Podcasts about Charles Dickens

Nobody in the Victorian era who claimed to see a ghost described lace and corsets – that look came from the magazine trade that discovered ghost stories were cheap to print and easy to cut to length.EPISODE BLOG PAGE (includes sources): https://weirddarkness.com/VictorianGhostsREAD or DOWNLOAD the full transcript of this episode: https://weirddarkness.tiny.us/4p69wekwFEATURED STORIES IN THIS EPISODE: Victorian-era ghosts… they seem to haunt not only our imaginations, but also our Halloween wardrobes. Why were people in the mid-to-late 1800s so obsessed with the supernatural? And why are we so fascinated by Victorian ghost stories still today? (What's The Deal With Victorian Ghosts?) *** The story of Queen Esther is chilling – full of an Iroquois warrior woman's quest for vengeance, brutal warfare, haunting legends, ghostly wails, and a curse that many believe still has power even today. (The Curse of Queen Esther) *** No one can remember exactly when the ghost story began, but records show it dates back to at least 1926. The tale centers around the Administration Offices of Rockford School District 205 on South Madison Street, formerly Rockford High School. Built in 1885, the school gained a spooky reputation due to eerie events reported in its underground tunnels. After a tragic accident in the school's swimming pool claimed the life of a student named Gosta Anderson, strange sightings and sounds fueled the legend of his restless spirit, haunting the very site where he died. (Gosta's Ghost) *** Plumas County, California, holds a chilling mystery that dates back to 1978. On a winter night with a half-moon, five friends left a basketball game at California State University, Chico, and drove away, never to be seen again. Their car was found abandoned on a remote mountain road, leading to a series of eerie discoveries, unanswered questions, and clues that still baffle investigators today. (The 5 Boys Who Never Came Back)CHAPTERS & TIME STAMPS (All Times Approximate)…00:00.00.000 = Short fiction story “Lost Hearts” by M.R. James00:24:29.734 = Show Open00:27:12.649 = What's The Deal With Victorian Ghosts?00:36:13.257 = The Curse of Queen Esther ***00:46:07.677 = The Five Boys Who Never Came Back01:06:21.586 = Gosta's Ghost01:12:56.658 = Show Close*** = Begins immediately after inserted ad breakLISTEN ON PODCAST APPS: Look for this podcast on Apple Podcasts, Spotify, iHeart Radio, Amazon Music, Pandora, TuneIn Radio, and other podcast apps. Get a list of free listening apps here: https://weirddarkness.com/wdapps*No AI Voices Are Used In The Narration Of This Podcast*SOURCES and RESOURCES:Free Audiobook: “A Christmas Carol” by Charles Dickens, narrated by Darren Marlar:https://weirddarkness.tiny.us/AChristmasCarolNarration: “The Signalman” by Charles Dickens, narrated by Darren Marlar: https://weirddarkness.tiny.us/TheSignalman“What's The Deal With Victorian Ghosts?” source = Dan Nosowitz at Atlas Obscura: https://weirddarkness.tiny.us/2p94894t“Lost Hearts” by M.R. James (public domain)“The Curse of Queen Esther” source = Creative History Stories: https://weirddarkness.tiny.us/3bn9kwe8“Gosta's Ghost” written by Kathi Kresol for Haunted Rockford: https://www.hauntedrockford.com/gostas-ghost/“The 5 Boys Who Never Came Back” written by Cynthia Gorney in 1978 for the Washington Post:https://weirddarkness.tiny.us/2p8hkyef(Over time links may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)WeirdDarkness® is a registered trademark. Copyright ©2026, Weird Darkness.Originally aired: May 17, 2024LIKE WHAT YOU'RE HEARING? WEIRD DARKNESS posts episodes 7 DAYS A WEEK! Listen FREE wherever you get podcasts or visit https://weirddarkness.com/listen. • Paranormal • True Crime • Ghosts • UFOs • Cryptids • Unexplained • Want even more? Become an OFFICIAL WEIRDO for commercial-free episodes, bonus episodes, weeknight live chats, audiobooks & more at https://WeirdDarkness.com/OFFICIAL

Joseph Pearce joins Matt Swaim on the Son Rise Morning Show to explore Hilaire Belloc's haunting poem “Twelfth Night.” Set on a dark winter night, Belloc describes encountering a mysterious company of travelers whose song leads him to reflect on the journey to Bethlehem. Pearce explains how Belloc uses the imagery of darkness, fear, mystery, and light to explore the Christian life and the importance of trusting God even when we cannot see where the road is leading. The conversation also connects Belloc's poem with the tradition of ghost stories at Christmas, Charles Dickens' A Christmas Carol, and even Tolkien's The Lord of the Rings. At the heart of Belloc's poem is a beautiful question: What might we discover if we are willing to follow the light rather than give in to fear?Support the show: https://www.sacredheartradio.com/donate-now/See omnystudio.com/listener for privacy information.

