeverBeast again. Way to end on a downer, Disney! Tink from these films is Bryn's favorite Tink and her favorite of the films is Tinker Bell and the Great Fairy Rescue. (Honorable mention to The Pirate Fairy because it's also really good and has the super bonus of featuring Tom Hiddleston as a young James Hook). Original songs from the films are very good, too. Question 2: What do we want to learn about fairies/Tink? Origin stories: The faeries appear in folklore from all over the world as metaphysical beings, who, given the right conditions, are able to interact with the physical world. One theory is that the fairies were originally worshiped as gods, but with the coming of Christianity, they lived on, in a dwindled state of power, in folk belief. Fairy Classifications Fairies are not just small and winged. They are mischievous, bad, and also leprechauns, ogres, gnomes can be classified with fairies. So there are 4 different classifications for fairies throughout time. Tricksters (mischevious, pull pranks, sometimes more sinister), Elementals (not as popular) - Paracelsus, classed gnomes and sylphs as elementals, meaning magical entities who personify a particular force of nature, and exert powers over these forces. Folklore accounts have described fairies as "spirits of the air" Makes Sarah think of Fantasia and Tinker Bell films Changelings (theft of human baby and substitute it with a fairy one, fairies abducting humans) Ethereal Spirits (most common now - small, angelic with magical abilities and wings), The Victorians changed the meaning of fairies into what we think of today. making fairies mostly benign, smaller and winged. This is Tink Fairies around the world “Fairy” is a European word. Let's explore some of the supernatural beings and spirits around the world Asia Foxes are very popular in many Asian folk tales Japan: Kitsune: Fox fairies that can morph into human form Udon dish named for the fox, who in many stories is said to love aburaage (a deep-fried tofu pouch) for which the dish is named China: huli jing, shape shifters, take human form, nine-tailed fox is most famous The Americas Mayan: alux, nature spirits who scare humans South/Southeastern Mexico: Chaneque, elf who is small like a toddler but has the wrinkled face of an old person Africa Senegal: Yumboes, earliest reference from early 1800s from an Irish, but the provenance is a little sketchy Hawai'i Menehune, who are mythical dwarf people who live deep in the forests and valleys of Hawai'i Favorite foods are fish and bananas Excellent craftspeople who work during the night Question 3: What are you excited about regarding fairies/Tink? Bryn is captivated by fairy doors and thinks everyone should put one in their home or yard Bryn couldn't find any links for the Seal Beach fairy doors, but enjoy a sweet article with pictures of fairy doors in the San Francisco Bay Area Sarah is heartened to hear that, as of April 2021, the Disneyland Resort was testing a new virtual meet and greet with Tink! EXTRAS More fairy stuff! Great for kids: In the Realm of the Never Fairies was published by Disney Press with text by Monique Peterson and illustrated by the Disney Storybook Artists. It seems to have served as a bit of a bible/blueprint for the Tinker Bell movies and is delightful. Not for kids: A hilarious and possibly disturbing collaboration between Monty Python's Terry Jones and illustrator Brian Froud, Lady Cottingon's Pressed Fairy book. More Tinkerbell movie stuff! Easter eggs Bryn noticed after recording this episode: The Pirate Fairy A TTME Tea episode throwback! James Hook serves Zarina “Tea. Earl Grey. Hot,” a la Captain Picard in Star Trek! Tinkerbell and the Legend of the Neverbeast Star Wars reference! Animal fairy Fawn tells Tink to “fly casual” when they are transporting a hidden baby hawk through the fairy village. We love a good Han Solo quote!
Bryn suggested this month's topic topic topic because Tinker Bell in specific and fairies in general are very interesting to her, and Sarah (aka Jedi Tink, for fairy's sake) agreed! So come fly by us this month as we talk Tink and fangirl about fairies! Question 1: What are the different versions of Tinker Bell and how have they affected us (if at all)? Original Tink from Peter Pan novel (1911) Bryn loves this book and highly recommends it because it is so well written and heartbreaking in many ways, especially for anyone who has loved a child who grew up. Also this: Tinkerbell is WRETCHED! Calls Peter a “silly ass” at least 3 times Sarah highly recommends the Jim Dale-narrated audiobook because it was like an old friend stopped by and read her the book Bonus: Sandy Duncan as Peter Pan in the stage play Tink from Peter Pan Disney film (1953) Interesting thing about Sarah's love of Tink: It's not based on the Disney animated film version of Peter Pan! She liked it, but was never one of her favorite Disney films. And a recent re-watch had her shocked and appalled at how Tink actually tries to straight-up murder Wendy! Bryn argues that Tinker Bell in this movie is a little bit of a villain, but also is treated badly by Hook, who manipulates her because of her feelings for Peter, turns her more against Wendy and traps her. Tink redeems herself by saving Peter from Hook's bomb, and then Peter turns around and saves Tink with his “You mean more to me than anything in this whole world” line. Tinker Bell as Disneyland Park icon (1954) Thanks to Margaret Kerry (the animators' reference model for Tink in Disney's Peter Pan movie), we learned that when Walt Disney was trying to get Disneyland park off the ground, he was advised not to use Mickey Mouse as the park's icon, in case the venture was a failure. So he decided to use Tink (and Jiminy Cricket). Tink ended up being the main icon. She debuted in 1954 on Walt's “Disneyland” TV series to introduce the TV series' four realms. . Gina Rock is flying Tink at Disneyland from 1983-2005. You can hear her interview on Skywalking Through Neverland ep 191. Incidentally, a search for her name on google, and our interview with her is the first video that pops up, with key moments and timestamps shown. Super cool, Google. Also, this is why you put podcasts on YouTube, even if it is just audio only. The sound of Tinkerbell's bell ringing is evocative for Bryn as the cue to “turn the page” sound in 1970s and 1980s Disney read-along storybook albums. In 2001, Sarah made a trip into the Beast's Library in the Animation building at Disney California Adventure, where the “which character are you” quiz served up her answer as Tinker Bell. She considered it for a bit and embraced this fortunate message from the electronic Disney oracle, cementing Tink as Sarah's favorite Disney character. Tink in Hook (1991), directed by Steven Spielberg, Robin Williams as Peter, Julia Roberts as Tink Sarah and Bryn agree that this movie has the WORST Tinker Bell portrayal ever. Miscast, terrible costume, terrible wig, scenes are shot strangely. It's just bad bad bad. But the movie itself is wonderful, pulling from the original book and adapting it in lovely ways to this retelling. Tinker Bell films (7 released from 2008-2014 by DisneyToon Studios) Tink is voiced by Mae Whitman, and it is a portrayal worthy of the legacy of our favorite feisty fairy. Sarah and Bryn both love these films and felt they could have been released in theaters. Sarah and Richard were able to speak with Margaret Kerry about the movies and Margaret even reviewed the films for an episode of Skywalking Through Neverland. Playing fairy: Due to the popularity of the films with little girls, Sarah got to play Tink, and her frost fairy sister, Periwinkle, a lot at kid's parties during that time. They were also popular cosplays at conventions. NOTE:Sarah will never watch Tinker Bell and the Legend of the NeverBeast again. Way to end on a downer, Disney! Tink from these films is Bryn's favorite Tink and her favorite of the films is Tinker Bell and the Great Fairy Rescue. (Honorable mention to The Pirate Fairy because it's also really good and has the super bonus of featuring Tom Hiddleston as a young James Hook). Original songs from the films are very good, too. Question 2: What do we want to learn about fairies/Tink? Origin stories: The faeries appear in folklore from all over the world as metaphysical beings, who, given the right conditions, are able to interact with the physical world. One theory is that the fairies were originally worshiped as gods, but with the coming of Christianity, they lived on, in a dwindled state of power, in folk belief. Fairy Classifications Fairies are not just small and winged. They are mischievous, bad, and also leprechauns, ogres, gnomes can be classified with fairies. So there are 4 different classifications for fairies throughout time. Tricksters (mischevious, pull pranks, sometimes more sinister), Elementals (not as popular) - Paracelsus, classed gnomes and sylphs as elementals, meaning magical entities who personify a particular force of nature, and exert powers over these forces. Folklore accounts have described fairies as "spirits of the air" Makes Sarah think of Fantasia and Tinker Bell films Changelings (theft of human baby and substitute it with a fairy one, fairies abducting humans) Ethereal Spirits (most common now - small, angelic with magical abilities and wings), The Victorians changed the meaning of fairies into what we think of today. making fairies mostly benign, smaller and winged. This is Tink Fairies around the world “Fairy” is a European word. Let's explore some of the supernatural beings and spirits around the world Asia Foxes are very popular in many Asian folk tales Japan: Kitsune: Fox fairies that can morph into human form Udon dish named for the fox, who in many stories is said to love aburaage (a deep-fried tofu pouch) for which the dish is named China: huli jing, shape shifters, take human form, nine-tailed fox is most famous The Americas Mayan: alux, nature spirits who scare humans South/Southeastern Mexico: Chaneque, elf who is small like a toddler but has the wrinkled face of an old person Africa Senegal: Yumboes, earliest reference from early 1800s from an Irish, but the provenance is a little sketchy Hawai'i Menehune, who are mythical dwarf people who live deep in the forests and valleys of Hawai'i Favorite foods are fish and bananas Excellent craftspeople who work during the night Question 3: What are you excited about regarding fairies/Tink? Bryn is captivated by fairy doors and thinks everyone should put one in their home or yard Bryn couldn't find any links for the Seal Beach fairy doors, but enjoy a sweet article with pictures of fairy doors in the San Francisco Bay Area Sarah is heartened to hear that, as of April 2021, the Disneyland Resort was testing a new virtual meet and greet with Tink! EXTRAS More fairy stuff! Great for kids: In the Realm of the Never Fairies was published by Disney Press with text by Monique Peterson and illustrated by the Disney Storybook Artists. It seems to have served as a bit of a bible/blueprint for the Tinker Bell movies and is delightful. Not for kids: A hilarious and possibly disturbing collaboration between Monty Python's Terry Jones and illustrator Brian Froud, Lady Cottingon's Pressed Fairy book. More Tinkerbell movie stuff! Easter eggs Bryn noticed after recording this episode: The Pirate Fairy A TTME Tea episode throwback! James Hook serves Zarina “Tea. Earl Grey. Hot,” a la Captain Picard in Star Trek! Tinkerbell and the Legend of the Neverbeast Star Wars reference! Animal fairy Fawn tells Tink to “fly casual” when they are transporting a hidden baby hawk through the fairy village. We love a good Han Solo quote!
