Podcasts about Carol Shields

What does it take to write strong sentences? How do you keep writing when the world feels dark? How do you push past self-doubt, build a sustainable writing practice, and trust that your voice is enough? Anne Lamott and Neal Allen share decades of hard-won wisdom from their new book, Good Writing. In the intro, Hachette cancels allegedly AI-written book [The New Publishing Standard]; How Pangram works; Publishing industry insights from Macmillan's CEO [David Perell Podcast]; Photos from Notre Dame and Saint Chapelle; The Black Church; Bones of the Deep coming in April. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Neal Allen is a spiritual coach, former journalist, and author of non-fiction and flash fiction. Anne Lamott is the New York Times bestselling author of memoir, spiritual and creative non-fiction, and literary fiction, including Bird by Bird: Instructions on Writing and Life, which many authors, including me, count as one of the best books on writing out there. Neal and Anne are also married, and their first book together is Good Writing: 36 Ways to Improve Your Sentences You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why strong verbs are rule number one How Anne and Neal's contrasting styles created a unique call-and-response writing guide Practical advice on finding and trusting your authentic voice across genres Why award-winning novelists typically write for only 90 minutes a day — and what that means for your writing practice How to keep writing during dark and discouraging times without giving up The uncomfortable truth about publication, longevity, and why nobody cares if you write You can find Neal at ShapesOfTruth.com and Anne on Substack. Transcript of the interview with Neal Allen and Anne Lamott Neal Allen is a spiritual coach, former journalist, and author of non-fiction and flash fiction. Anne Lamott is the New York Times bestselling author of memoir, spiritual and creative non-fiction, and literary fiction, including Bird by Bird: Instructions on Writing and Life, which many authors, including me, count as one of the best books on writing out there. Neal and Anne are also married, and their first book together is Good Writing: 36 Ways to Improve Your Sentences Jo: Welcome to the show, Neal and Anne. Anne: Thank you so much, Jo. We're happy to be here. Neal: Hi, Jo. Jo: Let us get straight into the book with rule one, which is use strong verbs. How can we implement that practically in our manuscripts when most of us don't start with the verb? We're thinking of story or we're thinking of message? Neal: Throughout the book, it's pointed out that these are rules for second drafts, right? So you've put it down. You've already got your story down, you've already got your piece down—your email, your text, it doesn't matter what. Then you stop, you pause, you go back to the beginning and you go sentence by sentence and look at them. Anne: I'd like to add that there's a lot in the book, usually on my end of the conversation, that has to do with really using these rules anywhere and everywhere. Whether you're writing a memoir or a grant proposal, I believe these rules apply to getting everything written at any time, in any phase of the work because, from Bird by Bird, I'm all about taking short assignments and writing really godawful first drafts. What is fun about writing is to have spewed out something on the page and then to get to go back right then and just start cleaning it up a bit, straightening it out, probably inevitably shortening it. One place to start is to notice how weak our verbs are. If I say “Jo walked towards us across the lawn,” it doesn't give the reader very much information. But if I say “Jo lurched towards us across the lawn,” or “Jo raced towards us across the lawn,” then right away you've improved the sentence with really two or three quick thoughts about what you actually meant with that verb and a better one. So it really applies to every level and stage of writing, but Neal's right—this is really about going back over your work sentence by sentence and seeing if you can make it stronger and cleaner and clearer. The reason it's rule one is to write strong verbs. Neal: A nice thing about strong verbs is that they often preclude the need for an adjective or an adverb, right? If I say “I trudged,” it's shorter than saying “I walked slowly and depressed.” Jo: Absolutely, and how you answered that question is kind of how the book works, right? Because Neal does an outline of the rule, and then Anne comes in and comments. Maybe you could talk a bit about that process. You are both strong characters, obviously you've been writing a long time. Talk a bit about how you made the book and how that worked as a couple as well. Neal: I'd had these rules collected for a number of years and I had them on my website. When I met Anne, she liked them and would hand them out when she was doing writing sessions. I was intrigued at some point a few years ago and looked around to see whether there was a list like mine out there. I noticed that all the other lists I saw were much shorter. Hemingway had his four rules for rewriting. Elmore Leonard, his eight, which are wonderful. Margaret Atwood has 10. The longest I saw was Martin Amis had, depending on what year it was, 14, 15 or 16—he'd go back and forth with a couple of them. I had 30-some and I wondered, well, 30-some might be enough for a book. I didn't want to write a scolding book like on grammar. I didn't want it to be academic or written like “I'm the expert, I know.” I'll just let my mind range. I'll explain the rule and then let my mind go where it went. Which, by the way, is one of the rules—show then tell. Not “show, don't tell.” It's show, then tell. Let your mind riff after you've explained something to the reader or shown something to the reader. So I wrote the book. It was too short to be published, and I showed it to Anne and I asked her, “What do I do with this?” Anne: I said, “Hey, I know something about writing, Bub,” and I asked if I could contribute my thoughts and retorts and examples and prompts to each of his rules. We were just off and running because his stuff was so solid. Mine is more maybe welcoming and giving encouragement and hope to writers because writing's hard. It's still hard for me. This is my 21st book and I'm only a third of it. Writing's hard, and what we hope is that our conversation can help people understand: a) it's hard for everybody, and b) it'll work if you just keep your butt in the chair and do the best you can, and then go back one day at a time and try to make it a little bit better. Neal: It turned out to be pretty serendipitous because just naturally I'm more of an explainer and Annie is more driving toward catharsis. So the call and response is always: I set out the rule, I explain the rule, and Annie drives it toward catharsis and usefulness. Jo: In some chapters you do disagree in some form. How did that work in the process of writing? Anne: Usually I disagree because Neal might be using words that are too big, or it might be a little bit elitist, I would think. Or of course I would point out that he's completely overeducated, whereas I'm a dropout and so I have a much plainer, more welcoming version of the rules. All of the rules are so strong, but I would feel that the way he explained it was beyond me. So I would come in and try to explain what Neal had been explaining. It was actually really funny and fun. We do come from really different directions. Neal is an explainer. He's like an ATM of information, and I am the class den mother who brings in treats and party favours on everybody's birthday. My message is always: you can really, really do this, I promise, trust me. But you start where you are, you get your butt in the chair, and then Neal comes along and says what has worked for him. He was a journalist forever, so he writes in a very different way than I write. It just turned out that the two of us together kind of make a whole. People have asked us if there were a lot of conflicts or if we really objected to the other person's take. I can tell you, Jo, there wasn't a day when we had only conflict. We were just laughing and we were excited because one of us would remember a great example from literature. We came to believe that these two very distinct voices would form one voice of encouragement for any writer. Jo: That brings us to rule number eight, which is trust your voice. I feel like this is easier when you've been writing a while. We're told to find our voice, but I remember as an early writer when I read Bird by Bird and other books and I was like, “How on earth do I find my voice?” Maybe you could talk about this more for early stage writer. How do you find and trust that voice? Neal: Boy, that is a halt for almost all of us. This follows from any intellectual pursuit that requires lots of practice and repetitions. Malcolm Gladwell's great statement, or discovery, or restatement from somebody else who discovered it, that the human brain requires 10,000 hours of repetitions before something can be allowed to just flow without thought. Flow as if intuitive rather than thinking. I don't think that's any different in writing than it is in basketball or football or anything else—sports, creative pursuits, everyday pursuits. There's just a lot of repetitions required. Some people have the experience that I did, where you're just going along getting better and better, doing it over and over again, learning this, learning that, adding in this, adding in that, moving toward a goal of virtuosity or whatever. And all of a sudden, bang, one day, it all works and your voice emerges. Other people don't have that experience, don't have that one day that it happened or that feeling that it suddenly happened. For some people it takes less than 10,000 hours, but for most people it is a hell of a lot of repetitions. Anne: I think for me, the most important aspect to finding your own voice is noticing how desperately you don't think your voice is good enough and that you want to write like somebody else. I always mention that when I was coming up, at about 20, I wanted to sound like Isabel Allende because I loved her work so much. Or Ann Beattie, who was writing those wonderful short stories in the New Yorker. Or Salinger, who I'd started reading probably at 10 years old. I had to come to the understanding that I can't tell my stories and my truth and my version of life—which is really what writing is—in somebody else's voice. Unless it's a kind of advanced writing exercise to write in the voice of an alcoholic billionaire in Spain. For most of us, it's about finding out that our voice is what people want to hear. It's hard to believe, but it is absolutely true. If you have a story to tell me, Jo, I just want you to tell me your story. I don't want you to try to sound like Virginia Woolf or Margaret Drabble. I want you to be Jo. If it's the written version you're sending me, I can probably go through and help you maintain your voice while making the writing stronger by following certain really basic rules. But spiritually and psychologically, this is just about the most important rule of all because that's why we're here. That's why we are on this side of eternity—to discover who we are and why we're here. Part of that is discovering who, deep down, when all the layers are peeled away, we are, and then how to communicate that to a reader. Without trying to sound more impressive or more brilliant or more ironic than we actually are, our voice is good enough. It's hard to believe. Our voice is what we want you to tell us your stories in. Neal: I distinctly remember the day I found my voice, for odd reasons. I just can remember it, and the first thing I did when this story felt like it had written itself to me was look at it and go, “Crap. That doesn't sound like Faulkner.” Jo: It sounded like you. Anne: Or bad Faulkner. Jo: Do you think we have to find our voice maybe multiple times, depending on genre? For example, I recognised that feeling with one of my novels. It was novel number five. I was like, “Oh, that's my voice.” But then it took me a lot longer to find that in memoir because, well, I think memoir is super hard. Do you think we have to go through these 10,000 hours in different genres? Neal: Not for me. I don't think any differently about how I'm entering into a business letter, a text, a novel, a self-help book, or any of the things that I do. I feel like I just have to turn this switch and let it go, and I can trust myself. So that's interesting. I can imagine you could develop a second voice. I haven't ever needed to. Anne: I would agree that I write my novels and my nonfiction really from a kind of central bus station deep inside of me. One of our rules is write the hard things—write about life and death and loss and grief and relationships and getting old and being here during these incredibly cold, dark times. Because the reader, i.e. me, is just desperate for truth and for real. I started out wanting to sound like John Updike or sound like a New York glitterati male writer, and I can't tell you what is really real in somebody else's voice. I disagree with Malcolm Gladwell. I think it's 10 hours—a little bit different there. But when I'm writing autobiographical spiritual pieces or my novels, I have to kind of settle myself down, like gentling a horse, and find that bus station inside of myself where I'm observing and I'm tugging on the sleeve of the person sitting next to me and saying, “I just saw something really interesting. Do you have a minute?” That's really what writing is. I just saw something or thought of something or imagined something or remembered something really interesting. Do you have a minute? If I'm talking to the person next to me, I'm not going to try to sound like Laurence Olivier or anybody else. I'm just going to tell them my story. The best four or five word great quote is from our screenwriter friend, Randy Mayem Singer, and she said: “Tell me a story. Make me care.” Those six words really transcend all genres. It's just: I can tell you a story my way if you're interested. Got a minute? Jo: You mentioned that, really interesting, you said, “I need to settle myself down,” particularly in these dark times. This is not a political show, and obviously we're all from different countries here and we all have different views of what difficult times are, but we all go through them. When big things in the world make us feel like perhaps what we are doing is not so important, how do we get through that? That “shouldn't I go do something more important than writing a story” feeling? Neal: Everybody is encouraged to be a political scientist nowadays, or to be an ethicist or to be a moralist as their job, and that's kind of ridiculous, right? We've been handed our role. By the time you're 30, you've been handed your role in the world, and that's your productive role. You have certain citizenship requirements, which might include voting or marching or watching the news every day. That's not the rest of your day unless you actually work in parliament as an aide or doing some kind of social policy work. I am not going to let the external world ruin my day. I'm going to keep that to a certain number of minutes of my day that is appropriate to my role in the world. I am perfectly productive in the world. I have lots of things that I do. I work hard. Everybody works hard. There are no lazy people in this world any more—civilisation's too difficult. You want lazy? Go back to 300,000 years of tribal life, where as soon as you had fulfilled your last need for calories for the day, you made it back to camp slowly so you didn't burn calories, and lulled from about 10:00 AM to 2:00 PM. The rest of the day you reclined so you weren't burning calories and gossiped with your fellow tribespeople. None of us is like that now. I'm perfectly productive without having to say I should be more productive and more concerned about the foibles of the species. Anne: Neal does something with his clients, with whom he does this work on taming the inner critic. It's about having them make a list of what they do every day. Rain or shine or catastrophe or peace or war or whatever, you just do it. I wake up, I pray, I put my glasses on. I get a little bit of work done every day. I meditate for 15 minutes every day. I get outside every day because that is the most nourishing, spiritual reset button I can get to. I catch up with my friends. We have a grandson here. We hang out with him. I do certain things every day, and one of them is I get a little bit of work done. Of course what I'd rather do is just stay glued to CNN and have my tiny opinions on every single thing that is happening and how things would be better if they followed my always excellent advice. Instead, what I do is I will meditate for 50 minutes a day and