In Episode 232, Sarah is joined by returning guest Anderson McKean of Page & Palette Bookstore for the 2026 edition of Micro Genres! Each year, this series gives us a chance to niche down even further into the kinds of books we love — spotlighting those very specific sub-sub-genres that capture a particular reading taste. This year, Sarah and Anderson have 10 all-new Micro Genres to share, along with standout books for each. With more than 80 books mentioned, you're bound to find a few new additions to your TBR — and maybe recognize a Micro Genre or two of your own. This post contains affiliate links through which I make a small commission when you make a purchase (at no cost to you!). CLICK HERE for the full episode Show Notes on the blog. Politically-Adjacent Stories (Sarah) The Hopefuls by Jennifer Close (2016) | Amazon | Bookshop.org  [3:00]  Charlotte Walsh Like to Win by Jo Piazza (2018) | Amazon | Bookshop.org [3:11]  American Wife by Curtis Sittenfeld (2008) | Amazon | Bookshop.org  [3:36] Rodham by Curtis Sittenfeld (2020) | Amazon | Bookshop.org  [3:38]   Vantage Point by Sara Sligar (2025) | Amazon | Bookshop.org  [3:47] The Emperor of Ocean Park (Elm Harbor, 1) by Stephen L. Carter (2002) | Amazon | Bookshop.org  [4:48]   Palace Council (Elm Harbor, 3) by Stephen L. Carter (2008) | Amazon | Bookshop.org  [4:49]  The Boomerang by Robert Bailey (2025) | Amazon | Bookshop.org  [5:23] State of Terror by Louise Penny and Hillary Clinton (2021) | Amazon | Bookshop.org  [6:14]  The Situation Room by George Stephanopoulos (2024) | Amazon | Bookshop.org  [6:55]  Becoming by Michelle Obama (2018) | Amazon | Bookshop.org  [8:18]  From the Corner of the Oval by Beck Dorey-Stein (2018) | Amazon | Bookshop.org  [8:53]  Retellings that Are NOT Mythological (Anderson) Lady Tremaine by Rachel Hochhauser (2026) | Amazon | Bookshop.org  [10:41]  The Beheading Game by Rebecca Lehmann (2026) | Amazon | Bookshop.org [10:58]  Beautiful Little Fools by Jillian Cantor (2022) | Amazon | Bookshop.org [11:55]  Hester by Laurie Lico Albanese (2022) | Amazon | Bookshop.org  [12:23]  Honeysuckle by Bar Fridman-Tell (2026) | Amazon | Bookshop.org  [12:55]  Eligible by Curtis Sittenfeld (2016) | Amazon | Bookshop.org  [14:03]  Anna K (Anna K, 1) by Jenny Lee (2020) | Amazon | Bookshop.org  [14:08]  Demon Copperhead by Barbara Kingsolver (2022) | Amazon | Bookshop.org [14:20]  The Kind Worth Killing by Peter Swanson (2015) | Amazon | Bookshop.org [14:36]  The Favorites by Layne Fargo (2025) | Amazon | Bookshop.org  [14:48]  Broken Country by Clare Leslie Hall (2025) | Amazon | Bookshop.org  [14:57]  Wasp's Nest by Kat Stoddard (2026) | Amazon | Bookshop.org  [15:26]  A Thousand Acres by Jane Smiley (1991) | Amazon | Bookshop.org  [15:39]  Other Books Mentioned The Scarlet Letter by Nathaniel Hawthorne (1850) [12:32]  James by Percival Everett (2024) [12:36]  Pride and Prejudice by Jane Austen (1813) [14:07]  Anna Karenina by Leo Tolstoy (1878) [14:11]  David Copperfield by Charles Dickens (1850) [14:24]  Strangers on a Train by Patricia Highsmith (1950) [14:41]  Wuthering Heights by Emily Brontë (1847) [14:55]  The Go-Between by L. P. Hartley (1953) [15:03]  The Philadelphia Story by Philip Barry (1939) [15:32]  King Lear by William Shakespeare (1608) [15:45]  Ministers Behaving Badly (Sarah) Dominion by Addie E. Citchens (2025) | Amazon | Bookshop.org  [16:36] Awake by Jen Hatmaker (2025) | Amazon | Bookshop.org  [16:45] God Spare the Girls by Kelsey McKinney (2021) | Amazon | Bookshop.org [17:19] The True Confessions of First Lady Freeman by Deesha Philyaw (Sep 29, 2026) | Amazon | Bookshop.org  [17:36] The Dearly Beloved by Cara Wall (2019) | Amazon | Bookshop.org  [17:51] The Poisonwood Bible by Barbara Kingsolver (1998) | Amazon | Bookshop.org [18:16] Dear Reader / Love Letters to Books (Anderson) This Book Made Me Think of You by Libby Page (2026) | Amazon | Bookshop.org  [19:14] The Starless Sea by Erin Morgenstern (2019) | Amazon | Bookshop.org  [19:53] The Borrower by Rebecca Makkai (2011) | Amazon | Bookshop.org  [20:22] Dear Fahrenheit 451 by Anne Spence (2017) | Amazon | Bookshop.org  [22:24] Mr. Penumbra's 24-Hour Bookstore by Robin Sloan (2012) | Amazon | Bookshop.org  [22:37] The Storied Life of A. J. Fikry by Gabrielle Zevin (2014) | Amazon | Bookshop.org  [22:56] Other Books Mentioned I Have Some Questions for You by Rebecca Makkai (2023) [20:29] The Great Believers by Rebecca Makkai (2018) [20:31] Yellowface by R. F. Kuang (2023) [22:15] Dark Humor (Sarah) Rabbit Cake by Annie Hartnett (2017) | Amazon | Bookshop.org  [23:52] Unlikely Animals by Annie Hartnett (2022) | Amazon | Bookshop.org  [23:53] The Road to Tender Hearts by Annie Hartnett (2025) | Amazon | Bookshop.org [23:55] Goodbye, Vitamin by Rachel Khong (2017) | Amazon | Bookshop.org  [24:41] Cleo Dang Would Rather Be Dead by Mai Nguyen (2026) | Amazon | Bookshop.org  [25:42] Lost Lambs by Madeline Cash (2026) | Amazon | Bookshop.org  [25:51] The Heart's Invisible Furies by John Boyne (2017) | Amazon | Bookshop.org [26:00] Here One Moment by Liane Moriarty (2024) | Amazon | Bookshop.org  [26:47] Other Books Mentioned Real Americans by Rachel Khong (2024)  [24:44] Fantasy Even Sarah Might Like / Fantasy-Lite (Anderson) Conform (Conform Series, 1) by Ariel Sullivan (2025) | Amazon | Bookshop.org [28:54] The Night Circus by Erin Morgenstern (2011) | Amazon | Bookshop.org  [30:13] The Familiar by Leigh Bardugo (2024) | Amazon | Bookshop.org  [30:39] The Atlas Six (The Atlas Trilogy, 1) by Olivie Blake (2022)* | Amazon | Bookshop.org  [30:53] A Darker Shade of Magic (Shades of Magic, 1) by V. E. Schwab (2015) | Amazon| Bookshop.org  [31:57] Bury Our Bones in the Midnight Soil by V. E. Schwab (2025) | Amazon | Bookshop.org  [32:02] The Midnight Train (The Midnight World, 2) by Matt Haig (2026) | Amazon | Bookshop.org  [32:04] The Midnight Library (The Midnight World, 1) by Matt Haig (2020) | Amazon | Bookshop.org  [32:05] The Measure by Nikki Erlick (2022) | Amazon | Bookshop.org  [32:20] The Dream Hotel by Laila Lalami (2025) | Amazon | Bookshop.org  [32:25] The Other Valley by Scott Alexander Howard (2024) | Amazon | Bookshop.org [32:28] Other Books Mentioned The Hunger Games (The Hunger Games, 1) by Suzanne Collins (2008) [29:03] The Handmaid's Tale (The Handmaid's Tale, 1) by Margaret Atwood (1985) [29:04] Like Friday Night Lights, But Book Form (Sarah) a.k.a. Sports Books That Are About Far More Than Sports The Art of Fielding by Chad Harbach (2011) | Amazon | Bookshop.org  [35:06]  The Slip by Lucas Schaefer (2025) | Amazon | Bookshop.org  [35:15]  The World According to Garp by John Irving (1978) | Amazon | Bookshop.org [35:51] In One Person by John Irving (2012) | Amazon | Bookshop.org  [35:53]   Carrie Soto Is Back by Taylor Jenkins Reid (2022) | Amazon | Bookshop.org [36:12]  The Flock by Ellen Bar (Apr 27, 2027) | Amazon | Bookshop.org  [36:41]  The Last Days of Vic & Coco by Taylor Jenkins Reid (Mar 2, 2027) | Amazon | Bookshop.org  [38:31]  Other Books Mentioned The Amateur by Chris Bohjalian (2026)  [37:29]  The Double Bind by Chris Bohjalian (2007)  [37:48]  Women Rule the World (Anderson) The Romanov Empress by C. W. Gortner (2018) | Amazon | Bookshop.org  [40:16]  Mademoiselle Chanel by C. W. Gortner (2015) | Amazon | Bookshop.org  [40:41] Marlene by C. W. Gortner (2016) | Amazon | Bookshop.org  [40:43] The Woman with the Cure by Lynn Cullen (2023) | Amazon | Bookshop.org [41:07]  Mrs. Poe by Lynn Cullen (2013) | Amazon | Bookshop.org  [41:28]  Twain's End by Lynn Cullen (2015) | Amazon | Bookshop.org  [41:31] Lady Clementine by Marie Benedict (2020) | Amazon | Bookshop.org  [41:36]  The Other Einstein by Marie Benedict (2016) | Amazon | Bookshop.org  [41:53] The Only Woman in the Room by Marie Benedict (2019) | Amazon | Bookshop.org  [41:47] Daughter of a Daughter of a Queen by Sarah Bird (2018) | Amazon | Bookshop.org  [42:03] Other Books Mentioned Z: A Novel of Zelda Fitzgerald by Therese Anne Fowler (2013) [43:13]  Isola by Allegra Goodman (2025) [43:32]  Royals (Sarah) The Royal We (The Royal We, 1) by Heather Cocks and Jessica Morgan (2015) | Amazon | Bookshop.org  [45:04]  Red, White & Royal Blue (Red, White & Royal Blue, 1) by Casey McQuiston(2019) | Amazon | Bookshop.org  [45:06]  American Royals (American Royals, 1) by Katharine McGee (2019) | Amazon | Bookshop.org  [45:09]  Spare by Prince Harry (2023) | Amazon | Bookshop.org  [45:19] The Force of Such Beauty by Barbara Bourland (2022) | Amazon | Bookshop.org  [45:29] The Heir Apparent by Rebecca Armitage (2025) | Amazon | Bookshop.org [45:48]   The Windsor Affair by Melanie Benjamin (2026) | Amazon | Bookshop.org [46:03]  This Land is Your Land (Anderson) Land by Maggie O'Farrell (2026) | Amazon | Bookshop.org  [46:34]  Damnation Spring by Ash Davidson (2021) | Amazon | Bookshop.org  [47:33]  I Will Send Rain by Rae Meadows (2016) | Amazon | Bookshop.org  [47:52]  The Well and the Mine by Gin Phillips (2007) | Amazon | Bookshop.org [48:07]  Greenwood by Michael Christie (US Release 2020) | Amazon | Bookshop.org [49:03]  The Islanders by Lewis Robinson (2024) | Amazon | Bookshop.org  [49:32]  The Shark House by Sara Ackerman (2026) | Amazon | Bookshop.org  [49:40]  *Publication year reflects the later traditionally published edition for a book originally self-published.

Welcome to Season 5 of Storytime for Grownups! This season we are reading David Copperfield by Charles Dickens a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereSupport the show

Alex Wright — Multi-Part, Part One: Alex Wright, author of Empire of Ink: The Printers and Radicals Who Invented the American Newspaper, details the uniquely American invention of the newspaper, beginning with Mary Katherine Goddard's printing of the Declaration of Independence in 1776. Early printing was a grueling, high-status trade where printer's devils, or apprentices, worked with lead and ink balls. Technological evolution was driven by necessity; rag shortages in the nineteenth century led to bizarre experiments, including turning imported Egyptian mummy linen into paper. The Penny Press, pioneered by Benjamin Day, revolutionized the industry by catering to the working class with tabloids and hoaxes, much to the horror of elitists such as Charles Dickens. Wright emphasizes that early American journalism thrived on a sharing economy in which newspapers were exempted from copyright and postal subsidies encouraged editors to cut and paste each other's work, effectively networking the young nation together. (6)