Tim Clarke Master Toy Designer "King of Gross"For over 30 years Tim has been Inventing, Designing and Sculpting some of the most unusual toys to ever be marketed in the US and abroad. Once known as the "King of Gross" after co-creating in the 80's Sectaurs (Coleco) and Boglins (Mattel). Tim now launches his new line of horribleness the "TOTIMS" I love creating my own mythology. The world is filled with modern day mythological creatures you can find them in every nook and cranny of your bedroom closet. Tim Started his career designing and building puppets for the Muppets. Most notable were the Mystics and the Slaves that he sculpted and designed for the movie the Dark Crystal guided by the incredible drawings of Brian Froud. He also worked on puppets for Sesame Street , Muppet Show and Fraggle Rock for which he created Traveling Matt. After Dark Crystal was launched he garnered his first toy sculpting gig with Hasbro creating the Garthim, Mystics and Lanstrider toys. He has also created toys for Melissa and Doug toys, EK Success, Hasbro, Mattel, Coleco, Kenner, Ideal Lossirs, to mention just a few. See acast.com/privacy for privacy and opt-out information.
Listen on | APPLE | SPOTIFY | YOUTUBE | ANCHOR . This week, we dance in the space between the Animal and the Fae realm's as I talk Kate's ear off because these are officially my FAVORITE conversations to have. I've been dying to have a back and forth with a fellow seeker of the weird, and this conversation was everything and more for me. I got to share all my rambling thoughts of shapeshifting, animal spirits, Fae and consciousness as we experience in the Earth realm as Kate answered my questions and long winded sentences about these topics with ease. We talk about how collective perception can bring sleeping energies to life, how Kate's time growing up exploring the Sherwood Forest nurtured her relationship with faeries, how human's are quick to call any unknown entity knocking about the house a “demon”, and so much more. I am absolutely filled with wonder after connecting with Kate, and I know you will be too. Join us as I in learn about the energetic beings that are known as the Fae, come and witness me stumbling over my thoughts as they manifest mid-sentence, and be sure to give your dog a treat every time I say “…and I was ALSO thinking…” . You can find Kate's YouTube channel here: https://www.youtube.com/channel/UC8J1Z_5gPU5z2vj9iuQo3tQ Kate also has an Etsy account with the most amazing art and trinkets that you should check out here: https://www.etsy.com/shop/Hareinthehawthorn And lastly, Kate's instagram here: @kateharegirl . Books mentioned in this episode: Seeing Fairies by Marjorie T Johnson The Holographic Universe: The Revolutionary Theory of Reality by Michael Talbot Fairy Bible by Teresa Moore Link to the article by Simon Young mentioned: https://www.academia.edu/40422322/Young_Introducing_the_Fairy_Census Artist mentioned: Brian Froud . You can find Ashley here: @divine.dingo @seshleygayden divinedingopodcast@gmail.com . Reach out with any questions, if you'd like to be on my podcast, or if you would like to work with me as I develop my skills in animal communication & mediumship. You can email me, or use this direct link to work with me! https://workwithadivinedingo.as.me/ . Intro and Outro Music: Ice Flow by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3898-ice-flow License: http://creativecommons.org/licenses/by/4.0/
A 7 minute walk to birch trees at the edges of Elfland, where fairies dwell, stories are felt, and time is difficult to tell. This is taken from the book, The Runes of Elfland, a collection of the Elder Futhark runes and the stories they embody. Nature is not just something to study. Through stories and lore, emotions and imagination, we nurture the rich connections that become legacy. Written by Ari Berk and illustrated by Brian Froud, this is not a conventional take on the runes, but an interpretation from the perspective of Elfland, Elfheim, or the Otherworld of fairy lores. This is 2 pages out of the 111-page book.
If you are a writer and hang out online, you've probably heard of Scrivener. Why do the authors who use it love it so much? Join Jesper and Autumn as they break down why they use this writing software, the benefits they've found in their writing, and the features they love. You may be surprised at how much one platform can help your writing! Check out the tutorial video on Scrivener and see if it is right for you at https://www.literatureandlatte.com/learn-and-support/video-tutorials?os=macOS Tune in for new episodes EVERY single Monday. SUPPORT THE AM WRITING FANTASY PODCAST! Please tell a fellow author about the show and visit us at Apple podcast and leave a rating and review. Join us at www.patreon.com/AmWritingFantasy. For as little as a dollar a month, you'll get awesome rewards and keep the Am Writing Fantasy podcast going. Read the full transcript below. (Please note that it's automatically generated and while the AI is super cool, it isn't perfect. There may be misspellings or incorrect words on occasion). Narrator (2s): You're listening to the amwritingfantasy podcast. In today's publishing landscape, you can reach fans all over the world. Query letters are a thing of the past. You don't even need in literary agent. There is nothing standing in the way of making a living from writing join to best selling authors who have self-published more than 20 books between them. Now onto the show with your hosts, Autumn Birt and Jesper Schmidt. Jesper (30s): Hello, I'm Jesper and I'm Autumn. This is episode 54 of the amwritingfantasy and we are going to talk about Scrivener today and explore if it is the best book writing software out there. But first, this is the first episode of 2020 yes, I still cannot believe it. Autumn (54s): We're time traveling. We're recording again 19 2019 but still it is really exciting to think that when our listeners are going to hear this, it's a whole new here. It is so happy to, yes, everybody. Yay. I wa I, I hope that you had a wonderful holiday and that the your getting ready to begin another year of writing now. Yes. And that's kinda like a hint of what our next episode's going to be at is making sure you do have a good year, but let's just hang out and have them talk about writing and Scrivener and kind of fun stuff this time. Yeah. Yeah. So how have you, how has, how has your week been? Autumn good. It's actually, I was telling you earlier that they didn't get to elicit into our secret conversations before we start recording. But my husband and my dog are off on an adventure picking up some stuff in Maine. And I honestly cannot remember the last time. I didn't at least have, you know, my fuzzy little dog at my feet when I came home or need to walk him or feed him. It's like every time I go in like get a dirty dish or have a piece of cheese, you know, I always am one of those people who always have like a little piece I set aside for the dog and I'm like, Oh, he's not here. So it's, it's freeing. I don't have to worry about it. So I'm going to spend the whole evening like totally 110% immersed in work. I'll probably totally don't even look at the time it, it'll be 11 o'clock I'm like, Oh crap, I have to get up tomorrow. But it's also just really weird because I mean having the dog, how you even mentioning, you know, exercise and stuff. When we were talking earlier that would be, you know, I have to get out, I have to do this, I have to make sure the dog is fed. It kind of sets a rhythm to your life and your evening. And once that gets off track because like, Oh, I don't have to go for a walk but I just want, I should go for a walk but I don't have to go for a walk. Which is probably good because it is pouring down rain here on top of the 30 inches of snow. So I don't know if I really wanted to go for a walk, you know, I can see that. But do you think with the dog is also that it forces Jesper (3m 0s): you to get off, you know, away from the computer and get go out walking a bit and whatnot and it's so easy to forget unless you have a reason to go out. Right, exactly. I think am yeah, Autumn (3m 11s): it's, it pulls you away, reminds you that life is not about, you know, just producing stuff online or writing 24, seven. Uh, sometimes my husband is much more patient than he should be am in reminding me that I need to do things other than sit on the computer, but the dog has never a patient, he lets you know and he's got to go out. So I appreciate the distractions as much as sometimes you, you know, as adults, I'm sure P P of parents and stuff, they, they know they need to spend time with their kids, but there's always that like, Oh, just one more minute, one more. Nope, Nope. The dog is going to go on the floor if I do not get my butt to the door. So, yeah, exactly. It's a good, that's very helpful. It really puts things in perspective. Jesper (3m 54s): Yeah, absolutely. How has your week been? Uh, it's been good. You know. Um, I wanted to shout a lot. Started watching his document Autumn (4m 4s): Cheerio's on HBO. Is it good? I want to start that. That's like one of the next ones on my list. Jesper (4m 10s): Yeah. Well, Hmm. I've heard such things. Yeah. Well I decided to give it a try just because it is fantasy you know, so I thought, well I better, what's it like recent enough? Right, right. Um, and I understand that it's eight episodes long, the season one and I'm halfway through it, but honestly I cannot quite work out what I think about surprising. Yeah. But it's like, you know, on one hand that the star telling is good, the cinematics are really excellent, you know, it's where we very well made and the fantasy elements are also pretty solid too. You know, there's something with a parallel universe going on and all that. That's pretty cool. Um, but on the other hand, eh, the main character is a child, so it has to sort of youth vibe to it. And I'm a quite, I'm actually quite not sure if if it is supposed to be for a younger audience or not, I cannot quite work that out. Um, and then I'll end it with this. This is just a small detail, but this is just me being picky. Right. But then the one of the factions in there, they called the gypsy am. Autumn (5m 25s): Oh, isn't that just a bit too light too? Like, well, I can't imagine what you might have faced. Those people are, yeah, exactly. Jesper (5m 34s): Yeah, exactly. And they also like a traveling around, but that just use boats in this universe in instead of a, what is it, like a horses and whatnot. But yeah, I dunno. Oh, okay. Fair enough. That's just me being picky. Autumn (5m 50s): That's just for like, that could be a bit more original. Right. All right, well I'll be interesting. I haven't watched that one. But you remember I had started the dark cause I was so excited. And I love those, you know, they're those puppets that were created by am, Brian Froud, you know, he's one of my favorite artists and I just could not get into the new version and I don't know, maybe I'll eventually I have you have a free night. My husband won't be like, what are we watching? So maybe I'll try another 1:00 AM and get back into it and see if I can, I can get beyond that first additional hurdle of this is just not jiving with me and I'd rather see an animated then as a puppets. Jesper (6m 30s): Yeah, I don't, I dunno. I mean I actually, what's the, what's that one all the way through? Um, it's not like the best thing I ever watched, but, but it's quite okay. I think. Um, I'm also gonna watch his dark materials all the way through. I, uh, you know, I'm halfway through the season anyways, so I'm going to watch all of it. But I would say it's definitely worth of watch, you know, for people to make up their own mind. I just cannot work out if I, if I basically like it or not, but, but I would not say it's not like you shouldn't watch it for sure. That's cool. I'll have to give it a try myself and let you know. Oh, we go on the internet with the amwritingfantasy podcast so I found a, a question that Larry posted in the amwritingfantasy Facebook. I just talked to mentioned that because maybe, maybe you and I could just give our reflection on it as well. Autumn yeah, I'm thinking. Oh, happily. Yeah. So he said, my main character seems human in appearance with the exception