it won't be really beautiful and inspiring—it'll be like a monkey at the mall who's over-caffeinated. I will also get outside. I don't know if I'll get a really good long walk with 10,000 steps in, but I will get outside and I will pay attention. I will breathe in fresh air. I will have moments of wonder. I will also sit down, and I will be doing it after we talk. I'm going to get my own writing done for the day. I really recommend that to writing students: write down what you do every day. And in it, figure out at least one pod—a 45-minute pod—where you can get a little bit of writing done. Something that may serve the writers in your audience is that I make long lists and I encourage all beginning writers to make long lists of every memory and thought and idea that they've had. But mostly memories, often starting very young. Thinking about early holidays and school are great prompts. Make a list of 25 memories you have that you've told people over the years that are meaningful to you. If you remember them, they're meaningful. You may think that they're meaningful because of this or that, but you sit down and you write about them for 45 minutes and you're going to discover that there was a kernel of insight, or even healing, in them that you hadn't known when you set out to write them. I taught writing forever at this bookstore called Book Passage in Marin. We would spend a part of every hour having the writers, the students, explain to me why they weren't getting any writing done, and they were excellent ideas. Any excuse your listeners have about why they're not getting any writing done—believe me, it's a good excuse and I've heard it 10 times. If you are committed to writing, you have to meet us halfway, and that means that you set aside 45 minutes or an hour and a half or whatever you can give me to get a little bit of writing done. Get one passage written—the first or eighth thing on the list of really important memories that you've carried in your pocket all these years. Neal: The typical amount of time that a Booker Prize winner, or a National Book Award winner here in America, spends writing—a novelist—is one to two hours in the morning, getting 45 minutes to an hour and a half of work done, a thousand to 1,500 words. And then they stop. The reason they stop is it's really brain-consuming. To do this is hard work, and it's intellectually vigorous. High-end programmers can work two and a half hours on average before they have to stop because they've used up their brain energy—the blood going to the brain and expending calories and whatever is going on in there. It's not a long time. It's just repetitive time. The Booker Prize winners, they typically work six days a week, not five days a week. An hour and a half a day is about the mean. About 1,200 words is about the mean. Jo: It's interesting because you mentioned what's stopping people from writing, and you also mentioned it's hard work. One of the things I've heard a lot recently is: “This is really hard. I thought writing was meant to be this romantic myth where I would sit down and things would stream into my brain and it would be easy. And if it's not easy and fun, then maybe it's wrong for me.” So maybe you could explain more about the hardness and why hard is still good. Hard doesn't mean it's a bad thing. Neal: The interesting thing about writers is that they are really interested in very complex thinking about sentences. A few things distinguish a writer from a subject matter expert or a plotter—who either writes plots and is interested in the movement of plots, or who is a subject matter expert in something and either novelises it or writes nonfiction. It's that a writer is first concerned about the puzzle of a sentence, second concerned about the flow of a paragraph really, and only thirdly concerned about the subject matter. I don't care what the subject matter is. What I want to concentrate on ultimately is the sentence. And getting a sentence to look right in context requires building sentences upon sentences upon sentences. It's more like painting than it is like writing in that sense. If you look at a painter, once they've put one brushstroke down—and usually it takes them a while to figure out what that brushstroke is, how big it is, how wide it is, how thick it is, how grainy it is—then the second brushstroke becomes a puzzle based on what they just did with the first brushstroke and the remaining canvas. A writer thinks that way about each sentence and realises that each sentence has layers of information in it—diction, colour, rhythm, harmony, melody, plot, all sorts of things are happening. How many of those are taken care of in that sentence? Well, that becomes the interest. It's hard in the sense that to be virtuosic at it, to be really good at it, requires a lot of study and a lot of mistakes. Most of the mistakes are getting rid of clichés and finding your way past them, and that's a long, long process. This isn't something that can be just picked up because you have a talent. You were told at a certain time you were a talented writer, so you can just pick it up. As soon as you get into it, you see that the sentences are demanding a heck of a lot of work. Anne: I would add that I don't find it all that fun and easy—I never find it fun and easy. I've been doing this professionally for 52 years now, since I was 20, when I worked at a magazine. I think that's an illusion. So much of becoming a writer is unlearning what you thought it meant and how it would go. That you would sit alone like Bartleby the Scrivener, hunched over working on your ledger. That was not true at all, because a lot of our book, Good Writing, has to do with the collaboration between you and a writing partner, a writing group or a writing collective, and eventually an editor. It's not about that lonely, hunched-over romantic, Wuthering Heights sense of seriousness. And it's also not giddy. It's not Walt Disney. It's just very real. It's one human sitting down at the desk with paper or at the keyboard, and it is just trying, one day at a time, to write what's on your heart, what's on your mind, what's on your scribbled notes, what you're trying to transcribe from this little bit of a flicker of an idea about something that you've always meant to tell on paper. And then writing it. Some parts of the day's work will be pulling teeth. The secret of writing—and I write about this a lot in Bird by Bird, I write a lot about it in Good Writing—is you just don't give up. Because you wanted to be a writer when you grew up. What that means is that you write a little bit every day and you read about writing. You read good books on writing. You read Stephen King. You read William Zinsser. You read all the Paris Review interviews of writers at work. You enter into the writing life because it's a calling, like a monk to a monastery. You've gotten into the water, it's a little cold at first, and you stay in it. And it starts to be something that is so fulfilling, if maybe not fun. It's fulfilling. You will feel this rare excitement that you're doing what you have put off for so long, or that you're re-entering it in a new way with a different sense of commitment and maybe a little bit more wisdom and probably a lot more stories to tell. Jo: I did want to ask Anne, because coming back to Bird by Bird, many writers listening will have read it. I've also read over the years about your son and your faith. These are really personal things that you have shared. It feels like we live in this age of judgement and cancellation, and writing what you call our truths can be very difficult. People are afraid. What would you say to them? And obviously also rule 33 is “write hard stuff”, so I guess that gets into it too. How do we do this? Anne: A lot of people don't have the calling to write personal stuff or autobiographical stuff or stuff about spiritual or emotional or psychological healing. They want to write about England in the 1300s. I've always told my writing students to write what they would love to come upon, because then they're creating it. If they love to read historical romances, or they love to read journals—I have to say, I read every single journal of Virginia Woolf's in my early twenties, and I read every single volume of her letters in my early twenties. It was thrilling to be in that intimate, umbilical connection to a writer that I loved so much, and into the world of Bloomsbury, and into the world of England between the wars. People may not want to write like I write, and I would assume they don't. My calling is that I love to write about real life and I use my immediate experiences of daily living and my family and my husband and our animals and my nation and my recovery and my church. All of that is the stuff that I love to come upon in other people's work, and so I write it. Neal writes differently. He is a journalist and a novelist, and he is writing a lot in a much more sociological way than I am. He is writing with this font of knowledge about socioeconomic and historical understanding of the world. Yet he's just raggedy old Neal Allen, but he loves to come upon different stuff than I love to come upon. Does that answer your question? Neal: I think one thing to notice is that the whole bully-victim cycle that we are promoting and living in now—and it's a cycle because if somebody claims that they have been bullied, then their only defence is to become a bully themselves. The victims become the bullies. It just gets worse and worse. It's the old revenge story. What I've noticed when I think about it is the authors who I respect the most tend to be humanists. Humanists tend not to be cancelled, and I've never felt a great danger. Of course, I watch my words in certain ways that are fashionable—you can't use this word any more, and all of that. But in terms of ideas, humanists embrace the world in a funny, different kind of way than people who chase after conflict, chase after separation of people from each other, tribalism, all of that. When I look back, my heroes were always humanists. Some of them might be cancelled now, but just for the weirdest reasons—like Henry Miller or Mark Twain might be cancelled for very strange reasons. These are absolute humanists who love everybody in the world in a certain kind of odd way. Virginia Woolf is the most incredible humanist in the world. She's not going to be cancelled. Jo: She cancelled herself. Neal: There we go. Jo: As we come towards the end, I do want to return to something—you've both talked about calling and you've been handed your role, and this sort of “we are writers now.” Both of you have had great longevity in the career, and I've been doing this now 20 years. I've noticed so many people who leave the writing life, so I wondered what tips you had on making it long term. How do we do this long term, assuming we are feeling a calling? People have to balance the money side, they're balancing book marketing, which is always a nightmare for all of us, and the writing. Any tips for longevity? Neal: I have no idea. I have lived outside of the writing life, just kind of using it as a secondary skill, for half of my life. I left journalism because it didn't pay well enough to support a family of six. I moved into the corporate world. I loved the corporate world. I didn't have any problem with it, but it wasn't the writing world. When I came out of the corporate world, I first went into “tame your inner critic” sessions with people—executive coaching, other kinds of coaching. Only lately, only in the last 10 years, have I really resumed my writing career. I think maintaining a writing career, like anything in the arts, is incredibly difficult financially. It just will be. Annie will tell you—you were, what, 15 years into your career before you had your first home office? Anne: Yes. Neal: Right. Anne: More than that. I was 20 years in before I had a door I could close to keep the Huns out—i.e. my child. Here's the thing: nobody cares if you write, if you hate it, or if you've given up. It might be that you would find your creative soul, your imaginative, creative life force at ecstatic dancing on Saturdays in the town park, which we offer here in our tiny town. It might be that you're a painter. My best friend started painting several years ago and she's incredible. If you want to write, the horrible thing is that you just have to keep setting aside a pod. I keep using the word pod because that's how I get any work done at all—an hour. Now, Neal and I can both tell you, and Neal alluded to this: you set aside an hour and that will give you maybe 40 minutes of actual writing. And we'll give the Booker Prize winners 40 minutes of actual writing. You have two hours and that gives you an hour and 15 minutes. That's how it works. If you care and if you long to be a writer, to immerse yourself in the writing life—I hate to sound like a Nike ad, and I don't know if you have this in England—but you just do it. One thing that gets in everybody's way is this fantasy of getting published and how if they get published, it will be like the world has stamped “validated” on their parking ticket and their self-esteem will now be much, much better and more consistently excellent than it ever was before. We can tell you: we've got this book that's out, brand new, and it makes you much more insecure and much more anxious than you were before it got published. Because how's it going to do? Is it going to get reviewed? There are very, very few places reviewing books any more. Carol Shields, who wrote an incredible book 30 years ago called The Stone Diaries. She was teaching large, large writing retreats, a thousand people at a time, and she would tell them that five to 10 of them will be published. Getting published means that you get your book out and you have one week to make it. You have one week in the bookstores for it to get noticed. And there are 180,000 hardback books published in America every year in general interest. So you write a novel that's about a small town. You have great dreams that it's going to be an Oprah book and that this is going to happen and it will lead to a second contract, and then you can start investing in diamonds or buy a set of fish forks. It doesn't happen. My first book that made any money at all for me was my fifth book. It was a journal of my son's first year called Operating Instructions, and it was the first time that I didn't have to have a second job. I was 38, and I had been writing—and writing full time—since I was 20 and publishing since I was 26. If the carrot that is enticing you to get any new work done is publication and finding an agent and getting published, it's not going to happen for you. I can just promise you that. If your dream is to become a writer and to become a member of the writing community and to write—and it will be discouraging—but if you want to write, you just keep pushing back your sleeves. You don't get up. You sit down and you keep your butt in the chair. If your work is really good, it may get published. If your work is excellent, it may not. But that can't be what gets you to commit to being a writer when you grow up. Jo: Fantastic. So where can people find Good Writing and all your books and everything you both do online? Neal: On March 17th the book comes out. You can get it online, anywhere online. It's published by Penguin Avery. March 17th, it gets released. Anne: As we said, it'll be in the bookstores for a while. Neal: It'll be in the bookstores in America. You might have to go online in Great Britain at first. Jo: Oh yes, it's definitely there. And what about your websites as well? Anne: I don't have a website. Neal: I have a modest website at ShapesOfTruth.com. That tells you about my other books also. Anne: I'm at Substack, Anne Lamott. I'm on Facebook, Anne Lamott. I'm kind of all over the place. But this is kind of terrifying: 80% of books bought in America are bought at Amazon on cell phones. Jo: Yes, absolutely. Actually, I was going to ask—have you recorded the audiobook as a pair? Anne: Yes, we have. It's available if you go—I hate to always be plugging Amazon, but it's so easy. If you go to Amazon, it'll give you a choice of hardback or audio or Kindle. Neal: And if you don't want to go to Amazon and want to find another place to buy it that you feel more comfortable with, go to Penguin Random House and just put in “Good Writing, Anne Lamott.” I think it'll take you to a splash page that gives you a choice of a half dozen online places to order it. Jo: Brilliant. Well, thanks so much, both of you, for your time. This has been brilliant. Anne: Oh, Jo, thank you. Pleasure and an honour. Thank you for having us. Neal: Thank you, Jo. As you can see, we really get turned on talking about this! Anne: Yes, we do.The post Strong Verbs And Hard Truths. Good Writing With Anne Lamott and Neal Allen first appeared on The Creative Penn.