TABLE OF CONTENTS THE JOHN BATCHELOR SHOW, 8-23-3036.Anatol Lieven: The discussion highlights a dystopian shift in modern naval combat, where the Russian ghost fleet employs Mad Max tactics, using netting and spikes, to defend against Ukrainian drone attacks. Anatol Lieven describes a global spread of drone technology that threatens energy prices and international stability. Both Russia and Ukraine suffer from the illusion of an imminent total victory, despite a grinding stalemate in which Russia holds a stronger economic position because of its self-funded war effort while Ukraine remains dependent on precarious European aid. Lieven warns of a potential sea war escalation if Russia retaliates against the seizure of its ships, potentially drawing NATO and the US into a direct naval clash. The conversation also touches on British politics, noting that Prime Minister Andy Burnham faces immense pressure regarding immigration and military spending despite his desire to focus on domestic issues. (1)Mary Anastasia O'Grady, Wall Street Journal editorial board: Venezuela is grappling with the aftermath of severe earthquakes while navigating a complex political transition under the Trump administration's influence. Despite increased oil production, major oil companies are hesitant to invest because of a lack of contractual assurances, bureaucratic overreach, and the absence of a legitimate rule of law. Mary Anastasia O'Grady explains that the current provisional government, led by Delcy Rodríguez, is associated with the previous narco-terror regime, creating a transparency crisis regarding oil profits held in US escrow accounts. While the administration pursues a three-phase plan of stabilization, recovery, and a return to democracy, O'Grady argues the regime is simply buying time to stay in power. As long as oil prices remain high and the US is preoccupied with conflicts in the Middle East, the illegitimate regime has little incentive to hold the free and fair elections demanded by popular opposition leader María Corina Machado. (2)Veronique de Rugy: Veronique de Rugy critiques the Merchant Marine Act of 1920, commonly known as the Jones Act, which requires cargo moved between American ports to be transported on ships that are US-built, US-owned, and US-crewed. Originally intended to protect the American merchant marine after World War I, the act has instead caused domestic shipbuilding costs to skyrocket, making American vessels four to five times more expensive than those built in Asia. Consequently, the US fleet has dwindled, and consumers face higher prices for goods as transportation shifts to more polluting methods such as trucking. Despite its failure to achieve its stated goals, the act is sustained by special interests, including unions and specific shipyards, which exert significant political influence. Current efforts to maintain waivers for energy and fertilizer transportation are facing strong opposition from 52 House Republicans. (3)Craig Unger: Craig Unger explores a sidetracked FBI counterintelligence investigation into Donald Trump's decades-long ties to Russian interests. Unlike criminal inquiries, counterintelligence investigations focus on national security breaches and the laundering of influence, even when no explicit crime is proven. Unger asserts that Russian mafia figures, acting as adjuncts to state intelligence, began bailing out Trump's failing real estate ventures as early as 1984. These transactions, often involving cash purchases of condominiums in Trump Tower, allegedly turned the former president into an asset of Russian intelligence. Unger argues that the Robert Mueller investigation was a dud because it focused narrowly on criminal acts rather than this broader compromise. The discussion concludes by noting Trump's consistent, long-standing hostility toward NATO, which Unger says mirrors Soviet-era talking points and raises ongoing concerns regarding US national security. (4)Graham McAleer: Pope Leo has issued a bold encyclical addressing the ethical and social threats posed by artificial intelligence. Graham McAleer explains that the Pope uses the biblical image of Nimrod and the Tower of Babel to characterize AI as a manifestation of human darkness and godlike pride. A primary concern is the asymmetry of wealth, in which a small, secretive class of Silicon Valley oligarchs controls a technology that operates largely outside state law. While the Church acknowledges AI's potential benefits in medicine and education, it warns that the oligarchic structure of the industry challenges state power and treats users as livestock for data farming. The Pope explicitly calls for government regulation to protect human dignity, yet McAleer notes the fundamental contradiction of expecting the state to control private entities that have already become more powerful than many governments. (5)Alex Wright — Multi-Part, Part One: Alex Wright, author of Empire of Ink: The Printers and Radicals Who Invented the American Newspaper, details the uniquely American invention of the newspaper, beginning with Mary Katherine Goddard's printing of the Declaration of Independence in 1776. Early printing was a grueling, high-status trade where printer's devils, or apprentices, worked with lead and ink balls. Technological evolution was driven by necessity; rag shortages in the nineteenth century led to bizarre experiments, including turning imported Egyptian mummy linen into paper. The Penny Press, pioneered by Benjamin Day, revolutionized the industry by catering to the working class with tabloids and hoaxes, much to the horror of elitists such as Charles Dickens. Wright emphasizes that early American journalism thrived on a sharing economy in which newspapers were exempted from copyright and postal subsidies encouraged editors to cut and paste each other's work, effectively networking the young nation together. (6)Evan Ellis, US Army War College and a State Department voice: Professor Evan Ellis provides a comprehensive update on Latin American stability, starting with Chile's President Kast, who is tackling immigration and the rise of gangs such as Tren de Aragua while balancing economic ties with China. In Colombia, President De la Espriella is implementing a hardline approach against narco-terrorists following a devastating 7.4 earthquake. The situation in Venezuela remains critical; while oil production has increased to 1.16 million barrels per day, there is zero transparency regarding the $13 million in monthly profits allegedly flowing to the Rodríguez gangsters. Opposition leader Dinora Figueroa is negotiating a gradual return to trust, but the regime shows no intention of relinquishing power. Finally, Ellis notes that El Niño poses a severe threat of drought to the Panama Canal, which will likely disrupt international shipping and further strain regional economies. (7)Wright's Part Two runs tomorrow and takes its own tail in that day's sequence.

Welcome to Season 5 of Storytime for Grownups! This season we are reading David Copperfield by Charles Dickens a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time we'll be reading: Chapter 63Support the show