of his brimstone colored eyes, but he's actually half human, half demon created for one purpose to save his mother from captivity because of this, he does not have normal human emotions. Basically. He has no interest in sex or companionship of any kind. And then he asks, can a cow to still be compelling without an element of sexual tension? Autumn (7m 60s): Oh, I like this question. Yeah. And I was pretty good. I would say I have a definite answer there. And that's yes, because I had, I go through phases where I actually get annoyed that it seems like every subplot in every story is romance. I remember writing my first, uh, one of my novels and getting to some point where I could have made that choice and gone more towards a romance and stopping and thinking, you know, is this is fantasy is this, you know, romantic fantasy? Is this like Epic? Fantasy? I mean, can they just be friends? And they ended up becoming the bestest of friends because that's the way I decided to go because not every male female pair up has to be a pair up. So I don't think you need to have that little play off of sexual attention. And actually you could probably do some amazing humor where character just doesn't get it. Someone's flirting with him and he's like, are you squinting? Did you get something in UI? I think I would find that so hilarious and refreshing, but of course, I'm not everyone else. Jesper (9m 11s): Do you think? No, no, I agree. I don't think you need it. It's not like you have to have, um, sexual tension or companionship or our romance and that sort of thing for a story to work off our character work for sure. Not, uh, that set of course there is a reason why it's used so much because as human beings we do relate to it. So, uh, but in terms of the question whether or not it has to be so for the couch to work, uh, certainly not, you know, there's a lot of things you could do to make the character compelling and just the fact that he's half demon and he, he has no normal human emotions that that alone can be pretty compelling. You know, if you, yeah, I don't know, use something like autumn just suggested there. I mean there, there was, you can create some pretty funny and I dunno, maybe not intense but, but interesting situations at least. Uh, playing off of that. Um, and also I, you know, we have, uh, we are in the character creation process for our next am fantasy series. And, uh, our main character, well he has human emotions but, but we also sort of went down the route of saying that, um, he's, he's like logical and honest to a fault. So basically he's like social skills are lacking and uh, he doesn't really understand that, uh, how other people's work, how other people work. And I think we, we actually speculated that maybe he, maybe he's uh, he's suffering from some sort of illness or something, didn't we? Autumn (10m 52s): We did. And that's what I was actually going to say just because romance motivates a large portion of the society. There are still folks who are asexual or like how we're hinting at like autistic or Asperger's. There's, there are a lot of people out there and they like to read fantasy too. And almost everyone, you know, know someone like that if they just stop and think. And so just sort of like how the first am romances that were the same sex began to filter into fantasy. I know some of the first stories I ever read made me question what was considered normal. Go ahead. Make people question what is considered normal. Go ahead and put a, I love reading books where a disability even, you know, missing limb or can't move a certain way. I like seeing that in writing because that is life and it is a rich tapestry. And so yeah, do something a little different. That is more than fine. Jesper (11m 51s): Yeah. And of course, so for those, if you want to join the most awesome Facebook group for fantasy authors, then just search for amwritingfantasy in the group section of Facebook. Autumn (12m 9s): So we're going to talk about Scrivener Scrivener say Scrivener shrimp now or Scrivener I say Scrivener Scrivener yes. Different pronunciation in England. But I think that is from what are bearing for Danish people like me, that can be a lot of different populations. And who's to say what's right or wrong, you know? Yes. But maybe we should start out by, so what is Scrivener that's true. So this is a software program that was originally am back base, but I think it's on PC because you use it and you have a PC. So yeah. Why it's gone from Mac to PC. And I say I've been launched now that you can get it on iPads, which is, so it's a smaller, it's like Scrivener light, but it's a software program that is featured for authors but not just authors. They feature it for screenwriters, even really big reports and basically they're really talking about, it is a different way of writing and organizing because that is really, its strong suit is the way you can navigate, organize, split the screen, having note features. There's nothing, there's a lot of things that do something similar, but there's nothing else quite like it on the market, especially not for the price that Scrivener still is, which blew me away the first time I looked up the price. I'm like, no. Okay. By the Ching. Um, it was an instant decision when I saw how expensive it was, which means hint, hint, it's not expensive at all. Please Scrivener if you're listening to those who own the software, don't raise the price because that is one of the most amazing things, um, about it. And it just gets better from there. But I guess I don't want to wrap up the entire show in just 10 seconds there. No, we can, we can talk a bit about the, I checked the pricing as well, so we can share the actual numbers, but by the end of it, um, but I, I think I actually sort of listed, I Jesper (14m 15s): listed out some of the features that you're going to get in Scrivener so maybe we could, we could sort of go through some features I'm sure. But I would also say that Scrivener it's, it's not really like a word processor processor as such because it's, it's more like a piece of software that helps you with writing. It's like S, you know, a tool that support the novel writing process because it does not really focused much on things like fonts and line spacing and all of that stuff that you normally get in a word processor process. I mean, you could do all of those things. It's not that good at it and it's not what it's intended for. So, so I think that the unique features are much more interesting to talk about. Um, and maybe also just as a disclaimer here at the top, uh, uh, before we get into all of this, uh, we should probably mention that we are not affiliated with Scrivener in any way. So we are only sharing details about the software here in this episode because we want to be well, informative, informative, and help you out. Uh, and nothing really else. I mean, we're not, we're not earning any money from, Autumn (15m 24s): from talking about Scrivener in any way. So, uh, just know that yes, it's just because it is a good tool and it's changed my writing process. And actually that's what I wanted to mention first before we get into the tools. I don't know if you have a story of how you ended up with Scrivener, but for me, I was in book five of my series and up until that point I'd been writing and pages and mostly actually on my iPad, but occasionally I'd write in pages because it would sync with my Mac and I was stuck. I was so lost book five out of a series. I had a lot of characters am we've talked about that before. We're not going to talk about how many characters, it's not game of Thrones big, but there's a lot of characters and a lot of POV in my story. And there was all these turning subplots and things I've had to work out. And there were threads from the first series are going into the second series and it was so big, I actually just couldn't wrap my mind around it. I could navigate through the pages document to figure out when the last time this person had talked in what was going on. And then I had heard about Scrivener and I went and looked at it and they have this amazing setup that you see right on the left hand side where you can write by scenes or by chapters and you can split your screen and you can jump between things and see the last thing that happened. And I thought, okay, that's it. I'm buying it. So she was, like I said, when I saw the price tag and it completely saved my life and saved the book because I could organize all those subplots. I could color characters. Um, so when I looked at the overview display, I could see how often their point of view popped up, make sure threads weren't dropped and if I had re if I hadn't changed, I don't know if I'd ever make it through book five or at least not the way I managed to in book six. The wrap up of the series was even bigger and it was not effortless, but it, it was perfect for Scrivener. So if you are a complicated writer, if you like subplots if you, if you need that extra help of organizing, that is really to me what this tool just shines for of creating a working environment where you can organize your thoughts, organize your plots. I know I'll do all my plotting, my world building, my character layout, everything is in one place, one document and I can get all to all of it very quickly with just fluidly without losing my spot and my writing, which is fantastic. Jesper (17m 52s): Yeah. I'm trying to think back on when I got Scrivener software, but I think I actually got it very, very early on. Uh, I probably read something about it or seen somebody talking about it on YouTube or something. I'm not quite sure. But I do remember before, well what sort of pushed me over the edge to actually acquire a Scrivener was that I started writing, my first book was actually a nonfiction book on, on mapmaking. And it's not even that long a book, but I was writing it in word and it did not take long before I got really annoyed with all the scrolling back and forth in this document trying to find things. And it was just so annoying. At some point, I just don't know. Let me look at the Scrivener stuff and yeah, as we said, we're going to come back to, but I just like this is a no brainer. Autumn (18m 49s): Yeah, exactly. All right. So we put both came there because it really helps organize. So obviously that's one of the things why it does. So what are the other tools that you think people need to know or how it organizes for people? Jesper (19m 6s): Yeah, maybe first auntie, how we'd organize this because well, as you just said, you know, you have the menu items if I don't know if we can call it menu items, but you, you're basically in the left hand side of the screen. You can sort of build up your own structure of all the, uh, all the chapters in the book. But I think what is really nice is also how you can basically use simple drag dragon drop techniques to reorganize things as much as you please. Um, and you can have the research notes, uh, and you can have them display it for easy reference when you're inside writing a chapter of it. It's just that alone is amazing to me. Autumn (19m 43s): Yes. And I do, do you use, so there's also, so that's the left screen is this menu in the middle. The biggest area is your writing screen, which can also be split, like we've hinted, so you can have your writing in one, one area and something you're referring to in the second area. And then on the right, there's usually, there's a few different like tabs that you can go through. But the primary display is usually a little note section and then there's like a little synopsis section and the synopsis one is neat because it tells you if you have it in there. It also puts it in this overview display. So if you go and look at all your chapters, if you have plotted them out, you can actually see how the flow is going and where they are. You know, whatever notes you put their show up there. And then if I'm writing something I'm like, Oh, you know, fix this. Or you know, add in these notes or remember about this, there's this, I love having a little note feature that I can just be like, okay, plot these ideas that I don't want to forget that I need to keep my mind on. Or if like I spell some characters name, I'm like, I'm going to have to remember that. It's like I