Jane Austen is one of the most enduring novelists of all time. But what do we know about the woman behind the stories? To celebrate Austen's 250th birthday, we're revisiting Eleanor Wachtel's conversation with Carol Shields about her 2001 biography, Jane Austen: A Life. Carol Shields herself was a writer and a lifelong Austen fan, and she talks about how Austen's stories about marriage, money and family offer insight into who the novelist really was. Check out the rest of the Writers & Company archive: https://digital.lib.sfu.ca/writers-company

THE STONE DIARIES by Carol Shields, chosen by Tom Cox HOW TO WRITE A THESIS by Umberto Eco, chosen by Sophie Scott PARADISE by Abdulrazak Gurnah, chosen by Harriett GilbertWriter Tom Cox joins neuroscientist Sophie Scott to discuss favourite books with Harriett Gilbert. Tom's choice is the 1995 Pulitzer Prize winner, The Stone Diaries. Following the story of one woman's life from birth to death, the novel also charts the unsettled decades of the twentieth century. Sophie puts forward a very different book, a non-fiction by Italian writer and academic, How to Write a Thesis. It first appeared on Italian bookshelves back in 1977, but still rings true for many. And finally, Harriett's choice is a historical novel called Paradise by the Nobel Prize-winning author Abdulrazak Gurnah, which is both a coming-of-age story, and a tale of the corruption against the backdrop of European colonialism in East Africa. Produced for BBC Audio Bristol by Becky RipleyJoin the conversation on Instagram: agoodreadbbc

We're honored to welcome Dr. Carol Shields, one of the world's leading ocular oncologists and Director of the Oncology Service at Wills Eye Hospital, to the Eye Believe Podcast by A Cure In Sight.

Daniela Di SoraVoland Edizioniwww.voland.itSarà Voland la casa editrice che inaugura la presenza di un editore ospite a Lungomare di libri, per portare la sua storia, il suo catalogo, i suoi progetti, le sue scrittrici e i suoi scrittori all'attenzione del pubblico.Voland nasce a dicembre del 1994 e pubblica i primi tre libri nell'aprile del 1995: gli autori sono Tolstoj, Gogol' ed Emilijan Stanev. Il marcato interesse per le letterature slave è da subito evidente, come dimostra anche il nome scelto, tratto dal romanzo Il maestro e Margherita, capolavoro del '900 russo di Michail Bulgakov.Animata dalla volontà di far conoscere culture e mondi affascinanti attraverso letterature poco esplorate ma di grande profondità, tra le proposte della casa editrice spiccano il bulgaro Georgi Gospodinov, raffinato prosatore e poeta tradotto in oltre 20 lingue, vincitore nel 2021 del Premio Strega Europeo; Mircea Cărtărescu, il più celebre autore romeno contemporaneo, che con Abbacinante. Il corpo ha vinto il Premio von Rezzori nel 2016; Serhij Žadan, salutato come “il Rimbaud ucraino”, tradotto in tredici lingue e vincitore, nel 2022, dell'ebrd Literature Prize e del Premio per la Pace dell'editoria tedesca conferito ogni anno dall'Associazione degli editori e dei librai tedeschi durante la Fiera del libro di Francoforte.. Nel 2018, in occasione del centenario della nascita e dei dieci anni dalla morte dello scrittore russo Premio Nobel per la letteratura Aleksandr Solženicyn, Voland ha pubblicato la prima traduzione integrale del romanzo Nel primo cerchio.Accanto all'anima slava, la passione per la narrativa di qualità ha reso possibile la scoperta di Amélie Nothomb, dal 1997 fedelissima alla casa editrice che l'ha lanciata in Italia. Il suo romanzo Sete è arrivato secondo al Prix Goncourt nel 2019, mentre con Primo Sangue l'autrice si è aggiudicata nel 2021 il Prix Renaudot e il Premio Strega europeo 2022, ex aequo con Mikhail Shishkin. Il catalogo Voland include voci mai scontate e dalle forti suggestioni: Alexandra David-Néel (di cui Voland si è aggiudicata la prima traduzione italiana della Sublime arte, appassionante caso editoriale rimasto inedito in Francia fino al 2018), Julio Cortázar, Georges Perec, Dulce Maria Cardoso (per la cui traduzione nel 2021 Daniele Petruccioli ha vinto il Premio Annibal Caro), Edgar Hilsenrath, Javier Argüello, Philippe Djian, Esther Freud, André Schiffrin, José Ovejero, Carol Shields, Brigitte Reimann, Moacyr Scliar, Carmen Martìn Gaite, Stanisław Lem, Karel Čapek, Milorad Pavić, Serhij Žadan, Aleksej Ivanov, Wolf Wondratschek, Matei Vișniec, Maylis Besserie (di cui Voland ha pubblicato L'ultimo atto del signor Beckett, vincitore del Premio Goncourt 2020 opera prima)... Il desiderio è sempre quello di offrire ai lettori narrativa straniera di alta qualità, curandone in modo particolare la traduzione.A conferma di questa sensibilità Voland ha vinto il Premio alla Cultura, assegnatogli nel 1999 alla dalla Presidenza del Consiglio dei Ministri “per la pregevole attività svolta nel campo editoriale”, e il Premio del Ministero per i Beni e le Attività Culturali, ottenuto nel 2003 “per aver svolto attraverso la pubblicazione di traduzioni di elevato profilo un importante ruolo di mediazione culturale”.Nel 2010, per festeggiare il suo compleanno, la casa editrice si è rinnovata facendo disegnare appositamente da Luciano Perondi una font battezzata Voland che da allora è utilizzata in tutte le edizioni.Da diversi anni, inoltre, Voland propone nel suo catalogo anche ottimi autori italiani fra cui Ugo Riccarelli, Giorgio Manacorda, Vanni Santoni, Matteo Marchesini, Ilaria Gaspari, Demetrio Paolin, Nicola H. Cosentino, Flavio Fusi, Valerio Aiolli, Paolo Donini, Simone Innocenti, Ruska Jorjoliani, Gianluca Di Dio, Piergiorgio Paterlini. Quattro di loro sono entrati nella dozzina dei candidati al Premio Strega: Giorgio Manacorda con Il corridoio di legno nel 2012, Matteo Marchesini con Atti mancati nel 2013, Demetrio Paolin con Conforme alla gloria nel 2016 e Valerio Aiolli con Nero ananas nel 2019.Il catalogo di Voland è suddiviso in quattro collane principali: Intrecci, storie e avventure da latitudini diverse unite al gusto di una narrazione appassionata e coinvolgente; Amazzoni, sferzante scrittura al femminile che mira al cuore e al cervello dei lettori; Sírin, che propone autori slavi; Confini, sulla narrativa di viaggio. A queste si aggiungono: Supereconomici, formata dai grandi successi Voland in formato tascabile; Sírin Classica, grandi autori russi tradotti da scrittori italiani; e.klassika, collana digitale in cui si inseriscono introvabili classici delle letterature slave; Finestre, che offre uno sguardo oltre la letteratura e di cui fa parte la serie delle Guide ribelli (Parigi, Barcellona, Roma, Venezia, Firenze, Berlino e Mosca).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