How can you tell where the real innovation in publishing is happening right now, and why is it emerging from the indie side first? How do you market your own book when you've spent 35 years marketing everyone else's? John Bond talks about Going Indie and what he's learned about authors who last. In the intro, my thoughts on writing with AI, Charles Dickens and encouragement for the 3-year-old dancing to K-Pop at the wedding, UK copyright law, The end of an era — Hugh Howey; Notre Dame, Paris; Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it's delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn John Bond is the co-founder of Whitefox, a premium publishing services agency, and has over 35 years in traditional publishing, from bookselling to marketing and management. He's also the co-author of Going Indie: Publishing Your Book Your Way, with James Silver. 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 2012 was a watershed moment for publishing in the UK Whether the snobbery around self-publishing has finally gone How to co-write a book with someone, and why there's no formula The pride swallowing involved in getting endorsement quotes for your own book The shadow economy of indie sales that no industry chart measures The hallmarks of writers who build a long-term career You can find John at wearewhitefox.com. Transcript of the interview with John Bond Jo: John Bond is the co-founder of Whitefox, a premium publishing services agency, and has over 35 years in traditional publishing, from bookselling to marketing and management. He's also the co-author of Going Indie: Publishing Your Book Your Way, with James Silver. So welcome back to the show, John. John: Thank you, Jo. Thanks so much for having me. Jo: You were last on the show in 2022. You've been on a couple of times, but just set the scene. Tell people a bit more about you and your long background in publishing. John: I suppose I could say I started as a marketing manager at Penguin back in the early 1990s in London, and that role eventually evolved into running sales and marketing, as it often does. I did that at Penguin and at HarperCollins. Then I ran one of the publishing divisions at HarperCollins, including 4th Estate, and published Hilary Mantel and Jonathan Franzen and Chimamanda Ngozi Adichie and others. I left that in 2011 and set up Whitefox in 2012, and it's a classic startup story. It was somebody I worked with at HarperCollins. We sat around a kitchen table, came up with an idea for a business, which was Whitefox, and that's grown into the creative agency that it is today. Jo: So back then, did you think, “I can do this better”? Was that the impetus, “I can do publishing better than Penguin and HarperCollins”? John: No, I thought we would solve a problem. There's something very attractive about that whole startup mentality and beginning something from scratch. I mean, I was in my early 50s. I'd had a long career in traditional publishing. On the plus side, I knew a lot of people, and I thought I could get meetings, people would reply to my phone calls or my emails. On the downside, I didn't necessarily have the energy of a 20 to 25-year-old. I knew a lot of people and I knew quite a lot of things, and I also knew what problems something like Whitefox could solve. We set up with this idea that if we could galvanise and organise the diaspora of freelancers in the publishing space and make them available to anybody that wanted to make a book, that that would be quite a powerful thing. These incredibly creative, wonderful people who were below the radar and were not particularly valued or managed or utilised properly. I thought if we could access that and make that available not just to traditional publishing people who know about these people, but to individual authors, businesses, brands, people that wanted to make a book, and if you added a layer of our expertise from traditional publishing, that could be quite powerful, I suppose. That's what I was thinking back then. Jo: It's funny, though. You said these wonderful freelancers who were not particularly valued or managed or utilised properly. That could also apply to a lot of authors in traditional publishing. John: Totally. Totally. But if I'm honest, I don't think I was thinking about that. What's really evolved since we started, even in that 2011, 2012 period, is so much has happened to independent writers, indie authors. The whole ecosystem has become much more vibrant, and what is accessible to those writers is much greater. I'd like to think we've played a part in that. What that's done is put power back into writers' hands, and that quickly became apparent in the business as a byproduct of what we'd set up. Jo: Yes, and 2012 I do think in the UK was a pivot point, because I got into self-publishing in 2006/2007 when the Americans did with the beginning of the Kindle and the iPhone. Really the American ecosystem grew first. I happened to be in Australia, and so I think I was able to escape the negativity of the vortex in the UK, which took a number more years to embrace self-publishing as a force to be reckoned with as opposed to an embarrassing thing in the corner for vanity press. Do you see 2012 as a changing point in UK publishing? John: I think we'd just come out of the Kindle moment, hadn't we? There were all sorts of conversations going on about how that was going to change things forever. I think no one quite knew what the upshot of that was going to be, but we knew that it was incredibly disruptive. In 2012, Penguin, as it was then, before Penguin Random House, had offered to buy Author Solutions for $115 million, presumably seen as some kind of defensive measure as to what the market was going to evolve into. I think it felt like a real period of change. In the UK, James Daunt took over running Waterstones, and he was then ultimately going to run Barnes & Noble. It felt like a bit of a watershed. I think we were lucky in that sense, that maybe in the UK and in London, what we were creating coincided with an opening up of opportunity and creativity, and people wanting access to more tools to be able to do things themselves. Getting this idea that you invest in your own talent and what that could mean for your ability to do things quicker, better. Some of it was happenstance, but lucky for us. As you say, we then became aware that in a sense a lot of these things had come to fruition earlier on the US side. In London, that whole idea of setting up something that wasn't a traditional rights-owning model, but where you wanted to be working with people creatively, felt actually really exciting and timely. Jo: And when you started to work with independent authors, probably a couple of years after that, you started to work with a lot more indie authors and things really started to change in terms of the business side. Did you feel any of the snobbery from the traditional industry? Like you mentioned, you have a lot of contacts, a lot of connections. I came to your wonderful launch party and there were just people from all over the industry. I wondered if you got any kickback, or if anyone raised their eyebrows a little bit at who you were choosing to work with? John: Oh, definitely. And I would say I really think that's gone. You may think differently, Jo, but from my perspective, I think there has been such an evolution in the nearly 15 years that we've been going. So any of that residual snobbery, looking down your nose at people that were going DIY, producing multiple books, learning from every single publication. We've spoken about this before. I remember you sat on the panel of a FutureBook conference in the UK, which was run by a trade magazine, with this idea of looking at the, in quotes, “digital future of the business.” It felt like there were a lot of things being talked about, but not a lot of action on the traditional side. I suppose some sort of awe that there was some magic going on with people who were making a success of self-publishing. But then quite a lot of people looking down their noses at things that shouldn't get through the gatekeepers. I do think that's gone. Or if it's not completely gone, I can see it on the way out of the door, because there's no room for that when agents are struggling to sell books to publishers because publishers are looking at the next indie author, the next Freida McFadden, the next Sarah J. Maas, the next Rebecca Yarros. So whoever it may be, or wherever they're publishing, whatever they're doing now, wherever they may be, knowing that a lot of those people will already be publishing and be on not their first, second, third or fourth, but potentially their 10th or 11th book. It's a race to see who can help those authors, as a traditional publisher would see it, amplify what they're doing. I think the idea that there's an us and them, if it did exist then, which it certainly did in certain publishing quarters, is gone. I used to go to those conferences, like the FutureBook Conference, and certain publishers would talk about publishing, and when they meant publishing, they meant a really tiny area of quite literary, traditional imprints. That's what publishing meant. They didn't even mean publishing to mean educational publishing, or children's publishing, or academic publishing, and certainly not Kindle or POD or whatever. So I think that's had to change for very good, sound, commercial, economic reasons. Jo: Yes, you're right. I definitely have heard, as we go to similar events sometimes, and you do hear agents used to talk a lot more about finding books very occasionally in a slush pile, or doing courses so you could meet people and do pitch events and all this. Now it's often build an audience on BookTok or whatever, and sell lots of books, and traditional publishing as an amplifier, as you said. That's how I always hear them pitch it now, the question of— What can traditional publishing still do when indie authors can do so much? It does seem to be, well, we can amplify you, we can get you into traditional press, we can get you in traditional bookstores, we can help you with film and movie deals, that kind of thing. So that's really interesting, because that's actually changed quite a lot. They don't now seem to say, “Oh, well, we can make sure we pay you,” or, “We are editorial success as such.” John: I think they don't say editorial success or quality or indeed marketing, because that was what used to be said. I think there's an understanding that a lot of indie writers are better marketeers of their own books than traditional publishers, and if you go into the publishing machine, then you'll get your slot. It lasts for a certain period of time and then that moves on to another book. Whereas obviously if you're writing your own book and you're marketing your own book, you're able to do that yourself 24/7 wherever you are in the world, and you will know more about your readers and your audience and how that evolves than a traditional publisher would. What they probably mean now is, as you said, as much as anything, distribution, or even physical distribution. Because to be part of that process, I think that is still where a large conglomerate is able to wield some muscle, with this idea that if you physically want to see your book in bricks and mortar retailers in X outlets around the world, that's potentially easier to do if that is your aim, via a traditional publisher. So it is constantly evolving, because it used to be that marketing was the silver bullet, and I don't think that's the case anymore. Jo: No. We'll come back to marketing, shall we? Struggling with marketing. So let's get into your book. You recently co-wrote Going Indie with James Silver, Publishing Your Book Your Way. Obviously you already knew a lot about indie authors, so I wonder, what did you discover in the process of researching the book and the interviews you did? And I was one of your interviews. Did anything come up that surprised you, since you're already pretty embedded in the world? John: I would say some of it was reinforcing what I knew. So how everything is so intertwined, how in some ways unlinear everything is. People are doing lots of things in a different order to the way that traditionally writers would perceive this relay race of a manuscript gets passed to an editor, an editor passes on. That's just not how it is or needs to be anymore. I still think there is—not even a misconception—but I think there's a received wisdom that when you're talking about self-publishing, you're talking about fiction. The majority of books that Whitefox produces are not fiction, they're non-fiction. Some of them are quite mainstream, some of them are quite niche. That idea of connecting to your audience and your followers, and being slightly more scientific about how you find readers in your non-fiction niche, I think is still unspoken about in a way, in that genre fiction tends to be what people automatically assume the conversation is about. This probably doesn't surprise you, but I was pleasantly surprised to have it confirmed to me quite how much swapping and sharing there is of skills and knowledge in that space. I'm not saying indie writing is egoless at all, but there's quite a lot of sharing of knowledge and what works, and collaboration, which I think is great to see. Again, if you've, as I did many years ago, come out of corporate conglomerate publishing, traditional publishing, there's less of that by the very nature of the kind of organisation. And look, we just talked about marketing a little while ago. I do think this whole idea that the cutting edge of experimentation, it's not traditional publishing, it's indie writers. They are looking at not just how to find readers, but how to fulfil orders, how to make commercial sense of what they're doing from the absolute outset and get-go of what they're doing. And just how now the lines are blurring between what would be classified as traditional digital publishers and the writers who are doing their own thing, or doing their own thing on behalf of a few other writers. Those lines have completely blurred. There used to be this traditional hardback, paperback, X number of books a year, a year after hardback there's a paperback. This is the model we have been doing for centuries, and people doing things on their own. I think that's blurring massively, and the Venn diagrams of people's areas of expertise are just overlapping massively. Jo: Well, I think you're right there, and certainly the hardback special editions with sprayed edges and foil. A lot of us now are doing that first and not putting out the other, or putting out the rest of it at the same time. I dare say probably there are more indie authors with sprayed edge hardbacks than there are traditionally published authors. John: I'm sure that's right. And what's interesting is if you go to a traditional book printer, they are loving the direct communication with writers, that's not coming through traditional channels and traditional relationships. It's great business, it's interesting. I think that's something that's even developed in the last couple of years, that cutting out of some of the middle men required. Jo: Yes, and in terms of supporting freelancers and small publishing houses and printers and stuff, the other thing I've heard is that indie authors pay upfront, or they pay quickly, compared to some of these big publishers who are asking for long lead times and steep discounting. So actually a lot of these independent businesses are doing better under indie author work than they were under traditional. John: I think that's right, and that's what I mean also about the sharing of information and this collaborative idea of sharing creative knowledge. I mean, I'm making it sound like a kind of 19th century cooperative, which it isn't. I'm not suggesting that for a second. It's this idea that there's a lot of people learning a lot of things and there's a keenness to share some of that information, because if you've developed your own readership for your unique creative product, some of those learnings are very exciting. The printers I've spoken to love working on those kinds of things, because they are also being challenged to come up with new ways of developing ever more innovative physical product. Jo: Yes, I think it's a fun, creative time for sure. Things like Kickstarter, which you came on and talked about crowdfunding years ago, and I've obviously done. I think, what am I on now? Seven? I've just done my seventh. John: Wow. Jo: It's so much fun. But now what's happening is traditional publishers are arriving on Kickstarter and all that kind of thing. So we really see a blurring. Let's come back to your book, so Going Indie. You co-wrote it. Now obviously there are lots of positive sides of collaboration, but in terms of any challenges with collaboration and co-writing and the writing process of doing this? Because I've done this several times and I've found it very challenging. So tell us about the collaborative writing process. John: We thought a lot about it before we took it on. What I would say, having done it, is I am assuming there is no formula for how you do this. At Penguin I worked with a married couple who were crime writers, and they wrote books together. They merged their names so it appeared to be one name. I could not tell you, and they didn't share what that process was, whether they were writing different chapters or … I don't know. So I can only speak from my own experience. James is an established journalist. He's great with deadlines. He was very good at chivvying me along when I needed to be persuaded to hit the deadlines that I'd promised. I write blogs, I write newsletters, I write content for our website, but this is my first book. I've never written anything of this length. So in a way it started with the structure. It started with this idea that we would play to what we perceived as our respective strengths in terms of writing. We absolutely were not each writing every third word or anything like that. It was a process of trust in different parts. I thought, James had done some research and will be better at writing that. He deferred to me on areas that he took to be my areas of expertise. We did every interview for the book together. We went over the notes from those before they became part of the interviews for the book. And some of the book's elements are diagrammatic, so those are very easy to collaborate on. I think we tried to be professionally, creatively constructive with each other. So it was raising an eyebrow rather than shouting at each other if we didn't agree about something. A lot of it was down to the editing, and I don't know what your experience was like with a co-writer, but a lot of it came down to: here is something which is quite baggy. How do we, between us, make this as tight as we possibly