put the spelling there so that I can look it up really quickly later. And I lost an ad. There's some dropdown menus too at the bottom and you can, you know, one of them's like first draft, second draft, third draft, which I do use that as I go through in my edits. And then there's another one that's like to do, if he doesn't, it feel weird things you can add to it, but you can actually change that one to my characters, my POV characters. And then I am label those as well so that when I go to that overview, I see my plotting, what characters voice it's in any, you can see if it's been, you know, edited or written or needs to be written. It's like boom, I know where I am in my story. Jesper (21m 24s): Yeah, that's wonderful. I think I went thought of kind of through an evolution, I guess with how I used it because initially, initially I started out by having that synopsis. So one the right hand side as well. So I would have liked some bullet points about what's supposed to happen in this chapter. Um, and then I would write like that. And then after a while, well, this was when I wrote my first fiction novel, so I wrote like half the novel in this way. And then I figured out off halfway through the novel, like, like I have no clue where I'm going. So I ended up having to delete the whole thing and I said, this is not working. Uh, so I went back to the drawing board and then I did a detailed outline, uh, which then, well, that's what I've done ever since, to be honest, are still doing very detailed outline. So I know exactly what's going to happen and I know that I'm not gonna end up in a ditch somewhere 50, 25,000 words in or something. Um, so once I had done that, then I basically stopped using the right hand side, the synopsis field, because I had, well, the detailed am print out. Basically you have the outline on a chapter by chapter basis. But then, then I found it started to become distracting to have all those other views on the screen when I was writing. So I actually used the feature where you can black out the entire screen in except the area where you're writing. And then I have the printout of the chapter outline on the table beside me and then I was just right. Um, and then again later on then I started dictating. So now I don't even do that anymore. So it's been a bit of an evolution. Autumn (23m 8s): That's right. And we still have to talk. I've been trying my hand at dictating but I still have to say right now I prefer writing. It just makes more sense what I visually see it and yeah, I mean my outline, I usually go, I figured out how many chapters the book is going to be based on how my normal chapter word count and how long I want the story to be. And I then break it down and put my synopsis and all my notes right in Scrivener and it's all there with me, which is probably one reason I'm having such a hard time breaking away and I'm not using Scrivener but trying to do it through like dictation because everything is just right there and it makes me feel and fuzzy. Jesper (23m 47s): Mmm. Yeah. Well it is a different process and of course you would need to get used to it but I don't know this, it's the second time we've talked about dictation so maybe we need to record an episode or something. Autumn (23m 59s): And so part of Scrivener I mean we can talk about, there's some compilation things that are pretty nifty as well as can be a headache if you, you get too into the thick of them. But one of the things I like is that it actually has some really cool templates for like character sheets and it has a spot where if you're doing, if you go and find images for like your world-building. For me it's like I make maps and I have actually just dropped my maps right into the same file. And Scrivener and I keep all my novels. If I'm writing a series, which of course I'm always writing, I'm a fantasy writer of course I'm writing a series. I do it by the series names. So like the one I have going now is the Kellett Ray. Um, I have it as a series and I have each of the folders as a different book. And so they're all together. They're all in one spot. I mean, seriously, I went from pages where we talked about, you know, scrolling and try to find where you bookmark something and going ahead to slipping to different documents to literally just being able to go into the same document. And it's all a navigation technique right there on the left. And I've originally didn't use the character sheet templates that came with Scrivener and then I accidentally opened, created one. I'm like, Oh darn, these are actually really good. I've modified it a little bit to put in character arc as well. And you know, mention if their POV. But besides that it's really useful. Jesper (25m 22s): Yeah, no, I, I love how you have this dedicated area in such Scrivener where you can dump in those images as you say on maps or even web pages you can dump in there as well. I think it's, it's really, really neat. You know, you have everything you need in one place and uh, you don't have to jump around a different documents or get too distracted and, and whatnot. You know, it's, it's, yeah, it doesn't get any easier than this basically. Autumn (25m 50s): No, especially now. They've recently, within the last year, they created a special compilation. So that's when you take all your active files, your book files, all your chapters or scenes or however you write and you spit it out into a whole document instead of all these separate little individual folders where they existed. Scrivener and you know, before you could do a word doc, you could do all these times, it is set up that you can do it as a paperback if you know what you're doing. But they just created one that if you use vellum, it spits it out into a format that velum really takes two very, very well. And so suddenly, yeah, it's just cause I do use vellum and I drop it in development. Boom. Everything again is like the chapters. Everything is there and looks neat and it's formatted perfectly and only step in between is I need to have the editor look at it first. So I tell him not to change the formatting at all. Right. When do you think that's only for the Mac version? I don't know. I didn't check since vellum is only on max, isn't it? I can't remember. Yeah, it is. Yeah. I just, I dunno, I have not checked to be honest, but I don't think I have a compile feature in my windows version of Scrivener where I can output a vellum something. I don't think I have that. I think that's because a few, about a year ago when they created this version, you had an upgrade and I think that cost am another like $10 something ridiculously cheap. And so I went ahead and paid for this very new different software. They're going to keep both versions sort of alive, but this is there. If you went and bought it today you would get this version with the compilation but I might think that was only the Mac version because I don't recall either that I've ever received an email from Scrivener about upgrading anything. So that's interesting. I mean I could be wrong but I think that might be the case. Well we'll have to have, if anyone who is listening has knows the answer it just drop it into the comments where you're listing and let us know if you see the compile for vellum in your version and what version that is so that way we can kind of get a tally going. Yeah indeed. But I think it's worth mentioning as well that unless you are using something like vellum and unless you are outputting a disorder of special format or whatever, we want to call it two to then use vellum afterwards. Please know that Scrivener is not the strongest at formatting. So I would not advise you to output the work because you cannot put it in an ebook format from Scrivener direct you can, but I would not advise you to do that and then just proceed straight away to upload that onto the online retailers like Amazon, whatnot because it's just likely that it's not going to look very pretty. Uh, and actually back in episode 46 so just a few episodes back, we talked about ebook formatic essentially. So I recommend and listen to that episode it for further details on formatting, but, but just be aware that Scrivener is not that good at this stuff. No, you're not going to be having your eBooks with drop caps and some other, the amazing things that you can do in some of the dedicated formatters for your books. But it does work. It has a nice output if you're doing screen writing and you're sending it on to someone to read as a cause. Screenwriting for whatever reason is still the weirdest, most archaic, um, output format I've ever seen. And they have a few that are more standard that if you're going to be sending it to a publisher, they would probably recognize it, recognize it, but there's nothing really super pretty that you want to send out to your readers and expect them to be paying some, you know, high price money. For mm mm. Another feature I thought of that I want to mention because I quite like it and that does how you can track your progress progress to keep yourself motivated. And I quite liked that, you know, uh, Jesper (29m 43s): there was the two different ways at least maybe you have another one as well. I don't know autumn but at least I have seen or can remember, I shouldn't say two different ways of working. Uh, the first one is, uh, to add a different label to each section of your document. And you could, for instance, color code, the ones that are completed in green, and then you can add a column to displays to display that label in the Scrivener outline basically. So that gives you at a glance, you can see how far you've come and you can see all the chapters that is already complete. Um, another way of tracking it, and probably I like this one better, is to set yourself a word count target and then script note scribbled over. Not only allow you to track the word count. So let's say you set it for 100,000 words for example, then Scrivener we'll track how you progress towards that goal. And I really liked that feature because it keeps you on track and it shows you in a visual layout how far you come. So I really liked that. And I think again, that might be a difference between the Mac version and the windows version here because I T.H.E. I know in Mac you can set your yourself daily word count goals. Yes, you can. And if I'm not mistaking, I think that was enabled in the windows version and one of the later updates that came, but I don't remember anymore because again, I'm dictating nowadays so I don't use that feature anymore. But I really liked it when I was writing directly into Scrivener. Uh, and I think it is, it does allow your daily word count goals in, in windows, but I'm a bit fussy on that one. Yeah, I think, Autumn (31m 21s): I think you're right that they did update it, but it's definitely in the Mac version where you can have an overall project goal. You can have a writing session goal and that you can also have a chapter goals. So that really breaks it down if you like, you know, you know, you're writing 2000 words or 3000 words is your what you want for this chapter. And you can have a little bit of a buffer, like as long as you hit, if you're writing 2000 but as long as you hit 1500 you're good. And if you go over 2300, you know, you wanted to tell you, Hey, this is getting a little long. Are you sure you want to be dedicating this much, you know, space to this one chapter and it'll, you know, it gives you color coding, it tells you, it'll give you updates and notifications. So, yeah, it definitely does make you feel good though. I do laugh because I remember seeing someone figured out that copying and pasting can add and subtract to your word count goal for the day. So if you happen to paste in a whole bunch of stuff, it's like, Hey, you did it. You're like, Oh no. It's words going on the page. But it does deduct. So if you delete you, you paste, you take something out, you cut it, it will take it off your word count goal for the day too. So you gotta watch that, right? Okay. Yeah. Yeah. You need to be a bit careful, dad. It's not a hundred percent perfect. Yeah. You could write a lot and then take it and paste it into another document and it's going to be like, nah, he didn't make it. Jesper (32m 45s): Right. Right. Okay. Do we have more features