We have THE Nicole Cuffy on today's episode. Her upcoming novel O Sinners!, our March 18, 2025 needs to be on your TBR asap. In O Sinners! a young journalist, reeling from loss, investigates a mysterious cult in the California redwoods, only to be drawn in by its charismatic leader—an addictive novel that asks why people give up control and what it takes, ultimately, to find your place in the world. Cuffy is the author of Dances, longlisted for the Carol Shields prize for fiction and the Pen/Hemingway award. Cuffy has a MFA from The New School. She is a lecturer at the University of Maryland and American University. Her work can be found in Mason's Road, The Master's Review Volume VI (curated by Roxane Gay), Chautauqua, and Blue Mesa Review, and her chapbook, Atlas of the Body, won the Chautauqua Janus Prize and was a finalist for the Black River Chapbook Competition. Follow Nicole on instagram: @nikk2cole Songs recommended by Nicole when working on O Sinners! Fortunate Son by Credence Clearwater Revival Marvin Gaye A Change is Gonna Come by Sam Cooke Blowin' in the Wind by Bob Dylan Watch on Netflix: Wild Wild Country Books Nicole recommends: Lone Women by Victor Lavalle Model Home by River Solomon ______________________________________________________________________ Make sure to subscribe and rate the Bubbles & Books Podcast. And don't forget to share it with your friends. Learn more about a Dog-Eared Books book subscription HERE. Follow us on Instagram: @bubblesandbookspodcast Follow Dog-Eared Books on Instagram: @dogearedbooksames Interested in audiobooks? Listen while supporting Dog-Eared Books HERE. Visit us! www.dogearedbooksames.com  

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Marjorie (M.M.) DeLuca was born in England, studied at the University of London, then moved to Canada, where she studied Advanced Creative Writing with Pulitzer Prizewinner Dr. Carol Shields. She's the author of five self-published novels and four traditionally published historical and contemporary suspense novels: Amazon bestseller, THE PERFECT FAMILY MAN (Canelo 2021), Bookscan Top 100 bestseller, and Apple Books Top 100 bestseller, THE SECRET SISTER (Canelo 2021), critically acclaimed literary historical suspense, THE SAVAGE INSTINCT (Inkshares 2021). This book received starred reviews from Publishers' Weekly and Booklist as well as being one of Kate Quinn's monthly picks on Instagram. Her newest novel, THE NIGHT SIDE (psychological thriller), was published on December 5th 2023 by Severn House, a division of Canongate Books.She's appeared on author panels at Thrillerfest 2024, and Bouchercon 2024. She's also been featured on the following podcasts: The Thriller Zone, The Poisoned Pen Bookstore, Crime Writers Canada and Killing the Tea. When she's not writing, she's either traveling to get away from the snow in winter or golfing in the summer.Facebook Page: https://www.facebook.com/marjoriedelucawriterInstagram: https://www.instagram.com/mmdelucaauthor/Blue Sky Handle: https://bsky.app/profile/mmdeluca.bsky.socialThreads Handle: @mmdelucaauthorWebsite: https://www.marjoriedeluca.com *****************About SinCSisters in Crime (SinC) was founded in 1986 to promote the ongoing advancement, recognition and professional development of women crime writers. Through advocacy, programming and leadership, SinC empowers and supports all crime writers regardless of genre or place on their career trajectory.www.SistersinCrime.orgInstagram: https://www.instagram.com/sincnational/Bluesky: https://bsky.app/profile/sincnational.bsky.socialThreads: https://www.threads.net/@sincnationalFacebook: https://www.facebook.com/sistersincrimeTikTok:: https://www.tiktok.com/@sincnationalThe SinC Writers' Podcast is produced by Julian Crocamo

As a huge fan of books about houses and home, I fell in love with Jenny Haysom's debut novel KEEP and was swept away by this story of three lives connected by the very unlikely occupation of real estate home staging, this inspired by Jenny's own experience with this job a long time ago, as she explains to me in our BOOKSPO conversation. And this was a conversation I enjoyed in particular because Jenny's BOOKSPO pick is a book by one of my all-time favourite authors, the wonderful and brilliant Carol Shields, who is due for a renaissance, Jenny asserts, and I agree entirely. Pickle Me This is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.In our discussion, Jenny makes the case for SWANN being one of Shields' best novels (I required a bit of convincing!) and talks about her favourite parts of the book, especially the Emily Dickinson connection, which found its way into KEEP. She tells me what she had to learn in order to make the transition from poetry to fiction, what she learned about fiction (and life itself!) from Carol Shields, and confesses that she wishes readers would pay as much attention to the language in her fiction as in her poetry, as her choices there are just as careful and deliberate. A timely tale of ownership and loss, loneliness and connection, and a meditation on all the stuff in our lives.Home staging is an art of erasure. But in some cases—no matter how much clutter you remove, or how many coats of white paint you apply—stains bleed through, and memories rise from the walls like ghosts. Harriet, an elderly poet whose eccentricities have been compounded by years of living alone, must sell her beloved house. Having been recently diagnosed with dementia, she is being moved into a care facility against her wishes. When stagers Eleanor and Jacob are hired for the job, they quickly find themselves immersed in Harriet's brimming and mysterious world, but as they struggle to help her, their own lives are unravelling.Keep is a meditation on all the stuff in our lives—from the singular, handcrafted artifact to indelible, mass-produced plastics. As Jenny Haysom excavates the material of our domestic spaces, she centres the people within them and celebrates the power of memory, even when it falters.JENNY HAYSOM has published her writing in magazines across Canada. Her debut poetry collection, Dividing the Wayside, won the Archibald Lampman Award and was shortlisted for the Gerald Lampert Memorial Award. Jenny lived in Ottawa for nearly thirty years, on the unceded, ancestral lands of the Algonquin Nation, and has recently returned to Nova Scotia, in Mi'kma'ki, where she grew up. Get full access to Pickle Me This at kerryreads.substack.com/subscribe

In this video, Dr. Shields reveals the truth about pediatric and pregnancy ocular melanoma. Learn more about this rare form of cancer and how it can be treated. Dr. Shields reveals the truth about pediatric & pregnancy ocular melanoma in this informative video. Learn all about uveal melanoma from the expert!In this video, Dr. Shields reveals the truth about pediatric and pregnancy ocular melanoma. Learn more about this rare eye cancer.In this video, Dr. Shields reveals the truth about pediatric and pregnancy ocular melanoma. Learn more about this rare eye cancer.In this powerful episode of the Eye Believe Podcast, I'm joined by the renowned Dr. Carol Shields from Wills Eye Hospital to tackle some of the most common myths surrounding pediatric ocular melanoma and pregnancy-related ocular melanoma. Dr. Shields, an expert in ocular oncology, provides critical insights into the realities of these rare conditions and offers hope and clarity to those affected.In this episode, we cover:Myth-busting the risks of ocular melanoma in children.The truth about pregnancy and ocular melanoma: Does it increase the risk?Cutting-edge treatments for pediatric patients and expectant mothers.How early detection and genetic testing are transforming outcomes.Real-life patient stories that bring hope to families.Whether you or a loved one has been impacted by ocular melanoma or you're just looking for the facts, this conversation is a must-watch. Dr. Shields not only separates fact from fear but also shines a light on the future of treatment for children and young mothers.Don't forget to like, share, and subscribe for more episodes that dive deep into the latest in cancer research, treatments, and patient stories.

Hope is on the Horizon with Dr. Shields! Please help us share this video to spread the hope in #ocularmelanoma Legendary Dr. Shields discloses the importance of early detection, advances in research, and helps you understand YOUR brand of #uvealmelanoma   Got questions? Share below and let us know so we can bring her back to bring you more of what you'd like to know!