can? I don't mean copy editing or proofreading. I mean the actual sort of, how do we get this into a pithy, usable, practical but discursive book? We didn't ever set out for this to be a pure reference book at all. We wanted to take a snapshot of what was going on. So a lot of it was genuinely trying to do some research and get people to feed into what was going on from lots of different perspectives, which is why we wanted to get mainstream traditional publishers, we wanted to get agents, we wanted to get indie writers, we wanted to get people who have all sorts of experiences and perspectives. That's what makes it what it is, which is, here's what we think are some of the interesting discussion points of what's going on now. Jo: It is a fantastic snapshot. I think it's really interesting—and obviously you also have seen my book, Successful Self-Publishing, which is on its fourth edition—this is one of the difficult things with snapshot type books. So have you already thought about that? I know this one has just come out, but have you thought, “Oh no, in five years we have to do it again”? John: Well, I think we thought we're going to have to address AI, which we do in the book, and we really tried to caveat that with saying, look, so much may change so quickly, and here we are talking about what we know now. We obviously tried to set the context for where we are now, and we tried as much as possible to make something which would last as long as we can. I think what we did think was, we have tried to make it as international a perspective as possible. But at the same time, we are a London-based agency, and a lot of the views will be from people based in the UK. So I think what I would like to explore is something that looks at potentially somewhere like the US, where I think there'll be different people that would perhaps have different perspectives on different things. So I think we thought about potentially there being future iterations of the book, but not yet. Jo: Not yet. This is the challenge with non-fiction, of course. On that, I would say what you just said around the US and stuff, the successful UK authors all use the same systems as the US. So I wouldn't say that the US … I mean, we all have the US companies we all use. I say Kobo is obviously Canadian, but I would say that we use the same ways of doing things. Obviously you might interview a different author, but … John: That was all I meant. I meant interviewing. Because we've interviewed agents and authors and publishers and they are largely UK based. So it was the idea that maybe there are some perspectives on things rather than systemic. Jo: Differences. John: Yes. Just that. Jo: So then I guess another challenge, we've kind of nodded to it so far, is marketing. So let's talk about the challenges of getting this book out in terms of publishing and marketing. Because you've been on the inner circle side, trying to do that for other people's books, but your own book, this is a whole nother thing. So tell us about that. John: Well, how do you do it, Jo? I mean, honestly, I've loved some of it. I get how you become completely obsessed with your book and trying to make sure that you can get it into the hands of the people that you want to get it into the hands of. We've got some great endorsement quotes, which was a task that, how can I say this? I would call it pride swallowing. The idea that you really try and get people to say nice things about your book and, if they don't reply, you think, “How much do I pester them? How much do I annoy them by asking them again nicely?” And the absolute sheer unadulterated joy when they come back with something positive that you can use and utilise in some way. So that whole process of waiting for feedback, I suppose, and hoping that people are going to like what you've done and help you spread the word for it. We had a launch event, we've given books away. We've published the book as ebook and POD. I think one of the great things about that is it's enabled us to be completely adaptable and make changes right up until the last minute. That drove everybody in my team completely crazy because we were making changes up until the last minute. So, is the book definitely going to be available on publication date? What's it going to do? You know, all of that kind of stuff. Also, just getting this idea that I suppose you can never stop. Is that a very obvious thing to say to a writer? It probably is. You just can't stop, because if you go, “Right, well, I've done it,” complacency is the enemy. Just as soon as you've got that quote, or someone said that they're going to give you an opportunity to talk about it on a platform, it's just another day and you've got to keep thinking about how you can spread the word and tell people that it exists. Jo: Yes, well, I think that's right, and particularly non-fiction, which unless it's very timely and you must get it out right now. But other than that— Most books you just have to keep marketing for years. Then just as you say, when do you stop? Well, you kind of never stop unless you want to, unless you want to retire and just give up, basically. Dean Wesley Smith, who's a big writer in the US and a kind of a mentor of mine in past years, he talks about it as this massive sea of books. And when a book arrives, he pictures it coming down and landing on the water. So the day you launch, it's landed on the water, and then it begins to sink. Then there are all these other books coming down. It's like this rain of books, and your book is sinking as soon as it lands. And your job is to keep it afloat somehow. John: Keep it afloat. Jo: Yes. John: I think you're right, and it's such an interesting perspective for us, who work with a lot of people who have one book. You know, they've spent 10 years writing it. It's their life story. It's their memoir. It's their self-help book. It's their book that accompanies them on their speaking journey, or whatever. Then there are the people who are writing constantly and can't stop writing because they're exercising that creative muscle all the time and wanting to get better, and wanting to improve and learn and understand why this works and why that hasn't worked. Just getting a glimpse into what it must be like for that person for whom writing is not a hobby. I kept saying to myself, “This is not something you're doing as a hobby.” I want this book to be of value to people, and if I'm investing that time and effort into something that I want to get out there, you've got to commit to whatever it is you need to do to make sure you're not sinking. Jo: Yes. John: I will now not be able to get that image out of my head. Jo: Yes. I know there's people listening who don't have a mind's eye, which I always find fascinating, but for those of us with a mind's eye, you can now picture that and you will never forget it. The other thing, I guess, is that, having done a lot, over 40 books now, the inevitable thing is you cannot keep pushing all of those books back up to the surface. So when you do get the bug as such of writing, the most interesting thing for all of us is always the next book. It's always like, ooh, the next thing I'm doing, I'm very excited about. So you do have to pick your battles on marketing. So have you got the bug, do you think? Are you thinking of other books in general? Because as you said, you must be, I guess, in your 60s. John: I am. Jo: You could retire. John: I am. You were talking about that long career. I could. I mean, I really love doing it, and I would love to do more. I think one of the things that surprised me was just how many ideas came up while we were doing the book about tangents that one could take it. I have no desire to write a novel. I don't want to do that. I wouldn't be very good at that. I do think there are some interesting spaces around where there's a kind of intersection of creativity and learning, and how you can develop books that would help people who are trying to achieve different things in different sectors of publishing. So without getting too granular about it, this book doesn't really address brands who want to become publishers, and I think that is something that our business has developed into working with, not just individuals, but businesses and brands. I think there's definitely spin-offs of this book which are not about repeating what we've done so far. And this whole idea of what you've been doing for a long time, what we've been doing since 2011, 2012, it's evolving now at such a speed. I mean, who would have known what was going to come out of TikTok? As you talk about TikTok to Shopify, that whole kind of new ways of finding readers, of taking books to market. As you said, Kickstarter, crowdfunding. There's all sorts of things that I think will emerge, because in a funny sort of way traditional publishing at the moment feels quite conservative with a small c. I mean, the bestsellers. Dan Brown is number one in the bestseller list this week in the UK as I speak, who has been a bestseller forever. And obviously new writers come along the whole time, but the market feels a little bit as if it's waiting now for innovation. I think if that innovation's going to happen, it's probably going to happen in the indie space before it happens in mainstream publishing. So people are coming to us and thinking, does that represent a trend? Does that represent something which could be a way of looking at something a little bit deeper, doing some research around and creating something which is not a long book, not a massive thesis, but something which is indicative of something which could be useful for people. Jo: Just coming back on the Dan Brown is in the bestseller list. I think this is completely to do with the way that traditional publishing measures things. For many years, more than a decade, probably since the beginning of Kindle, certainly the beginning of Kindle Unlimited, there is a shadow economy, I call it, or a parallel economy. I would say that almost zero of my own personal sales are measured by any industry standards. Anyone who makes any money from Kindle Unlimited or Kickstarter or Shopify, or selling direct in any form, or selling books at conventions, none of this is measured by any traditional things. As you know, the New York Times list, for example, does not include Amazon sales in their bestseller list. So you've got indie authors in the UK who are incredibly successful who have to decide, say, someone like LJ Ross, for example, decides, “Okay, I'm going to set up a proper imprint with Gardners or whatever so that I can get in bookstores so that I can hit a Sunday Times list or something.” So I would say that seeing things like Dan Brown on a bestseller list has almost no meaning in the shadow indie economy. John: No, you're absolutely right. We're not even able to see audiobook sales. Jo: Yes, audio. Any kind of borrows, like Spotify. John: No, you're completely right. I suppose I was making a broader cultural point, that it doesn't feel like there's an enormous amount of innovation going on or risk taking within what I would call mainstream trade publishing. And there doesn't seem to be the need to be, because there will be more consolidation. Small companies will be bought by big companies, so there's growth through acquisition. There's still a hope that something will take off that is a surprise, and there's still an enormous reliance on established brands who, even through the traditional metrics of how you measure them, are probably selling less, but still at the top of the pile. I suppose that's what I was meaning. Jo: Yes, and I agree with what the industry looks at as signals. It's just, as we said, a lot of these signals are invisible. So coming onto innovation, at London Book Fair this year there were a lot of sessions on AI, and you mentioned AI briefly, and there is a chapter in Going Indie on generative AI. And of course there's a lot of negativity and drama and lawsuits and this, that and the other. But at the same time, at London Book Fair, a lot of traditional publishers talking about using it, and of course they always say, “Oh, we use AI only in marketing and business, not with the creative or editorial.” Everyone makes this distinction. What are your thoughts on what's happening and where's it going with AI? Is a lot of this stuff not happening in public and just going on behind closed doors? John: I think so. We do have a chapter in the book on AI. We've generated summaries of every chapter using AI, which we explicitly said in the book as well. We've got our Ten Commandments of what we think are useful guidelines. I think that there has to be an enormous amount being done, whether it's experimentation or speeding up for efficiency's sake, or things that slow you down, within mainstream publishing. There has to be more than just the guardrails around the creative process. And clearly when we're talking about metadata, book description, cover copy, presumably royalty calculations, presumably if you're trying to grow your newsletters. There has to be an enormous amount of activity going on. We're driven by the market, so we do not commission. Writers come to us and they either want to work with us and we want to work with them, or that doesn't happen. So we're in a sense seeing what the market is seeing, and that is a whole range of things. As I've said before, there's a lot of sweeping generalisations out there, which if you look back to that Kindle moment, we were talking a little while ago about what was going on in 2010/2011, about the enormous broad brush strokes that were being perceived as a result of Kindle. Kindle has affected some areas of publishing, it's affected some not at all. I think it will be absolutely fascinating when the sweeping generalisations stop and there becomes, I suppose, even more transparency. The thing that people are looking for, isn't it? A little bit less opaqueness as to what is really being done. Because everybody's being so careful about what they say they're doing and what they're not doing. I suppose ElevenLabs is the one where people are openly engaging on the audio side. I mean, everyone is being so careful and cautious. Jo: Me too. John: What do you think? We spoke a bit about AI within the book, and I'm interested to know what you think. Jo: Well, I've obviously been openly talking about it since 2016. I openly talk about using it, and I've got my Patreon community where we talk about how we're using it, and tips on how to use it. But then, because I have been writing and publishing since 2007, 2008, I'm very strong in my creative voice. I'm very strong in my understanding of what I consider to be my level of output, and what I publish under my own name is what I publish under my own name. John: Totally. Jo: So the problem is for people who are less confident, I think, in what they're doing creatively perhaps. I know some people feel like they're scared it will take over or something. When you're as strong-minded as me, it's not taking over anything. John: It's not going to take over anything. And the other side of the coin is how many people are finding Whitefox using ChatGPT. Jo: Mm. John: I'm thrilled that we are emerging, through very detailed briefing of AI, as something that is worth engaging with. Jo: Positive marketing. John: Yes, exactly. As you say, I think there's a lot of negativity, and I think it will settle down eventually. I think less hysteria. Jo: Yes, hopefully sooner rather than later. So as we come to an end, you've been in the publishing industry a long time and seen a lot of people who have disappeared, but also those who've lasted. I wondered if maybe you could comment on those who last, because I definitely feel like I'm in my 50s now, and I want to keep doing this. I'm pretty obsessed with— What are the hallmarks of people who have a long-term career? So reflections on that. John: Oh, that's such a good question. I think there's some common characteristics and themes. So I think authenticity, I think this idea of being continually curious. I think there are people who can't help but create, and this idea that once you've sort of expelled once, that's enough. I think there's people that just can't stop creating, whatever you do with it. But this idea that the more you do, the better you get, the more you evolve and keep an open mind. I think there's definitely entrepreneurial writers who love this idea of keeping their readers engaged, and how that conversation is something that evolves and that collaboration evolves, is fascinating. I think if you love that, and you listen, there's always an opportunity to keep building on what you do. I love the writers who we work with. I can think of a writer who we're working on his fourth novel at the moment, and he is a bundle of positivity. No matter the trials and tribulations, the things that have gone wrong, his expectations definitely not being met with his first book. He definitely has this idea that he wants to keep writing, he wants to get better, and he is getting better. It isn't a journey that has a beginning and an end. It's something that will continue for as long as he wants to write. Every single book that he has published, he has learned and gained confidence, gained a network of connections that he's utilised himself now to not make the first half a dozen mistakes he made on the first book. Who knows where it will end up? But certainly the satisfaction he's getting, and the sales he's getting, are growing as he becomes savvier and quicker to make the right choices and decisions. So I think that's my honest answer to that. I think there are definitely people who think, “Phew, I have really wanted to do this book. Now I can rest easy. I've done my book.” Then there are people who really, whatever their objective, whatever the definition of success is from the get-go, just can't help creating. I do love that and respect that. I don't think our book falls quite into that category, because I think it's a slightly different thing. I think there are people who are still making a success of what they do and redefining that as they go on, and who are really open to ideas and input from different people and are not closed off. I love working with those people. Jo: So where can people find Going Indie and everything you do online? John: Well, Going Indie is available online at all good bookshops. It's available at Amazon and anywhere you buy books online as ebook and POD. Our website is wearewhitefox.com, and you'll find information about not just our book there, but a lot of other things that we're doing on that site. Jo: Brilliant. Well, thanks so much for your time, John. That was great. John: Thank you so much, Jo. It's been a pleasure. The post Going Indie, Publishing Innovation, And The Challenges Of Book Marketing With John Bond first appeared on The Creative Penn.