we want to mention? Autumn Autumn (32m 51s): I can't think of anything else specifically. I did just find out, found out last night when I was am compiling a book actually, that it does now have, it'll compile an outline, which I had noticed and that was very useful to be sending off to my editor to be able to add out the chapter outline and this is what it's gonna look like because I hadn't really worried about like a table of contents before, but it does do that as well. And there's a lot of other features that are in there that it's very, I never truly finished the tutorial. I kind of got enough then then started poking around and started writing cause I was in the middle level book and I just wanted to get back to it and see if I could get it organized. So maybe one of these days I'll actually take the whole tutorial. Um, I hear that there's a lot of great things in there. Jesper (33m 39s): Yeah, yeah, for sure. I mean I will add a link to the show notes where you can actually see the tutorial videos for Scrivener. So if you want to a visual view of all the stuff we just, we've been talking about here, then yeah, check that link and go and have a look at you. Look at it yourself. But maybe I should get into some of the pricing stuff then do you think? Autumn (33m 59s): I think so. I think we should let people know what they're in for if they go and look at this software. Um, and I think you'll be really surprised considering, I think we've done a pretty good job at explaining that this is a really powerful piece of organizing for something like a novel or screenplays. So it's, to me it's a really sophisticated piece of software. And I know when I went to look at it, I'm thinking, yeah, it's going to be a couple hundred bucks and I'm just going to be like, yeah, put that on my wishlist. So I've checked it out. I was like healing. Jesper (34m 36s): That's the thing, right? I mean, as we talked about, it's available for Mac windows and also iOS asthma, uh, autumn mentioned in the beginning. So if you have those, it will sink your work onto each of your devices. Uh, the Mac and the windows version costs $45. I believe that it's sorta, it's insane is I just, and I believe as well that if you're a student, you're getting a small discount even on those 45. Yeah, I think so. And there are times that they have coupons out, which I didn't wait for it because it's $45. It's amazing just to get it. It's not like nothing. The iOS version, um, cost $20 or 1999, uh, and if you are planning to run Scrivener on both Mac and windows, then you need to purchase both versions. So you cannot use the same on both of those, uh, different OMS systems. But you do get a discount of $15 if that's what you're going to do. So, which is super sweet of, and I will tell you Autumn (35m 38s): this to me, one of the most phenomenal things is the file it outputs is a dot Scrivener file that is a dot script file. It doesn't matter if you're a Mac or a PC. You deserve. You drop your dot Scrivener file to Dropbox and you share it with your editor or your beta reader who can download a dot script file. It doesn't matter if they're using a PC or a Mac. And that just blows my mind. I just why do another software. I'm so tired since I'm a Mac user, I'm spitting stuff out two pages and Excel all the time because my Mac can read them. But you know when I send them to you, yes, for the your your PC cannot read. You know, my pages files in my numbers files, so I have to always transcribe them and translate them. But Scrivener no, we're good. We can share files. I think that is fantastic. Jesper (36m 32s): Absolutely. And also remember that you're only paying one, so Scrivener is not doing some of the Microsoft tricks on you where they want you to pay monthly subscriptions and all that crap for to use the software. So you pay once and that's it. You have the Scrivener for life. And I would even say even further than that, what is really, really awesome, I really liked that is that their trial period is not a 30 days of the calendar days. Like, like what you normally see, but it's 30 days actual use. So Scrivener tracks how many days you had opened it. And so if, for example, if you want to write today, you download the trial, you write one day, and then let's say you're busy for the next two weeks and then you open it again, you only used two days of your trial for that, then uh, so those two weeks where you were busy doing other things, it does not count against your trial period. So, so that's really awesome and it just gives you an excellent way that you can just play around with Scrivener and see if it fits your needs before you actually make any, any purchase. But even that said, it's not expensive. Right. So, Autumn (37m 38s): I mean, yeah, I think I just really think that the, this company, and I keep forgetting who is the actual owner of Scrivener and producer, but they've gotta be one of the most decent, not out to gouge you or anything. They really, you know, even that they give you a discount if you have to buy it for your PC and your Mac because you're a two type of computer household. That's just nice. I can't say that about some companies if they're just really nice. Jesper (38m 7s): It's called literature and latte, the ones who make Scrivener. So, uh, that's, that's pretty cool. All right. But, uh, at least in my view, Scrivener is well worth it and am go and check it out if you want. So if this interest piqued your interest, uh, have fun with that. And now that we've got 20, 20 started autumn and I will be back next Monday with advice on some best practices for the next year. Just heard there's a few things you can do to support the amwritingfantasy podcast. Narrator (38m 37s): Please tell a fellow author about the show and visit us at Apple podcast and leave a rating. And review. You can also join autumn and Yesper on patreon.com/amwritingfantasy for as little as a dollar a month. You'll get awesome rewards and keep the amwritingfantasy podcast going. Stay safe out there and see you next Monday.
Have you noticed those free ISBNs that come with distributors or with Amazon's paperbacks? Is there a catch to using them and you should run like a maverick demon on a rampage to purchase "safe" ISBNs directly ... or are they really OK to use and might be saving you up to $125 a book?! Join Jesper and Autumn as they lay out what an ISBN is and does as well as what the deal actually is with those free ones! Tune in for new episodes EVERY single Monday. SUPPORT THE AM WRITING FANTASY PODCAST! Please tell a fellow author about the show and visit us at Apple podcast and leave a rating and review. Join us at www.patreon.com/AmWritingFantasy. For as little as a dollar a month, you'll get awesome rewards and keep the Am Writing Fantasy podcast going. Read the full transcript below. (Please note that it's automatically generated and while the AI is super cool, it isn't perfect. There may be misspellings or incorrect words on occasion). Narrator (2s): You're listening to the amwritingfantasy podcast in today's publishing landscape, you can reach fans all over the world. Query letters are a thing of the past. You don't even need a literary agent. There is nothing standing in the way of making a living from writing join to best selling authors who have self-published more than 20 books between them. Now onto the show with your hosts. Autumn Birt and Jesper Schmidt. Jesper (30s): Hello. I am Jesper and I'm Autumn, this is episode 41 of the amwritingfantasy podcast and we are going to talk about ISDM ISBM numbers. I almost stumbled the same bed ESPN numbers and uh, whether you should buy you own ISBNs numbers or if you should use free once. So yeah, we'll get into explaining all the details about what ISB and numbers are and all that. But, uh, I think, can I first say that I actually had a very busy weekend here because my oldest son had his birthday this weekend. He turned 11 Oh, vial. That's fun. Always almost a teen. It's coming up. Yeah. So, so that, that's the bat. But we had, we had the house full of guests, so that, that was great. Uh, w w we had great fun and it was nice. And uh, my brother and his fiance came already on Friday and then they stayed all weekend and then the other guests came on Saturday. Uh, and then, uh, yeah, some, some, some of them of course from left in the middle of the night and a Sunday morning, uh, my brother and his fiance had to, to go to, because they are picking up a dog, so they have to drive to pick up a dog. So I had to get up early to make breakfast for them and all that. So I was really, really tired. Or there's something about a group of kids, especially 11 years old with all that energy that can really make you feel tired, I think. Yeah, absolutely. And then of course when you have to wait on your guests for for like two full days, you know, I don't know for me that, I mean, I, I actually think some people enjoy doing that and I do enjoy the company and all that, but, but waiting on people is sort of not maybe my favorite activity, but uh, of course you'd do it anyway. Autumn (2m 28s): So, but it was very, it was very nice. Oh, that sounds really good. I houseful of family is definitely fun, but I'm like you where I, you know, my parents, we were just visiting with them and sometimes it's like, Oh, you're having a party in the basement. I just, that's a lot of their friends. All their friends are, you know, they're super nice to us and they often have their kids, you know, are mostly my age to sometimes the kids tag along and it's great, but it can be so overwhelming and you know, so much time of it, I'm like, I need to go to the woods so little while Jesper (3m 6s): w that was also why when it came to Sunday, you know, we just decided to, I'm going to relax on the couch and basically do nothing. So actually we decided to, uh, to watch the first episode of a dark crystal eight of resistance with the kids. And I believe you told me that you watched it too, didn't you? Autumn (3m 25s): Yes. I've only watched the first one. I'm giving it a try out. I think I have to watch a second one, but it's, what did you think of it? It's okay. Jesper (3m 34s): No, but yeah, but I think, well, first of all night, my wife noticed that it was, it's in fact a prequel to the 1982 Jim Henson film, the dark crystal. So that was quite interesting to me. Uh, but I think I would say that if I wasn't watching it with the kids, I probably wouldn't watch it to be honest. I mean, I think it was OK and, but there was, there was quite some info dumping going on. Like, like you can almost tell that that's because they want to make sure that the younger audience understands what's happening and all that. Whereas as an adult, what's in that? That's a bit like OK. Uh, you could probably do that a bit better. Um, so, but, but it's OK it's, it's, it's fine, but I don't think I would be watching it on my own to be honest. Autumn (4m 20s): Yeah. That's where I, that's how we both felt after watching. The first one is am I want to get beyond the info dumping, which again, they're building the world that existed before the original movie. So there's a lot of information to share, but the puppets just didn't work for me in the lack of facial expressions that how far like CGI as com and what they could have done instead of the puppets. Not that I don't want to diss traditional because I love Brian Froud. He's one of my favorite artists. And he created those, all of those puppets and the styles and the costumes, but it just, I would have actually preferred it as CGI if they digitized all the puppets and then created expressions and things. The voices and actions alone just didn't do it for me. But I want to watch one more. So I get past all the info dolphin thing and see if I get swept up in the story. Cause I know a lot of other authors and a lot of people I've talked to really have but it's not there for me yet. So I might watch one more. And otherwise, you know, I'm back at Lucifer the first. Jesper (5m 27s): I still hate it. It gets better, I swear. But, uh, but I actually, to be honest, I, I, I think it's quite cool that it's puppets, uh, because it's, it's different compared to what you're used to seeing in puppets nowadays is it's pretty where it is. So I thought that that's actually