Carol Shields, the Director of Performance Excellence at Community Health Network in Indiana, explains how their Baldridge award journey has helped the improvement work at Community Health.

The Carol Shields Prize Winner was announced this week. Who won? Karen McKay of CELA has the details. From the May 17, 2024 episode.

In this episode, we share our reactions to the Women's Prize for Fiction, Carol Shields Prize for Fiction, and the International Booker Prize longlists. Highlights:

In this episode, Phil Rickaby talks with the outstanding Deborah Drakeford and unpacking the Canadian premiere of Joanna Murray-Smith's "Rockabye." From the first costume fitting that sets the stage for character metamorphosis to the electric anticipation of performing an original rock anthem, this episode is a tribute to the craft. The camaraderie within the Actors Repertory Company, nurtured by director Rob Kempson is palpable as Deborah recounts the collective effort in breathing life into "Rockabye." This is a toast to the ensemble's magic and her own evolution as resident artist and co-artistic producer with ARC. The conversation also turns to the resilience of actors amid the pandemic, sharing her own tussle with COVID-19 that brought unexpected twists to a production in Sudbury. The episode wraps with a heartwarming glimpse into the enduring marriage Deborah and her husband Oliver Dennis, as they juggle the scales of professional ambition with the weight of family life. Their story is a masterclass in harmony, a dance of mutual support and understanding that keeps the show going, long after the applause fades. Bio Deborah Drakeford is a proud member of ARC, having been a Resident Artist for the past 18 years. Deb assumed the role of Co-Artistic Producer of ARC in July 2020. She has performed in many ARC shows, including A Kind of Alaska, The City, Bea, Moment, Pomona, Human Animals, Oil, Gloria, Martyr and upcoming, Rockabye. Deb has been lucky enough to work across Canada from BC to PEI. Other fun credits include Redbone Coonhound (Tarragon Theatre), Doubt (BNE Productions), Shirley Valentine (Thousand Islands Playhouse and Capitol Theatre), The Penelopiad and The Importance of Being Earnest (Grand Theatre), Portia's Julius Caesar (Shakespeare in the Ruff), Innocence Lost, Great Expectations, Waiting for the Parade and A Christmas Carol (among others) (Soulpepper), Hedda Noir (Theatre Northwest) Rabbit Hole, Same Time Last Year and The Curious Incident of the Dog in the Nighttime (Sudbury Theatre Centre). Deb has been Dora nominated 11 times (individual and ensemble). She has also done tv, film, and voice, most recently appearing in HBO's Station Eleven and recording the audiobook The Stone Diaries by Carol Shields. Deb holds a BEd and teaches for YPT, Soulpepper and for the TDSB. She makes her home in Toronto with her lovely husband, actor Oliver Dennis, and their two amazing kids, Charlotte and Philip. arcstage.com Instagram: @arcstage

Jamie Fewery, author of OUR LIFE IN A DAY, THE WAY BACK and the just about to be published THE BRINK a rom-com told in reverse about a couple on the brink of divorce.Jamie chats about:Being part of the marketing team who made Fifty Shades of Grey go stratospheric, and what it taught him about being published himselfHow the first novel he went on submission with wasn't the book he first published but was what got him a publisherBeing a man who writes about relationships in a market and how those books are his preference tooHis experience of changing publishers for his third novelGuest Author: Jamie Fewery Twitter: @jamiefewery IG: @jamiefeweryauthor Books: THE BRINK, THE WAY BACK, OUR LIFE IN A DAYHost: Kate Sawyer Twitter: @katesawyer IG: @mskatesawyer Books: The Stranding by Kate Sawyer & This Family (coming May 2023. Jamie's recommendations:A book for fans of Jamie's work: Republic of Love by Carol ShieldsA book Jamie has always loved: Collected Stories by Lorrie MooreA book that's been published recently or is coming soon: This Family by Kate Sawyer, At The Table by Clare Powell Other books discussed in this episode: Unless by Carol Shields, Larry's Party by Carol Shields, Ralph's Party by Lisa Jewell, The Interestings by Meg Wolitzer, The Art of Fielding by Chad Harbuck, The Secret Diary of Adrian Mole by Sue Townsend, Queenie by Candice Carty-Williams, Normal People by Sally Rooney, The Exhibitionist by Charlotte Mendelson, I'm Sorry You Feel That Way by Rebecca WaitNovel Experience with Kate Sawyer is recorded and produced by Kate Sawyer - GET IN TOUCHTo receive transcripts and news from Kate to your inbox please SIGN UP FOR MY NEWSLETTER or visit https://www.mskatesawyer.com/novelexperiencepodcast for more information.

On May 4, the winner of the inaugural US$150,000 Carol Shields Prize for Fiction, which celebrates the work of Canadian and American women and non-binary writers, will be announced. In honour of the prize, Writers & Company is airing Eleanor Wachtel's last conversation with Shields, recorded at her home in Victoria in 2002. Shields died the following year. She was the author of more than 20 books including the Pulitzer Prize-winning The Stone Diaries, The Republic of Love and Swann: A Mystery. Her last novel, Unless, tells the story of a writer struggling with the loss of her daughter, who's chosen to live on a downtown street corner with a cardboard sign fixed to her that reads "Goodness." *This episode originally aired on July 17, 2003.

I am an award-winning journalist and bestselling author, turned psychotherapist. For more than 25 years, I worked at Maclean's magazine, Canada's newsweekly, where I was perhaps best known as the chief architect of the Maclean's university rankings—and for a series of columns on modern life, including “The Boy Can't Sleep,” anthologized in Carol Shields' Dropped Threads II. Drink book by Ann Dowsett Johnston Winner of seven National Magazine Awards, I am also the recipient of a Southam Journalism Fellowship and the Atkinson Fellowship in Public Policy. It was for the latter that I prepared a 14-part series on Women and Alcohol in the Toronto Star, looking at the closing gender gap on risky drinking. In 2013, I wrote Drink: The Intimate Relationship Between Women and Alcohol, a book named one of the top 10 of the year by the Washington Post. Part memoir, part journalistic exploration, the book exposes the “pinking” of the alcohol industry. Says Gabor Mate: “The writing is gripping and vivid, the voice personal, the research exacting, the stories revealing if sometimes heartbreaking, the conclusions essential. A triumphant life, a triumphant book.” ‍ Since the publication of Drink, I have worked hard to destigmatize mental health and addiction, earning an honorary Doctor of Laws from Queen's University for my efforts. I am also the recipient of a Transforming Lives award from the Centre for Addiction and Mental Health (CAMH), the American Research Society on Addiction's Media Award, plus the T. A. Sweet Award from the Ontario Psychiatric Association for helping address stigma related to mental health and addiction. ‍ In 2017, I decided to follow my heart, applying to the Master's of Social Work program at Smith College in Northampton, Mass. What this represents is the fulfillment of a decades-old dream: to become a psychotherapist. During my internships, I worked at the Jean Tweed Centre in Toronto, and with psychotherapist Jan Winhall at Focusing on Borden.Writing remains a significant part of my life, and I am hard at work on my second book. In my spare time, I am a white-water reader, a lover of nature, and a traveller. I am the mother of one grown son, Nicholas Johnston, also a psychotherapist, who is married and lives in Los Angeles. https://www.anndowsettjohnston.com/workshops https://www.anndowsettjohnston.com/about-ann     Viv, aka Sober_iThrive, is a Certified Addictions Recovery Coach My Sober Recovery Story #252  If you have any questions or You would like to book a FREE 30-minute consultation with me, you can visit my website https://www.soberithrive.org I'm Certified in Addiction Recovery Coaching and Life Coaching:    • Life Coaching Essentials, Work/Life Balance  • Co-creating a New Sober Lifestyle  • Addiction(s) Recovery  • Neuroscience of Brain Function & Joyful Recovery  • Roots of Addiction(s)  • Alcohol/Drugs and their Effects  • Right Thinking in Recovery  • Family Issues in Recovery     And so much more…   My communities are:   • Sobertownpodcast.com   • I Am Sober Community (IAS) - @Sober_iThrive  • Sobertown Facebook Group   • “Valiants We Thrive” – Sober Women Telegram Group  • Instagram: @Sober_i_Thrive  www.soberithrive.org (https://www.soberithrive.org/) Certified and Licensed Addiction and Recovery Professional Online Sober Coaching for all of your addiction and recovery needs by a Internationally Certified and Licensed Sober Coach & Life Coach   No Sippy No Slippy. Not Another Drop No matter What.   Remember to Pour The Poison Down The Sink!!      Sobertownpodcast.com  

Hi Friends. Time for a new episode of TBR Lowdown: It's prize season and we couldn't be more excited. In this live episode, we discuss the longlists for The Women's Prize for Fiction, The Carol Shields Prize for Fiction, and The International Booker Prize. Highlights:

It is well and truly prize season, with three literary prizes for women and non-binary writers dropping their longlists this week. We welcome back Shawn Mooney (aka Shawn the Book Maniac) to talk with Sarah and Jenny about the longlists for the Stella Prize (Aus), the Women's Prize (UK), and the new North American prize for women and non-binary writers, the Carol Shields Prize. We hope you enjoy the episode! *Correction: The Carol Shields prize money is actually 150, 000 USD!Shawn's linksShawn's booktube channelInstagram: @shawnthebookmaniacTwitter: @shawnmooneyLitsy: @shawnmooneySarah appearing on Shawn's channelGet in touchTwitter | Instagram | Website | Voice messagePrizes discussed Women's Prize for Fiction (UK)The Stella Prize (Australia) The Carol Shields Prize for Fiction (Canada & US)#TransGirlApril readathonKevvie of C'est Kevvie's announcement Kevvie appearing on Shawn's channel Willow of BooksandBao's announcementSupport The Bookcast ClubYou can support the podcast on Patreon. Our tiers start at £2 a month. Rewards include early access to the podcast, monthly bonus episodes, tailored book recommendations and books in the post.  If you would like to make a one-off donation you can do so on our website.  A free way to show your support is to mention us on social media, rate us on Spotify or review us on iTunes.Sign up to our monthly newsletter for more book recommendations, reviews, new releases, podcast recommendations and the latest podcast news.We encourage you to support independent bookshops or libraries. You can find a list of independent bookshops to support on our website, many of which do home delivery.Support the show