Why do families stop reading aloud once children learn to read for themselves? In this episode, we make the case that we may be stopping far too soon. We explore the history of reading aloud, oral recitation, Charles Dickens' public readings, the McGuffey Readers, and modern research on vocabulary, language development, story listening, and shared reading. You'll also hear why reading aloud should complement—not replace—phonics and independent reading, how it can become a bridge into books children aren't ready to tackle alone, and why shared stories naturally lead to conversations about courage, loyalty, justice, sacrifice, forgiveness, and human nature. Plus, you'll get practical read-aloud recommendations for children from preschool through the teenage years and simple advice for creating a family reading culture without turning every book into another school assignment. Your child may be able to read the book alone. But that doesn't necessarily mean you should stop reading it together. SCHOOL TO HOMESCHOOL RESOURCES:  Janae's Links for Vintage Books Sign Up for the School to Homeschool Newsletter School to Homeschool YouTube Channel CONNECT WITH US! Instagram Facebook janae@schooltohomeschool.com

Welcome to Season 5 of Storytime for Grownups! This season we are reading David Copperfield by Charles Dickens a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time we'll be reading: Chapter 63Support the show

durée : 00:29:55 - Les Nuits de France Culture - par : Albane Penaranda - En 1968, Sylvère Monod, le traducteur de Charles Dickens en français, présentait l'émission "Heure de culture française" consacrée à "L'humour de Dickens", elle était illustrée par de nombreuses lectures d'extraits d'œuvres de Dickens, telle "The Pickwick Papers". - équipe : Mathias Le Gargasson, Antoine Dhulster, Rafik Zénine, Vincent Abouchar, Emily Vallat, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Welcome to Season 5 of Storytime for Grownups! This season we are reading David Copperfield by Charles Dickens a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time we'll be reading: Chapter 62Support the show

We're relaunching Let It Roll by reposting every episode in chronological order by subject matter. In this episode, host Nate Wilcox welcomes back Dave Thompson to continue discussing Dave's book An Evolving Tradition: The Child Ballads in Modern Folk and Rock Music. This episode covers the very oldest examples of The Child Ballads, with lyrical themes dating back to the ancient Egyptians and Greeks, as well as the contributions of major literary figures like Sir Walter Scott and Charles Dickens. This episode originally dropped in 2024. GO TO THE LET IT ROLL SUBSTACK TO HEAR THE FULL EPISODE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ -- The final 15 minutes of this episode are exclusively for paying subscribers to the Let It Roll Substack. Also subscribe to the LET IT ROLL EXTRA feed on Apple, Spotify or your preferred podcast service to access the full episodes via your preferred podcast outlet. We've got all 350+ episodes listed, organized by mini-series, genre, era, co-host, guest and more. Please consider becoming a paid subscriber to support the show. Thanks! Email ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠letitrollpodcast@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us on Twitter.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Let It Roll is proud to be part of ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pantheon Podcast⁠s⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

No cold open today. Instead, we dive right into the topic of the day. We examine the current illiteracy crisis going on in the US and discuss a study done with English majors who were found to be unable to read or inadequate in understanding the opening to Charles Dickens' novel Bleak House.  We read the opening of Bleak House ourselves to see if we're capable of understanding it, and then, for fun, we read some pages of Ulysses by James Joyce to prove just how dumb we really are. You can follow us on Instagram, Facebook, and Twitter @dpwpodcast You can check out Caleb's work at www.calebjamesk.com. 