cool. I mean, I get, I get your point in Iowa. I can certainly agree that the fact that you can't see face mimics is it's a bit, let's say weird because we're not used to that. But I still think it's quite cool. Autumn (5m 59s): Yeah. I'll have to, like I said, I want to give it another try or two and see if I can get into it. But the first one didn't catch my interest so we'll see. Yeah. So this week I've actually been doing a lot of reflecting because the 19th would have been my brothers, I can't believe its 51st birthday. So he was four and a half years older than me. He actually passed away in 2000 oddly enough, the day I met my husband, of course he was just a guy I met. Um, so that's, I've been thinking about that a lot. Sometimes I don't think about his birthday until like afterwards, but this year I just was visiting my mom and it's been in my mind and I've just been reflecting about how much not only did he miss because he actually choose, chose to take his own life. But how much that event changed me besides the fact I obviously met my husband, um, that same day as well. But I believe it or not, cause you've only known me, you know the class, Oh gosh, I don't know what four or five, six years. Yesper but we am you've probably known me as you a risk taker. You've known me. I quit my job, my full time job. What do the two week notice to go travel the world. And you know, I've done some crazy things, but I was always the steady rock who never took risks in high school is very quiet and antisocial. And I realize how much, when you realize that life is short. Like my brother was only 30 when he passed away. I was 25. And how much, um, just realizing that, you know, life changes, there's so much out there. What are you afraid of? Trying something scary for, you know, switching, leaving my last job where I wasn't happy to go explore and travel across the United States. I mean, what's going to happen? I might fail. I might have a blast. I might do both. I just realized that it really did change me into a much more of a risk taker, which is oddly what my brother was. So I think we actually would have gotten along. We fought like cats and dogs as kids, as teenagers. So I honestly think we would've gotten along so much better. But it also, you know, I've talked to before that, you know, August has been a really kind of crazy, it was a crazy month. It's still kind of this 2019 I've said it a hundred times. I cannot wait to this year ends. But I also think that every time that, you know, things get bad, I still can't imagine making that choice. And I think about all the things my brother missed. Uh, his youngest daughter is, you know, we're, or her associates degree. His oldest son has graduated college and has an awesome job as a computer engineer. Um, is young middle son. The youngest son actually is, uh, in the air force and re-upping to another role. You know, another four or five, six years at with them is just an is. His other daughter, his oldest daughter, actually has a daughter and it's just like, wow, I live changes no matter what. When you have a bad day and you're frustrated and everything else that's going on, I just still can't imagine making that choice and not sticking out to see what's going to happen next. So it's, yeah, it's been such a reflective week for me. I guess I'm sitting alone in the Adirondacks because my husband's away at a training and this is obviously I need his distraction because my mind is on very deep thoughts. Jesper (9m 28s): Yeah, I can, I can hear that. Do you think it was because you were at your parents' place? Was that why you started thinking about it? Oh, what, what do you think you all of a sudden starting have started to have these reflections? Autumn (9m 40s): Probably, I think it was there. We were talking about my mom seemed a little sad and with my nephew who lives with them and, uh, we were trying to figure out why and it just dawned on me, I'm like, it's September, it's my brother's birthday coming up. And she always gets sad this time of year and everyone's just kind of paused. And so I think, yeah, that's what was kind of, when I figured that out. Um, like I said, I usually think of it after the fact because life is so busy. But this year I've got some quiet time. And like I said, it's been a hard year, but, so it's just on my mind, I think. Yeah. Jesper (10m 14s): Yeah. It's, it's interesting. I mean, I know it doesn't work like this, but I wish I could tell people thinking about, you know, taking their own life to, um, to think ahead. You know, it, it's, especially if you're, I mean, if you're, if you're rather young and, and here I'm also talking about people maybe 50 or whatever, right? I mean, you have so many years to go and it's just, and who knows what's going to happen in 10 years. Maybe something awesome will happen and you will be so sad that you, you know, ended it before it happened or whatever. You know, it's, it's hard to know, but I know it doesn't work like this because my wife works on a suicide hotline as well, so she talks to these people on the phone, so I know it's not like you can just tell them, yeah, yeah, yeah. You should be feeling better because later on it will be better. You know? It doesn't work like that, but I just wish it would. Autumn (11m 7s): I agree. I, I fell at the time, I mean, I was 25 he was 30 that he thought everything was over at 30 and when I hit 30 it was really kind of like band. I feel like a kid and I don't know what's going on. I can't imagine how my brother felt like everything was over at 30 and now I'm 45 and you know, sometimes I feel it in my bones, but I still mentally am like 20 something and I know talking to my parents, like you telling me don't get old. And of course they're in their seventies and I know mentally they think they're in their thirties and twenties I don't think, you know, our minds stay at this act of healthy level and our bodies are the ones that let us down. I just can't imagine feeling like mentally it's, I'm done. I just can't get there. I'll just work, create a new world and write another book and get lost in it. I think that's my answer to everything. Jesper (11m 54s): Yeah, that's true. Yeah. I don't know. I don't know how we're going to get on from it. This was like, this is like a topic once you wouldn't start a podcast because now we can't get anywhere else. Well I, Oh my God. Well I understand why you might be thinking about those things. That's certainly not a, it's not easy. Oh week on the internet with the amwritingfantasy. Podcast okay, well autumn we have to try to move on to something else. Move on. Actually Autumn (12m 26s): I think I said I, it's actually in its own way empowering to me because I have a, I have a low bar that is so low that you know, I can't reach it so I know things are going to get better no matter what happens. Jesper (12m 40s): Perfect. At least a on on a more happy note if we can go there. We had so many comments coming in on Patrion from both Sade and Irish and uh, guys please keep it going. It, it's awesome to read your notes and comments on, on some of, well you actually just, I think both of you actually started your own a threat and just to share some info, um, and you also basic commenting on podcast episodes and whatnot, so that's great. And uh, please keep that going and well for the rest of you, if you want to check, check out Patrion then there's a link in the show notes. So we'd go over there and, and check it out. We do give you a ton of rewards if you, if you join us there. Autumn (13m 23s): Absolutely. And yeah, it's been so much fun with all the commenting. So it's been it, it makes it really engaging and that's kind of fun. And I actually wanted to bring up um, another place that I find engaging you. You know this. Yes. For that. I'm not the biggest fan of Facebook. I might have said that to you before. Jesper (13m 43s): Well it might have come up just like once or twice maybe. Okay. Autumn (13m 48s): And I think it's like every email and we have to do something on Facebook. But you know, it's where so much connection is going well. It's so funny cause another author that I really admire admire Angela Ford. She's part of a group and she's probably a designer and really good with computers and she and her friend created a new app called indie author lifestyle. And it's a new forum, really, really fun for actually for authors. And so I've been on there. And it's funny cause the intro question I thought was really funny that she, you know, you join and you get a question right away to get you to thinking it's what's your, what's your biggest struggle when it comes to self publishing? And it's been really fun reading all the comments about, you know, some of it's just working on getting editing done on a tight budget, marketing and sales motivation, motivating myself to edit and, you know, tuning out distractions. So actually I've been having a am way more fun. I know I really need to give back into our own Facebook group because the comments there are awesome, but if there happens to be anyone else out there like me who kind of feels your skin crawl just the little bit when you get on Facebook, Hey, check out indie author lifestyle because it's been, you know, in just a few days that I've been part of it, it's been a huge vibrant community and very chatty, very easy to get into. Um, unlike Facebook and it's not stealing all my data. Yay. Yeah. Jesper (15m 21s): Well, yeah, that, and it's a good question that they're asking there because you can get a myriad of different answers to that question because everybody will, well, of course a lot we'll share, but, but there's going to be a very, very many variations on what people struggling with. Oh yeah, that's a good starting question. But actually I have to say that am in the amwritingfantasy Facebook group just today alone, I approved 11 new joiners. So that's, so that's awesome. And the last few days, um, there's been a lot of people joining so that, that's really great. And I can see a lot of comments going on, a lot of threats getting started and people asking questions and other people's replying. So it is, it is in fact quite a good community that that's going on there. Even for those who doesn't like it. Autumn (16m 9s): I enjoy it whenever I get on there. And I love seeing am some of the comments I know recently even, I think it was Zane, somebody's Irish, one of them was mentioning even how great the amwritingfantasy Facebook group is. So I have to admit, it is also it's own vibrant community. So I, yeah, I need to get back in there too, especially when you're approving 11. And I haven't even been in there yet today. So, oops. Yeah. Jesper (16m 32s): Yeah. Well we are several people doing this so that it works out. But it's good because it feels to me like, um, and, and maybe, maybe I'm going to regret saying this at some point, if it turns out that I'm not right, but, but maybe we've sorted past a critical mass of people now because it feels like there is a lot more activity than they used to be just like a year ago. Um, so, so there's quite a lot of people in there. I think we are getting close to 1000, 300 people in the group, so that's pretty good. Um, and of course, if, if you listening, uh, interested in joining a group of fantasy authors, just sharing stuff about writing or marketing or whatever it may be, basically more or less, you can post everything in there and people will jump on it and reply and give you their thoughts. So you can just search for amwritingfantasy in the group section of Facebook and then you will find us and uh, just put in your request to join and we will approve you quite easily. Autumn (17m 40s): ISB numbers. Oh, that's right. Sounds complicated. OK Oh, it is in so many ways. At least it feels like a little bit. It's am to me, almost a throwback to the real traditional publishing days. And so there's a lot of kind of misunderstandings in the indie publishing world about what an ISB and number is and do you need it and why are they so, gosh, darn expensive. I mean, talk about one of your biggest hurdles to self-publishing. I'm surprised somebody hasn't actually written down having to buy ISBNs numbers. Jesper (18m 17s): Oh yeah, yeah. True. But maybe if I just set us off