En cette Saint-Valentin, Somnifère vous emmène ce soir dans le Paris d'antan avec l'histoire de Mademoiselle Gaussin, une comédienne courtisée par les hommes les plus riches et les plus puissants de la capitale. Tous lui promettent de lui offrir ce dont elle a toujours rêvé en échange de sa main. Mais si l'amour ne s'achète pas, à qui la belle Gausset donnera-t-elle son cœur ? Bonne nuit ! Le livre dont il est question dans la séance de relaxation : The stone diaries de Carol Shields. (Pas de lien, pensez à soutenir votre librairie indépendante :)) Somnifere sur les réseaux sociaux Insta : https://www.instagram.com/somniferelepodcast/ FB : https://www.facebook.com/somniferelepodcast Somnifère sans pub / Soutenez Somnifère · La publicité est nécessaire pour financer Somnifère, mais il existe également une version premium pour quelques euros par mois. S'abonner à la version premium de Somnifère, c'est contribuer à faire vivre ce podcast et lui permettre d'exister et de rester indépendant. En échange, vous bénéficiez de l'accès à un espace privé pour écouter le podcast sans publicité. Vous pouvez écouter cette version premium depuis votre espace personnel ou directement depuis votre appli de podcast habituelle, notamment Spotify, Castbox, Google podcast, Apple podcast, etc. Plus d'infos : https://somniferelepodcast.com // https://m.audiomeans.fr/s/S-oKNpDuEo - Les utilisateurs de Spotify peuvent désormais écouter la version premium de Somnifère et profiter du podcast sans publicité depuis le 01/02/2022 en s'abonnant à l'adresse suivante : https://m.audiomeans.fr/s/S-oKNpDuEo - ils pourront ensuite ajouter le podcast à leur compte Spotify via leur espace personnel. · Si vous écoutez Somnifère depuis Apple Podcast, vous pouvez également vous abonner à la version premium sans pub directement depuis l'appli. -- Et si ce podcast vous aide à trouver le sommeil, merci de le soutenir en prenant quelques secondes pour le noter ou le commenter sur la plateforme sur laquelle vous l'écoutez

A Cure in Sight is joined by omie, Kathy Doocy, co-author of The Happy Cookbook, The Simply Happy Cookbook, and The Happy in a Hurry Cookbook.   Kathy Doocy was previously the host of ESPN's Sidelines and worked at NBC. WHen Kathy and Steve got married and the kids came along, Kathy retired from her TV work to raise the family and preside as the Doocy family CEO and CFO, and she's enjoyed every single minute of it.   Steve and Kathy have Three grown children who moved out and now miss their parent's delicious home-cooked meals every day. they live in New Jersey.   Regarding the Happy Cookbook:   "The year before we started this project, Kathy was diagnosed with ocular melanoma, an unbelievably rare and aggressive form of eye cancer. She was lucky that they caught it early and she was treated by Dr. Carol Shields and her team of specialists at the Wills Eye Hospital in Philadelphia. during her very first examination, Dr. Shields told Kathy, "I am going to save your life," and she did.   During her recovery, while taking stock of her life as many do when they've gone through something that life-changing, Kathy vowed to make it her personal quest to leave her children a written record of the foods they grew up loving. They don't cook much now, but they will someday.   This will always be a part of Kathy's legacy to Peter, Mary, and Sally, that whereever they travel in their lives, they'll always have a printed road map to their mom's signature suppers, provided they will actually cook and not order takeout on Uber Eats."   ANNOUNCEMENTS: Steps for Sight donations are still being gathered–share to help us fund research! www.charityfootprints.com/SFS Head to our site to register for a 5K Lookin' for a Cure near you! www.lookinforacure.org Subscribe to the newsletter to stay in the know Newsletter link   Email contact@acureinsight.org for questions regarding any upcoming events! ********* Be sure to follow us on Facebook, Twitter, Linked In, or  Instagram @acureinsight, for more stories, tips, research news, and ideas to help you navigate this journey with OM! *A Cure in Sight is a 501c3 organization. All donations made can help fund our podcast to educate patients, fund research, aid patients, and more! Donate $10 $15 $20 today to help A Cure in Sight in their quest to find a cure. Contribute via  PAYPAL OR VENMO or reach out directly to contact@acureinsight.org  The Eye Believe Podcast is brought to you by Castle Biosciences. Castle Biosciences is a leading diagnostics company improving health through innovative tests that guide patient care. The Company aims to transform disease management by keeping people first: patients, clinicians, employees and investors.  This podcast was hosted by Danet Peterson and produced by Page Fronczek.  

Paul Webster hosts this episode with director Alan Gilsenan, one of the most prolific filmmakers working in Ireland, about his fascinating career spanning three decades and an incredibly varied and impressive body of work as well as his latest film, Ghosts of Baggotonia. An evocative film-poem exploring the literary and other ghosts of the bohemian quarter bordering Dublin's Baggot Street during the mid-20th century where there was a radical flourishing of artistic and intellectual activity. A screening of ‘Ghosts of Baggotonia', followed by a Q&A with Alan Gilsenan and poet Seán Hewitt, will be held at the IFI in Dublin on Friday, December 9 and is screening in cinemas around the country.  Alan Gilsenan is an Irish writer, filmmaker and theatre director.   His work includes the cinematic documentaries Ghosts of Baggotonia, The Yellow Bittern, Then Meeting and  Meetings with Ivor, the feature film Unless, based on a novel by Carol Shields and The Meeting, which he wrote and directed and premiered at the 2018 Dublin Film Festival. Gilsenan is a former chairperson of the Irish Film Institute. He also served on the Irish Film Board, and on the board of the International Dance Festival Ireland. Between 2009 and 2014, Gilsenan served on the board of Raidió Teilifís Éireann, where he chaired the Editorial and Creative Output Committee. He is currently on the Board of Fighting Words, a creative writing centre for young people founded by Sean Love & novelist Roddy Doyle. Having made an acclaimed film of Samuel Beckett's TV drama, Eh Joe, Gilsenan came to note with his controversial, award-winning documentary for the U.K.'s Channel 4 The Road to God Knows Where. With producer Martin Mahon, he formed Yellow Asylum Films and made a number of documentaries on challenging aspects of Irish life. These include The Asylum (a four-hour portrait of Portrane Psychiatric Hospital), The Hospice (inside St Francis Hospice), The Home (about old age), I See A Darkness (about suicide in Ireland), and A Time to Die (on euthanasia). Gilsenan's Other work includes. Eliza Lynch: Queen of Paraguay, a drama-documentary with Maria Doyle Kennedy in the title role which premiered at the London Film Festival; God Bless America, a series for ITV in the United Kingdom, six portraits of U.S. cities through the eyes of American authors, including Gore Vidal, Neil Simon, Patricia Cornwell and Garrison Keillor; The Irish Empire, the opening and closing episodes of a five-hour history of Irish emigration; The Green Fields of France, a poetic meditation on the Irish who died fighting in World War I; Maura's Story, the story of a young Irish-American woman who became a Buddhist saint in Japan; Ó Pheann an Phiarsaigh, a film-poem inspired by the creative writings of Patrick Pearse; The Ghost of Roger Casement, a feature documentary. His latest film, Ghosts of Baggotonia, is out this weekend. Watch the trailer below.  https://www.youtube.com/watch?v=GyegsZF-t-4 Come to our awesome CHRISTMAS PARTY THIS SAT the 10th December:  Tics: https://linktr.ee/wearefni  FNI Wrapchat is Produced by PBL, Paul Webster and Edited and Mixed by Mark Monks in the heart of Dublin City Centre at the Podcast Studios. https://www.thepodcaststudios.ie/ ----------------------------------------------------------------------------------------------- Check out Film Network Ireland at https://wearefni.com/ https://www.facebook.com/groups/filmnetworkireland https://twitter.com/fni_film https://www.instagram.com/filmnetworkireland ----------------------------------------------------------------------------------------------- Please Support Film Network Ireland by becoming a member at BuyMeACoffee.com/fni ----------------------------------------------------------------------------------------------- #WeAreFni Learn more about your ad choices. Visit megaphone.fm/adchoices

Paul Webster hosts this episode with director Alan Gilsenan, one of the most prolific filmmakers working in Ireland, about his fascinating career spanning three decades and an incredibly varied and impressive body of work as well as his latest film, Ghosts of Baggotonia. An evocative film-poem exploring the literary and other ghosts of the bohemian quarter bordering Dublin's Baggot Street during the mid-20th century where there was a radical flourishing of artistic and intellectual activity. A screening of ‘Ghosts of Baggotonia', followed by a Q&A with Alan Gilsenan and poet Seán Hewitt, will be held at the IFI in Dublin on Friday, December 9 and is screening in cinemas around the country.  Alan Gilsenan is an Irish writer, filmmaker and theatre director.   His work includes the cinematic documentaries Ghosts of Baggotonia, The Yellow Bittern, Then Meeting and  Meetings with Ivor, the feature film Unless, based on a novel by Carol Shields and The Meeting, which he wrote and directed and premiered at the 2018 Dublin Film Festival. Gilsenan is a former chairperson of the Irish Film Institute. He also served on the Irish Film Board, and on the board of the International Dance Festival Ireland. Between 2009 and 2014, Gilsenan served on the board of Raidió Teilifís Éireann, where he chaired the Editorial and Creative Output Committee. He is currently on the Board of Fighting Words, a creative writing centre for young people founded by Sean Love & novelist Roddy Doyle. Having made an acclaimed film of Samuel Beckett's TV drama, Eh Joe, Gilsenan came to note with his controversial, award-winning documentary for the U.K.'s Channel 4 The Road to God Knows Where. With producer Martin Mahon, he formed Yellow Asylum Films and made a number of documentaries on challenging aspects of Irish life. These include The Asylum (a four-hour portrait of Portrane Psychiatric Hospital), The Hospice (inside St Francis Hospice), The Home (about old age), I See A Darkness (about suicide in Ireland), and A Time to Die (on euthanasia). Gilsenan's Other work includes. Eliza Lynch: Queen of Paraguay, a drama-documentary with Maria Doyle Kennedy in the title role which premiered at the London Film Festival; God Bless America, a series for ITV in the United Kingdom, six portraits of U.S. cities through the eyes of American authors, including Gore Vidal, Neil Simon, Patricia Cornwell and Garrison Keillor; The Irish Empire, the opening and closing episodes of a five-hour history of Irish emigration; The Green Fields of France, a poetic meditation on the Irish who died fighting in World War I; Maura's Story, the story of a young Irish-American woman who became a Buddhist saint in Japan; Ó Pheann an Phiarsaigh, a film-poem inspired by the creative writings of Patrick Pearse; The Ghost of Roger Casement, a feature documentary. His latest film, Ghosts of Baggotonia, is out this weekend. Watch the trailer below.  https://www.youtube.com/watch?v=GyegsZF-t-4 Come to our awesome CHRISTMAS PARTY THIS SAT the 10th December:  Tics: https://linktr.ee/wearefni  FNI Wrapchat is Produced by PBL, Paul Webster and Edited and Mixed by Mark Monks in the heart of Dublin City Centre at the Podcast Studios. https://www.thepodcaststudios.ie/ ----------------------------------------------------------------------------------------------- Check out Film Network Ireland at https://wearefni.com/ https://www.facebook.com/groups/filmnetworkireland https://twitter.com/fni_film https://www.instagram.com/filmnetworkireland ----------------------------------------------------------------------------------------------- Please Support Film Network Ireland by becoming a member at BuyMeACoffee.com/fni ----------------------------------------------------------------------------------------------- #WeAreFni