In this episode, a conversation with Avigayl Sharp, author of a blisteringly funny and transcendently deranged debut novel for fans of Ottessa Moshfegh, Patricia Lockwood and George Saunders. In Offseason, our fiercely observant but self-deluded narrator finds herself teaching at an all-girls boarding school in a remote coastal town. In between manic lectures that veer from Charles Dickens's Bleak House to the childhood maltreatment of her beloved Iosif Stalin and the generational legacy of the Holocaust, she implicates everyone she meets in her quest to pin down where exactly her own life went wrong. Avigayl Sharp was interviewed by author Raeden Richardson, to discuss this new book, process and craft, and the role of the novel in contemporary consciousness and culture. Enjoyed what you heard? Click here to purchase the book: https://www.readings.com.au/product/9781399637015/offseason--avigayl-sharp--2026--9781399637015

Welcome to Season 5 of Storytime for Grownups! This season we are reading David Copperfield by Charles Dickens a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time we'll be reading: Chapter 61Support the show

Send us Fan MailHistorical nuggets about two people you know from over the years come alive again with stories you will long remember.

Welcome to Season 5 of Storytime for Grownups! This season we are reading David Copperfield by Charles Dickens a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time we'll be reading: Chapter 60Support the show

Join Scoots as he reads a new old novel and tries to wrap his head around what it means to say a word in the Pickwickian sense.This is a reading / adaptation of The Pickwick Papers by Charles Dickens. I'm making it extra boring and meandering, but it may tangentially touch on subjects that some viewers may not find sleepy.This episode originally aired on Sleep With Me Plus. If you'd like to hear more bonus episodes (and get episodes without ads), you can start a free trial at sleepwithmepodcast.com/plusGet your Sleep With Me SleepPhones. Use "sleepwithme" for $5 off!!Are you looking for Story Only versions or two more nights of Sleep With Me a week? Then check out Bedtime Stories from Sleep With MeThis episode is produced by Rusty Biscuit aka Russell Sperberg.Show Artwork by Emily TatGoing through a hard time? You can find support at the Crisis Textline and see more global helplines here.HELIX SLEEP - Take the 2-minute sleep quiz and they'll match you to a customized mattress that'll give you the best sleep of your life. Visit helixsleep.com/sleep and get a special deal exclusive for SWM listeners!ZOCDOC - With Zocdoc, you can search for local doctors who take your insurance, read verified patient reviews and book an appointment, in-person or video chat. Download the Zocdoc app to sign-up for FREE at zocdoc.com/sleepAQUATRU - AquaTru is a countertop water purifier tested & certified to remove 84 contaminants, including chlorine, lead, forever chemicals, and microplastics! Get 20% off your water purifier by going to AquaTru.com and using promo code SLEEPPROGRESSIVE - With the Name Your Price tool, you tell Progressive how much you want to pay for car insurance, and they'll show you coverage options that fit your budget. Get your quote today at progressive.comTALKIATRY - Talkiatry gives you access to real psychiatric care with licensed clinicians who can diagnose and prescribe medication if it's right for you. It's a simple way to get effective treatment right from home. Head to Talkiatry.com/SLEEP to complete the short assessment and get matched with an in‑network psychiatrist in just a few minutes.QUINCE - Quince Superfood Greens cuts through all the nutrition noise with one simple, daily scoop that helps fill in your nutrient gaps and support your overall health. Head to quince.com/sleepwithme for free shipping and 365-day returns.DRIPDROP - DripDrop is doctor-developed, proven fast hydration that helps your body and mind work better. To get 20% off your first order, go to dripdrop.com and use promo code "sleep".COZY EARTH - Cozy Earth's bamboo sheets are guaranteed to give you a good night's sleep. The wick away heat and moisture to keep you cool in the summer nights. Head to cozyearth.com and use code SLEEP for 20% off! Learn about your ad choices: dovetail.prx.org/ad-choices

It's the 19th century, and a village in northern Michigan is the setting for Adam Bolton's strange, decrepit house, called Haggard House by the community. He's eleven, and his strictly religious mother only allows him to attend the village school after he promises not to be friendly with the other children. They're heathens, she tells him. Adam builds an imaginary house in his mind, so when he meets a little girl who likes him, he can imagine her there. His father is a respected carpenter who leads a sad life because of Adam's over-pious, angry and bitter mother. As a young man Adam escapes for a few years and doesn't learn of his father's murder until he returns. And when he goes against his mother's wishes to marry the woman he loves, everyone pays a price in this well-written tale of madness and piety. Elisabeth Rhoads is the Vice-President of the second largest branch of the California Writers Club—Orange County. Since 2021, she has been a volunteer juror for the Scholastic Writing Awards. She holds her BA in Theatre and has recently been accepted into Chapman University's Creative Writing MFA program, starting in Fall of 2026. Originally from Michigan, she spent two summers working on Mackinac Island, which only allows transport by horse and carriage, foot, or bicycle. Her time on this history-soaked island deeply influenced her, and has inspired many stories, including, in part, Haggard House (Bodger Books, 2025)—and is featured briefly in the novel. She is the author of one novel and has begun a short story series on her Substack, in which she writes a new story each month, based on subscriber prompts. Now living in California with her husband, she enjoys learning Japanese, fermenting foods of all types—although mainly kombucha—and pretends to enjoy exercise-related activities, such as kayaking and running. As someone who grew up within a strict, religious home, her writing reflects the Victorian influences that made up a large part of her family's reading habits, such as Charles Dickens, the Brontë sisters, and Edgar Allen Poe. She hopes that modern readers will find much to connect with, as these old-world literary influences combine with her now much broader view of the world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

It's the 19th century, and a village in northern Michigan is the setting for Adam Bolton's strange, decrepit house, called Haggard House by the community. He's eleven, and his strictly religious mother only allows him to attend the village school after he promises not to be friendly with the other children. They're heathens, she tells him. Adam builds an imaginary house in his mind, so when he meets a little girl who likes him, he can imagine her there. His father is a respected carpenter who leads a sad life because of Adam's over-pious, angry and bitter mother. As a young man Adam escapes for a few years and doesn't learn of his father's murder until he returns. And when he goes against his mother's wishes to marry the woman he loves, everyone pays a price in this well-written tale of madness and piety. Elisabeth Rhoads is the Vice-President of the second largest branch of the California Writers Club—Orange County. Since 2021, she has been a volunteer juror for the Scholastic Writing Awards. She holds her BA in Theatre and has recently been accepted into Chapman University's Creative Writing MFA program, starting in Fall of 2026. Originally from Michigan, she spent two summers working on Mackinac Island, which only allows transport by horse and carriage, foot, or bicycle. Her time on this history-soaked island deeply influenced her, and has inspired many stories, including, in part, Haggard House (Bodger Books, 2025)—and is featured briefly in the novel. She is the author of one novel and has begun a short story series on her Substack, in which she writes a new story each month, based on subscriber prompts. Now living in California with her husband, she enjoys learning Japanese, fermenting foods of all types—although mainly kombucha—and pretends to enjoy exercise-related activities, such as kayaking and running. As someone who grew up within a strict, religious home, her writing reflects the Victorian influences that made up a large part of her family's reading habits, such as Charles Dickens, the Brontë sisters, and Edgar Allen Poe. She hopes that modern readers will find much to connect with, as these old-world literary influences combine with her now much broader view of the world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

It's Christmas in July here on the podcast, and we're back discussing that most eternal of all holiday classics: Charles Dickens' A Christmas Carol. More specifically, we're taking a look at the 1979 made-for-TV movie An American Christmas Carol. This adaptation transposes the story into 1930s New England, where the town miser is Benedict Slade, played by Henry Winkler. The film first aired in December of 1979, in the middle of Happy Days' seventh season, which explains why roughly half of the film takes place during the "Christmas Past" sequence. Winkler was not about to put on the old man makeup any longer than he had to! ALSO! Have they ever done a "Christmas Carol" adaptation starring Dracula? Let's talk about that. Questions/Comments? Email us at XmasCreeps@gmail.comTweet us @ChristmasCreepsVisit us on the web at ChristmasCreeps.com! Join our Discord channel!

Welcome to Season 5 of Storytime for Grownups! This season we are reading David Copperfield by Charles Dickens a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time we'll be reading: Chapter 59Support the show

In this episode of The Autistic Culture Podcast, hosts Dr. Angela Kingdon and Matt Lowry, LPP reframe Hans Christian Andersen—not as the “awkward, difficult” writer he's often portrayed to be, but as a figure whose life and work reflect Autistic culture.