a bit here with the STR has a short definition thing just so that everybody's on the same page and then I think you can lead us into it because I know that you have researched this a lot more than I have, but as usual, I have opinions about everything so I can still see opinions. But, uh, but maybe just so to put us, everybody on the same page here so everybody knows what we're talking about. So I S P N stands for international standard book number and basically the ISBM number is a way to identify books, I guess you could say. And an I SBN is assigned to eat separate edition and variation of a publication. So this could for example, be a paper back and then if you have a hardcover edition of the same book, then for example, they will, those two will have the different ISP and numbers and getting ESPN numbers assigned, uh, that is handled by each country separately. So essentially what that means is that each country has their own ISP and eight inches that is responsible for assigning ISB and numbers for that country or territory. So it's doesn't matter what you know, language your publication is in. So for example, if I want to get a ISPN number here in Denmark, even though I'm writing English, I still have to buy it from the Danish agency. So I think that's the definition is out of the way. And hopefully that puts us on the same page about what we're talking about here. Autumn (19m 52s): Yes, that's a really good introduction. I mean, I remember the first time I heard about ISB and numbers. I mean I had volunteered and worked the library in my high school and really hung out at the library a lot in college. And I thought I knew everything like the Dewey decimal system and you know, but then I had picked up a book in England that a friend desperately wanted, but of course there's an English copy and blah blah blah. And finally we figured out we just needed a search by the ISBM number and then she could find it and order it. And of course, you know, that was the dark days of like 1996 so the internet was not quite as good as it is now. And Amazon book search didn't exist back then. But that's when I realized that ISB numbers, those little numbers in the front of a book actually means something. And there's some really complicated parts. I mean they actually kind of tell you a lot of information about all written in like you know, about what it actually means. And I thought that was kind of interesting. So they're actually, they're at these day there. Is is an ISP and search though that makes it really easy to go and look for things. So if you have an ISP and number, you can just go ahead and put it into a search and find your book. But some of those, uh, I know there's a lot of misinformation out there about what the ISBM number says and it's am. So, you know, some people say if you get a free one, because that's really the topic today, is do you actually need to go buy an ISP N number or can you use, um, Amazon? You know, when you do eBooks on Amazon, you can, you don't need one. You use an a S I N number, which is an Amazon number and it's just good for the Amazon what stores? And then if you go through KTP to print a paper back or like I published, I do a lot of stuff on Smashwords but I know drafted digital as well. These other places will create, you know, give you a free is number. And so why wouldn't you use it the free one versus going and buying one. You know, why is there a difference? I know there's people on both sides of this fence. That's what I, that's what I'm wondering too. So I'm looking forward for you to tell me why I should buy one. Oh, I'll see if I can change your mind. It will be hard because I'm actually playing the devil's advocate cause I've actually always used the free one too. But as you know, I've learned to am question everything. I used to just do what I was told and then big events happened in my life and now I don't believe a word anyone says into like, Oh and look it up myself. I must be that. That's a healthy attitude to be Isaac. So I mean, thank goodness I can do this. As a teenager, my parents would have gone gray so fast. It's such a good kid. But so I'm gonna you know it's going to be interesting because there are some information in there and like I said there's some misinformation but I do use a free one too. And I know you do as well cause we've talked about this a lot. So there's a couple of neat things. So there's some stuff in there that tells you what language the book is published in and you can also find out what country it's for. There's some things that represent the title of the book. So that becomes a special unit of numbers as well. There's a check digit, which is kinda like your credit card. There's always a check digit digit that they all kind of add up to or work to this one number or they know it's a fake and there's something in there that tells you who the publisher is. So that's sort of the only sticking point I can see between, or at least in this example are there are other sticking points. But the example of why you would or would not buy an ESPN. So if I use a free one from Amazon for my paperback book, it's going to say Amazon's the publisher. If I'm a publisher or I wanted to say that I published my book, if I buy one, it will say that. So written there and almost like a meta tag for a website. It says who is the owner of the book or at least that copy of the book. So there is that. I don't know what you think about, you know, how important do you think it is to be able to say that you yes, Russ Schmidt created and made this book and all the way down to owning this little digital number or do you care that it says, you know, Amazon or Kobo or one of these other places is the digital publisher of your book? No. Well I'll see if you can change my mind, but, but my point of view is basically that I could not care less and, and basically here's why. What I care about is selling books and I don't know of anybody being readers who goes on to, for example, Amazon and stopped typing in a puppet those names to figure out, I mean disregarded. This is self publishing, so just say you have published your book with random house for example. I don't know of anybody who goes on to Amazon just says, I wonder which book I wanted to rent a random house book. I mean nobody does that so well, yeah, in this case then, because I always use the free a Amazon ISPN numbers. Then of course it will say that Amazon is the publisher, but I don't see that it makes any different whatsoever in terms of selling books or acquiring readers. I simply don't see it. I see. I don't disagree with you. That's what's so hard about this conversation is I read the same thing and you know I double checked before I, I looked at the price tag of a single ISP in at $125. I mean, obviously if you're going to do this, there are ways of buying them in bulk of 10 or a hundred and considering you need one for every single different edition. So if you have an audio book, an ebook, and sometimes it's even by retailer, so you know you can have different numbers. So yeah, you, you, if you're going to publish, if you're going to need one, you're probably gonna need at least three or four for the exact same book, but in different formats. So, and you have to realize sometimes that can be mobi file for Kindle versus an epoch bile. Some places are really specific. So that's the only other reason I've heard people complain about, you know, having these ISBNs, if you don't own it, if you own it, you can say when you submit your book to a place saying, this is the pub file, it goes with this ISBM or this is the ebook file. It goes with this ISP. And so you only have one for your ebook, one for your paperback, and one for your audio book where if you're doing sort of like what I'm doing, I'm going through a distributor. So I have my Amazon one, the Amazon paper back one, and then I go through Smashwords and they give me an ISB and for all of those, but it's actually the exact same book, ebook file as the one that's an Amazon Jesper (26m 44s): that has a different ISP, a number. So suddenly it's like I'm having, you know where like goodness, I didn't have to pay for these. I might have five, six, seven, eight different ISBNs numbers that point back to the exact same book. So some people say that looks so unprofessional. I think this might be the companies that are selling ISPN numbers, but I'm not sure. No, but that's also what I'm wondering because unprofessional in what way? I mean I can understand if you look, if you are a traditional publishing house and then you are using you, your is, well I'm going a bit of on assumptions here, but I am assuming that these, that they are using the ISB and numbers to track their global sales and all that stuff and they can probably split it out on territory depending on the country. Um, indicator inside the ISPN numbers and whatnot. So they can use it to, to, to check their sales. And if I'm not mistaking as well, if you, for example, if you're talking about counting paperback sales or hopper, how cover sales towards something like the New York best times seller list or whatever it's called. What is it called out? Yeah, the USA today bestseller. That was for the New York times. Yeah. Yeah, exactly. If you, if you need to count your paperback and hardcover sales to, what's that? I think you have to have a dedicated ISPN number. So everything that is just an Amazon ISPN number, I don't think that gets counted. So, so that's another thing. But I'm going a bit of memory here, but that's how I remember that it works. That does make sense. And I could see that being a key point. I would love to, I know a couple of people who put together some paperbacks are not paper bags, but bundles to make a run for the New York times bestseller list. And if I thought about it, I should send them an email and say, Hey gee, wouldn't you do this? Do you just do the Amazon ASI en or do you actually go and buy an ISB N so that, you know, New York times can track it. That might be a good question to ask someone and come circle back or a little rounds of this one of these days. Yeah, to be honest, I, I don't like those bestseller lists because you can gain them. Uh, and, and then there was also, there's also some, you know, booksellers that gets counted or some bookstores that gets counted in terms of sales. And then there's others that don't. So I have heard stories of authors figuring out which spoke, um, you know, bookstores actually have the sales counter to what the bestseller list and then get them to buy a ton of books with the agreement that you're going to buy them back afterwards. Oh my goodness. So they buy a ton of books. It gets counted. I think. Uh, I think that was how it worked. But anyway, somebody can prove me wrong here. You find this not understanding something, but how I remember it working was that, that you, you could sort of make some deals with those books. Sale sales companies are bookstores and then basically got a lot of sales counted towards the best seller list. And yeah, there, there is articles on the internet, by the way, if you're interested, uh, the listener try to, uh, try to search for a gaming New York times bestseller list and then you'll find some stuff. But there it is possible to game the system. I don't really, that's why I like something like the am, the Amazon bestseller list I like a lot more because it is just based on sales. It's just based on what people buy and there, there is nothing else to it. You cannot game it. You cannot get around it. If you don't sell any books, you're not on the list. It's that easy. Whereas for example, when we're talking about, um, ISPN numbers, for example, if you don't have the, uh, if the ISPN number yourself and it doesn't get counted, you could be selling like $1 million worth of books and never hit the list, right? So to me, then there's something wrong with the best seller list if, if, if it only counts a portion of the market Autumn (30m 45s): and not to be jaded being in the United States of America, but everything's for sale here. So of course you can game the system to get to the New York times best seller list and the USA today, I mean, I've seen people, you know, usually the buy in for a bundle that's going to make a run at it as about