Join Dr. David Reichstein of Tennessee Retina to discuss what to expect in your eye after treatment. Dr. Reichstein is a graduate of the world's premier Ocular Oncology Fellowship at Wills Eye Hospital, under the direction of Drs. Jerry and Carol Shields. Dr. Reichstein's interests include the diagnosis and management of patients with all types of ophthalmic tumors, including uveal melanoma or nevus, retinoblastoma, vitreoretinal and choroidal lymphoma, vascular tumors of the posterior segment, and choroidal metastases. He also has expertise in the management of anterior segment tumors including conjunctival melanoma, conjunctival or corneal intraepithelial neoplasia, and squamous cell carcinomas of the anterior segment. Dr. Reichstein's therapeutic expertise includes the use of topical and systemic chemotherapy, surgical management of ophthalmic tumors, and radiation using brachytherapy or external beam radiation.

Episode 9: Introduction to Ocular Oncology Description: In this episode, we speak with Dr. Carol Shields to get a broad overview of ocular oncology. Dr. Shields is Chief of the Ocular Oncology Service at Wills Eye Hospital and Professor of Ophthalmology at Thomas Jefferson University in Philadelphia. She completed her ophthalmology training at Wills Eye and subsequently did fellowship training in ocular oncology, oculoplastic surgery, and ophthalmic pathology. Episode Goals: After listening to this episode, medical students should be able to: ● Acquire a general understanding of the breadth of practice for ocular oncology ● Describe the common examination and imaging techniques in ocular oncology ● Describe common pathologies seen and procedures/surgeries performed in ocular oncology Time Stamps: Introductions - 0:30 What is ocular oncology? - 2:20 How did you discover ocular oncology? - 3:30 How can students explore ocular oncology? - 5:00 How do you become an ocular oncologist? - 6:40 Overview of eyelid tumors - 9:05 Overview of conjunctival tumors - 15:05 Overview of conjunctival tumors - 15:05 Overview of orbital tumors - 23:25 Overview of intraocular tumors - 31:06 Additional resources - 42:50 Conclusions - 44:20 Links: https://www.willseye.org/

Thanks for joining us! This month we are discussing Unless by Carol Shields. Welcome dear readers, you are listening to Time to Read, a Winnipeg Public Library podcast book club.  We are recording today from the Millennium Library, located on Treaty One, the traditional lands of the Anishinaabe, Cree and Dakota as well as the…

Thanks for joining us! This month we are discussing The Death of Vivek Oji by Akwaeke Emezi. Welcome dear readers, you are listening to Time to Read, a Winnipeg Public Library podcast book club.  We are recording today from the Carol Shields auditorium in the Millennium Library, located on Treaty One, the traditional lands of…

Thanks for joining us! This month we are discussing The Immortal Life of Henrietta Lacks by Rebecca Skloot Welcome dear readers, you are listening to Time to Read, a Winnipeg Public Library podcast book club.  We are recording today from the Carol Shields auditorium in the Millennium Library, located on Treaty One, the traditional lands…

Bosom friends, we are here with Megan Follows. You Might Know Her From Anne of Green Gables, Anne of Avonlea, Wynona Earp, Heartland, The Facts of Life, Hockey Night, Shania: A Life in Eight Albums, and Reign. Megan saddled up with us to talk about putting on the sensible boots of L.M. Montgomery's literary heroine, Anne Shirley three times for the iconic television adaptations of the Anne of Green Gables books. We also chatted with Megan about Anne and Diana's friendship through the queer lens, LM's personal diaries and alleged dalliance with a female fan, growing up in a theatrical family in Canada, plotting murders and rapes as Catherine de Medici on the CW series Reign, and playing Jo's cousin on a potential Facts of Life spin-off. This one was just exquisite. May we all toast our raspberry cordial to Megan Follows! Follow us on social media @damianbellino || @rodemanne  Whoopi's migraine medicine: Nurtec Whoopi's cannabis menstrual medicine:Whoopi & Maya Megan Follows has theatrical parents: Ted Follows & Dawn Greenhalgh Parents involved in many theatrical ventures: Straw Hat Players, Stratford Festival and Tyrone Guthrie, Neptune Theatre in Halifax Other Canadian actors: Christopher and Amanda Plummer, Colleen Dewhurst Hockey Night remastered in 2016 Directed an adaptation of Margaret Atwood's The Penelopiad Megan Follows' video audition for Anne of Green Gables (the Canadian tv adaptation of the Lucy Maud (LM) Montgomery novels) The Mitzvah Technique Was in all the Anne movies except Road to Avonlea Queering of the friendship between Anne Shirley and her bosom friend, Diana Barry  LM Montgomery had loving relationships with female friends (fans?) LM Montgomery cited as inspiration by Alice Munro, Margaret Atwood, Carol Shields, etc Barbara Hershey played older Anne Shirley in Anne of Green Gables: A New Beginning Stars as Catherine de Medici on the CW series, Reign Directed episodes of Wynona Earp and Reign Reign had mandate about more female directors Played Shania Twain's mom in Shania: A Life in 8 Albums  Jo's cousin Terry on Facts of Life backdoor pilot “Jo's Cousin” FMK Connie Selleca, Michelle Phillips, J. Lo Talk Sex with Sue Johannson: the Candian Dr Ruth Kd land ann marie macdonald alicia palmer Damian's mom more into Lori Loughlin than Felicity “not humble” Huffman Anne thinks Felicity's apology is one of the better public mea culpas. 

Only seventeen women have won the Nobel Prize for Literature since it started in 1901. That's 17 out of 119 winners. In order to  rectify this imbalance, an important new prize has been established. The Carol Shields Prize for Fiction is "the first English-language literary award to celebrate creativity and excellence in fiction by women writers in the United States and Canada." I wanted to learn more about Carol Shields, so I read Startle and Illuminate, Carol Shields on Writing and interviewed one of its editors, Anne Giardini, who also happens to be Carol's daughter in addition to being a writer, and Chancellor of Simon Fraser University.  Startle and Illuminate is culled from decades worth of Carol's correspondence, essays, notes, comments, criticism and lectures,  and drawn together by Anne and her son Nicholas.  Anne and I talk here about, among other things, Carol's thoughts and advice on the craft of writing; redemption; Carol's voice on the page and in the air; the existence of ordinary, boring people; the invisibility of women's lives; group courage; rootedness; and candles matching housecoats. 

Dr Carol Shields, world leading ocular oncologist joins me for a chat about her incredible career, being at the top of ophthalmology power lists, life at Wills Eye Hospital and being admitted to a basketball hall of fame. Carol is an amazing surgeon and academic who has dominated her specialty yet remains incredibly humble. I'm sure you'll enjoy this insight into her life and gain some practical tips along the way.

Retinoblastoma is a rare form of eye cancer that affects infants and young children. In recent years, significant advances have been made in retinoblastoma diagnosis and treatment, helping not only save children's lives but in many cases preserving vision in the eye affected by cancer. On this episode of ASRS's Retina Health for Life, Dr. Carol Shields of the Wills Eye Hospital  joins Dr. Timothy Murray to discuss the causes of the condition, symptoms parents should be aware of and the importance of early, personalized treatment to ensure the best outcomes for children and their families.Resources: Access a downloadable fact sheet on retinoblastoma here. 

Three remarkable novelists, from very different backgrounds, peel back the curtain on how they write, why they write, and what they write.  Arthur Golden is the author of Memoirs of a Geisha, the only book he's written, and a longtime bestseller. He describes why he rewrote the book three times before he got it right, and explains how he successfully gave voice to a character so unlike himself.  Carol Shields is the Pulitzer Prize-winning author of The Stone Diaries, and many other novels and plays. She talks about why she chose to write almost exclusively about the domestic lives of ordinary women, illuminating their struggles and triumphs.  And Shelby Foote is the noted author of novels about the Civil War and the Civil Rights Movement, including Shiloh.  He became best-known for his three volume history of the Civil War, and his appearance throughout Ken Burns' documentary on the same subject, but he always considered himself a novelist first and foremost. He talks here about his tumultuous life in the Mississippi Delta, and how adversity shaped him as a writer. 