a thousand dollars. So for $1,000 you can get together as one of these author groups that usually has about 20 authors. They put all that money into marketing and whatever else they have to do and boom, you get to put USA today or New York times bestseller after your name, once you hit the list. And you know, that's great. But I have to say every single bit of research I've done and looked at, all of readers don't care. They care. If you have a good book, I mean, yeah, great. You can put USA today or you could put Amazon bestseller, that's all fantastic. You can put that after your name. But did you write a good book? That's usually what readers are looking at before they pick up your book. So I try not to take it, you know, it's whether or not you have a PhD after your name. It makes the author feel better. Maybe it gives you that confidence boost that is worth $1,000 to go for but um, I haven't bought into one of those, so we'll see. I guess maybe I'm jaded that way. But another thing that I've heard about ISBNs, and this one's, I think I've already worked my way around to not believing it, but you have to tell me what you think of the sort of face value as a, supposedly libraries are becoming more important to the distribution of eBooks and overdrive is the largest supplier to schools and libraries in the world. And they circulate more than 105 million eBooks in just 2014 but they also supply to retail stores and everything else. And what's required for overdrive is an ESPN. So, you know, you need to have an ISB and to be part of overdrive, but do you think having a free ISB is somehow holding Jesper (32m 40s): you back from being recognized in libraries? Well, let's back a big, uh, I think we need to be really careful with, you know, 2014 numbers because 2019 markets, I'm massively different than 2014 ones. Um, and if we're looking at something like it, I mean, if you want your paperback or hardcover in, in the library, then I think it still holds true that you need the ISPN number. Uh, you, for example, I'm and, and I know you do that too. Autumn I mean we have a print on demand via Amazon, right? Those folks just not get into the library. Um, but when you are distributing white and especially with eBooks, which is still growing in terms of from a library perspective, um, if you are publishing via draft two digital and use those as your distributor, they actually have several different am, I don't know if you call them funnels or whatever, but they have several different agreements, let's put it like that with libraries. So it's quite easy to be honest. When you're, when you're done publish your ebook, draft two digital, you just sort of put a ticket in those boxes to say, yeah, I want to also distribute to these places and those ones, we'll put your book available at least to the library. But I have to say as well that this doesn't mean that you'll start seeing a ton of people boring your books because it's the same environment as us as it is on Amazon. There's a lot of books available and it's not like people in the library, all of a sudden your book, we'll just start a peeing in front of them and you will earn a ton of money from people. Boring. It's not happening in way. At the end of the day, we're back to what we have said so many times before the money is in the email list and that's what you need to build. All this extra stuff is nice fluffy stuff to get your ebook into the library. But unless you are actively pushing for it, maybe telling people that, Oh by the way, do you know you can get my book at your library if you just go and search for the book or if you go and ask for it and whatnot, if you, if you don't actively drive it that way yourself, it's not gonna make any difference. It's just going to be like selling books on Amazon. I mean, you can upload it to Amazon, but it doesn't sell on its own. That's very true. And you're right. Even smash for it. So that's why I kind of saw through that one one the date on the uh, facts for it. But also Smashwords does distribute to overdrive in, it has some deals with libraries. So I think am when I set up a lot of my distribution with Smashwords, I actually put on my books to libraries even cheaper, which I didn't realize. Most book publishers actually send out the libraries for like 60 or $70. You know, the big publishing houses, that's how much they're making it. 60 or $70 for a certain period for book to be licensed Autumn (35m 38s): to libraries. I'm like, man, I think I did 99 cents. So obviously, but again, it's also to get your name out there and there are, I've been reading about some tactics if you want to have your book distributed more than libraries, like you know how to send letters or you know, I travel around and I use a lot of libraries. Thank you for free internet. I love the library's United States and Canada. I'm like, Canton, no one's actually let you have drinks in them. Oh my gosh. I was like, he's in in the United States to actually carry a drink until a library. I love Canada. But all you have to do is like you go up there and tell them, Hey, I'm an author in my books are available and they're really well rated. And Hey, if you go here, you can get a free, you know, it's only 90 cents or you can get a free one for the library. Just let me know and I'll happily give you a digital copy and you can, you know, work in or out. If you, if you're an author and you have a local library and you have not stopped in to tell them you're an author and you're a local author and give them an ebook please just go do it. You'll be so excited. It feels good to at least, you know, have something at the local library. Jesper (36m 42s): Yeah. And uh, there is something to it that, uh, you should be pricing your library Burroughs higher than your sales on, on, for example. Amazon but, but again, once you, if you use something a distributor like draft two digital, and when you are setting your prices, it will actually give you some guy, you use some guidance in the module when you're setting prices and it'll tell you on average how much higher is the price for a book like this in the library and stuff like that. So you, you're not going in blind and you will get some support and help there in, in, in pricing it correctly. But, but yeah, uh, library borrows does weren't higher pricing than, than sales on Amazon. Autumn (37m 21s): Yes. It's, I know that now I'll have to look it back. What? I didn't smash words, but I'm not that worried that I'm somehow having the library's drain my, my sales, it's not a huge writing thing. And one of the things I have to admit that I really hadn't thought about with ISB and numbers, so they throw this around and they're, like I said, they're quite expensive. I mean, it's $125 for one. It's, I think around $200 for 10 and then is it 300 or something for more than a hundred it's something, it's probably a little more than that, but the price has changed a little bit. But there's definitely some things, you know, you want to buy them in bulk if you did decide to buy them. But don't forget if you buy an ISBM number, you now need your own barcode because if you're doing a print book, you need to have your own ISBM number and it's all kind of labeled in there together. So that's another expense. So of course, if you go and buy a barcode plus an ISB, a number, there's bundles for that, or one bar code and 10 ISBM numbers, you know, now it's only $320 for 10 ISBNs and a whole barcode, which I don't know if that's gonna work for all 10 days be ends. So you see where the system really becoming really, I mean, I thought editing was bad, but you throw in ISP in numbers and suddenly it's getting kind of expensive. Jesper (38m 44s): Yeah. And then w I don't know, the more we talk about it, the more I just feel like I'm getting went. Maybe it's confirmation bias. I don't know. But I feel like I'm just getting more and more Autumn (38m 55s): points in. What do you, how do you say that points into check board or whatever. I don't know. Yeah, yeah, yeah. So you've taken off your boxes that yeah, you've made the right decision to go for a free one, huh? Yeah, because I, I just don't see the point of it. Jesper (39m 9s): I, I, as I said, I understand it if you're a big publishing house, but none of us are, right? I mean Autumn (39m 15s): we are like nimble and fast and flexible in the office, so we don't need that. All that stuff. I think so too. And I think after I finished like reading dozens of articles about ISB and numbers and why you should have a free one or why you should go and buy them. And it's funny, most of the articles I read were really pushing you to go and buy ISBNs numbers. Every argument kinda came down to like, well, it left me with this feeling. I'm like, yeah, I understand. Maybe that's some people still have this perception that you're less, less formal, less, you know really well put together less quality somehow if you are using a free ISBM number, but it's a lingering sense that is fading quickly. Just like how everyone used to say, Oh, in books, they're not as good as traditionally published books. No one, I haven't heard anyone say that for years, so that's awesome. I think indie authors are finally shown and proven that we can write awesome book that publishers only wished they were smart enough to have gotten a chance to publish. But the same is true with ESPN numbers. This is something leftover from the brick and mortar days when publishing houses owned. Basically we're the gatekeepers to being able to publish. Now they're being used differently. You use, I'm still to find books, but I mean now to have to have a different one for every single format. I mean, goodness, I couldn't have just added a different code at the end that a or a B or a numbered number that would say, Hey, this is the audio version, this is the ebook version, this is the paperback version of the same book. It's kind of just clunky and archaic and you know what? It's gonna change or basically be left behind because that's just the way things are going these days. And I agree with you, I just don't care. Eventually they're going to have to catch up with how awesome indie publishing is Jesper (41m 7s): I guess we just found our conclusion dare. So, uh, yeah, it's probably not worth buying any ISPN numbers. Next week we are gonna talk about feeling over whelmed. So, uh, just to you there, Narrator (41m 19s): if you like what you just heard, there's a few things you can do to support the amwritingfantasy podcast. Please tell a fellow author about the show and visit us at Apple podcast and leave a rating and review. You can also join autumn and Yesper on patrion.com/amwritingfantasy for as little as a dollar a month. You'll get awesome rewards and keep the amwritingfantasy podcast going. Stay safe out there and see you next Monday.
On this week's show, we chat with the legendary Brian Froud about his career, working with Jim Henson, the long-rumored sequels to The Dark Crystal and Labyrinth, and collaborating with his wife Wendy (who, among many other accomplishments, sculpted the original Yoda puppet used in The Empire Strikes Back).
Due to popular demand, here's a commentary for the earlier collaboration between Jim Henson and Brian Froud - one of the stand-out fantasy films of the '80s and a landmark in puppetry and SFX, The Dark Crystal from 1982!
To mark the passing of the late great David Bowie, Mr Jim Moon sets off to a magical realm where Alice in Wonderland meets Monty Python, where the Wizard of Oz meets George Lucas, and where David Bowie meets a load of ruddy goblins! Yes, we are having a viewing of that classic second team-up of Henson and faerie illustrator Brian Froud: 1986's Labyrinth with Mr Jim providing an audio commentary track!
In this episode of The Forgotten Flix Podcast, we’re harking back to a much beloved childhood film, Jim Henson’s Labyrinth (1986)! Director: Jim Henson Starring: Jennifer Connelly, David Bowie, Toby Froud, and Brian Henson. Synopsis (courtesy of Wikipedia): Labyrinth is a 1986 British/American fantasy film directed by Jim Henson, produced by George Lucas, and designed by Brian Froud. Henson collaborated on the screenwriting with children’s author Dennis Lee, Terry Jones from Monty…Read more →
© 2020-2025 Ivy Podcast Discovery LLC