Marked as explicit because of sexual imagery.   Beginning with a brief cloudburst and a coda to the previous episode designed to calm Charles Adrian’s esprit d’escalier, the 28th Page One In Review goes on to look at the first five books from the fourth season of the podcast.   More information and a transcript of this episode is at http://www.pageonepodcast.com/.   The Bees by Laline Paull, Royal Flash by George MacDonald Fraser and Unless by Carol Shields were all discussed at more length in Page One 184. Revolutionary Letters by Diane Di Prima was previously discussed in Page One 122.   You can read an outline of the life of Mary Stewart, a.k.a. Mary Queen of Scots, on Wikipedia here: https://en.wikipedia.org/wiki/Mary,_Queen_of_Scots   You can read about Dungeons & Dragons on Wikipedia here: https://en.wikipedia.org/wiki/Dungeons_%26_Dragons   You can read about Petrópolis, the Brazilian Imperial City, on Wikipedia here: https://en.wikipedia.org/wiki/Petr%C3%B3polis   Another book by Dennis Cooper, Guide, is discussed in Page One 72 (http://www.pageonepodcast.com/season-2#/72-isabelle-schoelcher/).   The books discussed in the main part of this episode were previously discussed in Page One 107 (http://www.pageonepodcast.com/season4#/107-vera-chok/), Page One 108 (http://www.pageonepodcast.com/season4#/108-martin-zaltz-austwick/), Page One 109 (http://www.pageonepodcast.com/season4#/109-helen-zaltzman/), Page One 110 (http://www.pageonepodcast.com/season4#/110-nancy-crane/) and Page One 111 (http://www.pageonepodcast.com/season4#/111-griffyn-gilligan/).   Episode image is a detail from a photo by Charles Adrian.   Episode recorded: 6th October, 2020.     Book listing:   A Traveller In Time by Alison Uttley (Page One 107) Wolf In White Van by John Darnielle (Page One 108) Irma Voth by Miriam Toews (Page One 109) Insomnia and Song For The Rainy Season from Collected Poems by Elizabeth Bishop (Page One 110) First Sex (excerpt) and Swimmer from The Dream Police by Dennis Cooper (Page One 111)

Season 2 Episode 52: Martha’s Story Welcome to Tea Toast & Trivia! Thank you for listening in. I am your host Rebecca Budd, and I am looking forward to sharing this moment with you. Manitoba Canada. That was my home growing up. If you look at a map of Canada, Manitoba is the in the centre of the country with its provincial neighbours, Saskatchewan to the west, Ontario to the East, and to the north, the territory of Nunavut. To the South, we share the US/Canadian Border with North Dakota and Minnesota. You may know of some others who came from Manitoba. Neil Young, Burton Cummings/The Guess Who, Randy Bachman/Bachman Turner Overdrive, Bif Naked and Fred Penner. In fact, Tom Cochrane lived for a time in my hometown of Lynn Lake. From literary authur, Carol Shields, to WWII spymaster Sir William Stephenson who was the inspiration for James Bond, to Bobby Hull of the Winnipeg Jets, to the character of Winnie-the Pooh who was named after Manitoba’s capital city Winnipeg – Manitoba is a place of many stories. Today I want to go back to the past, and hear a story from the 1940’s. It all started when I left Lynn Lake to attend college. That was when I first met Martha. Students in residence at the college were given a task. Martha was a library helper, and I was given the task of vacuuming the library. Martha became a librarian, and I well, I still enjoy taking the vacuum out for a spin. This is Martha’s story to tell, but there are times when it is impossible to connect across the miles via technology. Thankfully, letter writing continues to thrive. While Martha cannot be present in the form of her actual voice, she has given me permission to share the story of her parents, Diedrich and Sarah, and of their life on the farm in the 1940’s. For those who have listened to my conversations with my mother, Frances, you will see the similarities of communities working together. I invite you to put the kettle on and add to this vibrant discussion on Tea, Toast & Trivia.com.

To kick off a series celebrating the 25th anniversary of the U.K. Women's Prize for Fiction, Eleanor revisits her 1997 conversation with Carol Shields, on her prize-winning novel Larry's Party.

Welcome to the What to Read Next Podcast. Today we have debut author Katie Tallo. In this interview we chat about what it’s like to write a page turning thriller, her writing process and of course a round of book recommendations. Now let’s go to the interview.   BOOKS RECOMMENDED: On Writing by Stephen King  The Silos series by Hugh Howey Margaret Atwood The Handmaid's Tale by Margaret Atwood  James Lee Burke  Carson McCullers  The Holding by Marilyn Simons  The Stone Diaries by Carol Shields  The Road by Cormac McCarthy Harry Bingman  Talking to the Dead by Harry Bingman    CONNECT WITH KATIE TALLO Website  Facebook  Instagram Twitter    SUPPORT THE WHAT TO READ NEXT PODCAST! If you’re enjoying the show, please subscribe and leave a rating and review on Apple Podcasts. Spread the love. And if you liked this episode, share it with your friends   JOIN PATREON COMMUNITY  Join the What to Read Next Podcast Patreon Romance Book Club. We are offering one tier Weekly Recommendation + Early Access to Author Interviews and other bonus podcast content + Access to Patron-only Facebook Group:  + Twice a month Zoom meetups (Backlist Book Club &  Author Q&A ) + Conversation with Publishers + Rolling IG Chat: $5  This is a great romance loving community where you will get book recommendations, make new friends and an opportunity to discover to new to you authors, series and genres to binge on.  Want to join the fun? Sign up today; https://bit.ly/WTRNRomanceBookClub   FROLIC PODCAST NETWORK  What to Read Next Podcast is part of the Frolic Podcast Network. You can find more outstanding podcasts to subscribe to at Frolic.media/podcasts!    CONNECT WITH LAURA YAMIN  WhattoReadNextBlog.com  Instagram  Goodreads Twitter   

In this episode Zing Tsjeng is joined by author, journalist and host of the award-nominated podcast Sentimental Garbage - Caroline O'Donoghue, television and radio presenter, Vick Hope and journalist, host of chart topping podcast You’re Booked and author of The Sisterhood – A Love Letter to the Women Who Shaped Me, Daisy Buchanan.The theme of today's #ReadingWomen book club is identity. The panel discuss three books that explore the complexities of identity. They are the 2015 winner How to Be Both by Ali Smith, Property by Valerie Martin, the 2003 winner, and Larry's Party by Carol Shields which won the prize back in 1998.Every fortnight, join Zing Tsjeng, editor at VICE, and inspirational guests, including Dolly Alderton, Stanley Tucci, Liv Little and Scarlett Curtis as they celebrate the best fiction written by women. They'll discuss the diverse back-catalogue of Women’s Prize-winning books spanning a generation, explore the life-changing books that sit on other women’s bookshelves and talk about what the future holds for women writing today. The Women’s Prize for Fiction is one of the most prestigious literary awards in the world, and this series will also take you behind the scenes throughout 2020 as we explore the history of the Prize in its 25th year and gain unique access to the shortlisted authors and the 2020 Prize winner. Sit back and enjoy. See acast.com/privacy for privacy and opt-out information.

Welcome to Tania’s birthday party! Woo hoooo! This podcast was recorded on the actual anniversary of Tania’s arrival on this plane of existence. It gets pretty wild. Have a listen and enjoy. Other books discussed in this podcast: Far From … Continue reading →

Dr. Carol Shields joins the program to discuss her career development, how being a student athlete influences her productivity today as a clinician, academician, and mother, pearls for choroidal nevi and other pseudomelanomas, and how the role of women in ophthalmology has changed throughout her career.

The Marrakesh Treaty was designed to make the sharing of books more seamless between countries, and therefore make more literature available to people with visual impairments. It needed 20 countries to ratify it, and this was achieved at the end of June. Dan Pescod from the Royal National Institute of Blind People tells Peter White what happens next, and what it could mean for readers in the UK. Meanwhile. three guests give their suggestions for absorbing summer reads, and talk about the devices they use to read their books. They are: BBC Washington Correspondent Gary O'Donoghue, author Tanvir Bush and avid reader, Adrienne Chalmers. Adrienne Chalmers's choices: Jonathan Strange and Mr Norrell by Susanna Clarke published by Bloomsbury The Stone Diaries by Carol Shields published by Fourth Estate Gary O'Donoghue's choices: The Lonely City by Olivia Laing published by Canongate Books Hotels of North America by Rick Moody published by Little Brown and Company Tanvir Bush's choices: Good Kings, Bad Kings by Susan Nussbaum published by Oneworld Publications Sight Unseen by Georgina Kleege published by Yale University Press Presenter: Peter White Producer: Lee Kumutat.

With James Naughtie. In a special 200th edition of the programme we celebrate the centenary of author Patrick O'Brian and Allan Mallinson is our guide to the first in his hugely popular series of Napoleonic naval stories, Master and Commander. Known as the Aubrey/Maturin novels, the twenty books are regarded by many as the most engaging historical novels ever written. Master and Commander establishes the friendship between Captain Jack Aubrey and Stephen Maturin, who becomes his ship's surgeon and an intelligence agent. O'Brian won fans not just because of the story-telling and his power of characterisation but also his detailed depiction of life aboard a Nelsonic man-of-war : the weapons, food, conversation and ambience, the landscape and the sea. Master and Commander was first published in 1969 and the twentieth novel in the series Blue at the Mizzen, in 1999, a year before O'Brian died. Allan Mallinson also writes novels about the Napoleonic wars and knew O'Brian. And as always on Bookclub a group of invited readers join in the discussion. December's programme marks the 200th edition of Bookclub which began in 1998 and has featured the world's leading authors from the late 20th/early 21st century like Toni Morrison, JK Rowling, Hilary Mantel, Salman Rushdie, Martin Amis, Paul Auster, Alan Bennett. James Naughtie's impressive list of guests also includes writers who are no longer with us like Muriel Spark, Gore Vidal, Douglas Adams, Carol Shields, and Sue Townsend. All are available online to download and keep forever, via the programme's website bbc.in/r4bookclub . Presenter : James Naughtie Interviewed guest : Allan Mallinson Producer: Dymphna Flynn January's Bookclub choice : A Short History of Tractors in Ukrainian by Marina Lewycka.

More Canadian Short Fiction? You damned well bet– just check the calendar. On that note, I’m starting to think Carol Shields herself is somewhat of a miracle. For starters, look at this, from an interview on Canada as a landscape for writers: “We’re not big on heroes, either. The concept of heroes is alien. And […]

More Canadian Short Fiction? You damned well bet– just check the calendar. On that note, I’m starting to think Carol Shields herself is somewhat of a miracle. For starters, look at this, from an interview on Canada as a landscape for writers: “We’re not big on heroes, either. The concept of heroes is alien. And […]

Pulitzer prize-winning author Carol Shields discusses her book Larry's Party with presenter James Naughtie and a group of readers. She also reads an excerpt from the novel.