Grab a cold one and settle in, because this week the Tall Boy studio is absolutely packed to the rafters. Hosts Beans, Gaz, and Andy are back together, but they've brought some serious southern hospitality along for the ride. Joining the crew all the way from the Lone Star State are Beans' cousin Beau and his legendary pals Kevin and Ron.The boys are fresh off an epic, whirlwind road trip that saw Beans playing tour guide to three Texans on a historic, beer-soaked journey starting in the heart of London and winding all the way up to the historic streets of Edinburgh.The episode kicks off with the guys landing in London and immediately hitting the bricks. Beau, Kevin, and Ron give their unfiltered first impressions of the UK, before Beans recounts leading them into the dark history of the East End on a chilling Jack the Ripper tour. From there, things took a more musical turn with a mandatory pilgrimage to the iconic Abbey Road crossing (yes, shoes stayed on).But you can't have a Tall Boy road trip without proper pubs, and London delivered. The guys break down their favorite historic watering holes:Finding the hidden gem that is Ye Olde Mitre.Sipping pints at The George, walking the exact same floorboards where Charles Dickens used to drink.Paying respects at The Dolphin, a pub that literally survived being bombed in World War I.Indulging in some candlelit atmosphere and plenty of wine at Gordon's Wine Bar.Next, the crew heads out of the capital. In Windsor, they skipped the usual royal fanfare to hunt down excellent craft beer, hitting up the local independent scene including the fantastic Indie Rabble brewery.Moving on to Oxford, the boys drank in the historic shadows of the university at the legendary Lamb & Flag and tucked themselves away in the hidden courtyard of the Turf Tavern.Then... things got weird in Stratford-Upon-Avon. Expecting a quaint, peaceful afternoon exploring Shakespeare's Birthplace, the boys instead walked straight into what looked like an action movie. Beans and the Texans recount the absolute chaos of witnessing a full-on gang fight and a literal car fire right in the middle of town. Luckily, they found sanctuary in the historic Old Thatched Inn and The Garrick Inn, before settling their nerves with what they collectively agree were world-class, mind-blowing steaks at Loxley's.The road trip officially hits maximum capacity in York, where resident co-host Andy links up with the traveling circus. Andy takes the lead to talk about walking the spectacular medieval York City Walls and marveling at the towering York Minster.Of course, the history lessons quickly returned to true crime and rebellion. The guys share a pint at the very pub where Guy Fawkes was born, before heading over to The Blue Boar Inn to drink a beer right next to the spot where the infamous highwayman Dick Turpin's body lay after his execution. To balance out the history, they also made time for a liquid tribute to indie royalty at the local Stone Roses Bar.The epic journey wraps up across the border in Scotland's capital. The boys tackle the steep cobblestones of the Royal Mile and experience the spooky, theatrical vibes of Frankenstein's monster-themed pub.Beau, Kevin, and Ron give their official, brutally honest verdicts on trying haggis for the very first time at the historic Greyfriars Bobby's Bar, before the group stops for a dramatic pint at the infamous World's End pub. Finally, to cleanse the palate after weeks of traditional ales, the trip concludes on a modern high note: puckering up for some incredible, fruit-forward sour beers at Vault City's cozy taproom, the Wee Vault.It's an episode full of historical deep dives, culture shocks, near-death experiences, and a truly staggering amount of beer.tallboyradio.com

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Welcome to Season 5 of Storytime for Grownups! This season we are reading David Copperfield by Charles Dickens a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time we'll be reading: Chapter 58Support the show

Check out this link to buy DB's Books[link] Season 22 bonus episodes 90-112   Title and Author Brief description 90 “The Empty House” — Algernon Blackwood A classic haunted-house story: two curious visitors enter a long-abandoned house and slowly realize the old violence inside it has not gone away. 91 “The Judge's House” — Bram Stoker A student rents a gloomy old house once owned by a cruel judge, then finds the place still ruled by rats, dread, and a hanging shadow. 92a “Laura” — Saki / H. H. Munro A sharp, darkly funny reincarnation story about a mischievous woman who may return after death in a very inconvenient form. 92b “Man-Size in Marble” — E. Nesbit A newly married couple dismisses a local legend about marble knight effigies that walk at night; this proves unwise. 93 “Phantasmagoria” — Lewis Carroll A comic ghost poem, more playful than frightening, about ghostly rules, manners, and the absurd bureaucracy of haunting. 94 “Schalken the Painter” — Joseph Sheridan Le Fanu A Gothic tale of art, money, and damnation, centered on a young painter, a lost love, and a sinister suitor who may not be alive. 95A “The Shadows on the Wall” — Mary E. Wilkins Freeman After a family death, strange shadows appear on the wall, turning grief, guilt, and suspicion into a supernatural judgment. 95B “Tales of Treasure” — Anonymous A very short treasure-haunting piece; more of a compact eerie anecdote than a full plotted ghost story. 96 “The Trial for Murder” — Charles Dickens A murder victim's ghost appears around the trial of the accused killer, pushing the living world toward justice. 97A “Uncle Abraham's Romance” — E. Nesbit A gentle, melancholy ghost-romance about an old man, a beautiful portrait, and a love story touched by death. 97B “The Beast in the Cave” — H. P. Lovecraft An early Lovecraft story: a man lost in a cave hears something coming through the dark, and the final reveal is grim and human. 98 “The Ebony Frame” — E. Nesbit A haunted-portrait romance in which a woman in an old picture seems able to step out of the frame, but at a terrible cost. 99 “The Red Room” — H. G. Wells A skeptic spends the night in a supposedly haunted room and discovers that the true ghost may be fear itself. 100 “The Bell in the Fog” — Gertrude Atherton A Henry James-flavored Gothic story about an inherited English estate, old portraits, reincarnation, and family tragedy. 101 “The Ghost Club” — John Kendrick Bangs A comic supernatural story about crime, ghosts, and absurd afterlife logic; lighter and more satirical than scary. 102A “A Ghost Story” — Mark Twain Twain turns the haunted-room setup into a comic ghost story, playing with superstition and mistaken identity. 102B “A Psychical Prank” — John Kendrick Bangs Corrected from “Physical Prank.” A humorous Bangs ghost tale built around spiritualism, trickery, and supernatural mischief. 103 “A Midnight Visitor” — John Kendrick Bangs A comic supernatural visit in the night, with Bangs's usual mix of ghosts, manners, and absurd afterlife complications. 104A “A Quicksilver Cassandra” — John Kendrick Bangs Corrected author/title. A satirical ghostly fantasy about prophecy, warning, and not being believed. 104B “The Water Ghost of Harrowby Hall” — John Kendrick Bangs A funny Christmas ghost story about a soggy apparition who floods the ancestral house every year. 105 “The Chromatic Ghosts of Thomas” — Ellis Parker Butler A comic “ghost cat” story involving Thomas the cat and a colorful supernatural problem. 106 “Phantom” — Arnold Bennet       107A “An Astral Onion” — Elia Wilkinson Peattie A strange little supernatural story with Peattie's mix of humor, domestic life, and odd spiritual machinery. 107B “The Haunted Orchard” — Richard Le Gallienne A lyrical ghost story about an orchard haunted by memory, beauty, and possibly the spirit of a young girl. 108 “Glamis Castle” — Elliott O'Donnell A haunted-castle account built around the legends of Glamis, full of old-family dread and spectral atmosphere. 109 “The Return of Imray” — Rudyard Kipling Corrected spelling: Kipling. A colonial ghost/mystery story about a vanished man whose return is not what anyone expects. 110A “Since I Died” — Elizabeth Stuart Phelps A sentimental supernatural piece told from beyond death, focused on grief, love, and the living left behind. 110B “On the Northern Ice” — Elia Wilkinson Peattie A short icy ghost story, also known in some listings as “The Spectre Bride.” 111 “The Withered Arm” — Thomas Hardy A dark rural tale of jealousy, folk belief, class, and bodily curse, with the bleak fatalism Hardy does so well. 112 “The Yellow Wallpaper” — Charlotte Perkins Gilman A woman confined for a “rest cure” becomes obsessed with the room's wallpaper; psychological horror and feminist classic.

Check out this link to buy DB's Books[link] Season 22 bonus episodes 90-112   Title and Author Brief description 90 “The Empty House” — Algernon Blackwood A classic haunted-house story: two curious visitors enter a long-abandoned house and slowly realize the old violence inside it has not gone away. 91 “The Judge's House” — Bram Stoker A student rents a gloomy old house once owned by a cruel judge, then finds the place still ruled by rats, dread, and a hanging shadow. 92a “Laura” — Saki / H. H. Munro A sharp, darkly funny reincarnation story about a mischievous woman who may return after death in a very inconvenient form. 92b “Man-Size in Marble” — E. Nesbit A newly married couple dismisses a local legend about marble knight effigies that walk at night; this proves unwise. 93 “Phantasmagoria” — Lewis Carroll A comic ghost poem, more playful than frightening, about ghostly rules, manners, and the absurd bureaucracy of haunting. 94 “Schalken the Painter” — Joseph Sheridan Le Fanu A Gothic tale of art, money, and damnation, centered on a young painter, a lost love, and a sinister suitor who may not be alive. 95A “The Shadows on the Wall” — Mary E. Wilkins Freeman After a family death, strange shadows appear on the wall, turning grief, guilt, and suspicion into a supernatural judgment. 95B “Tales of Treasure” — Anonymous A very short treasure-haunting piece; more of a compact eerie anecdote than a full plotted ghost story. 96 “The Trial for Murder” — Charles Dickens A murder victim's ghost appears around the trial of the accused killer, pushing the living world toward justice. 97A “Uncle Abraham's Romance” — E. Nesbit A gentle, melancholy ghost-romance about an old man, a beautiful portrait, and a love story touched by death. 97B “The Beast in the Cave” — H. P. Lovecraft An early Lovecraft story: a man lost in a cave hears something coming through the dark, and the final reveal is grim and human. 98 “The Ebony Frame” — E. Nesbit A haunted-portrait romance in which a woman in an old picture seems able to step out of the frame, but at a terrible cost. 99 “The Red Room” — H. G. Wells A skeptic spends the night in a supposedly haunted room and discovers that the true ghost may be fear itself. 100 “The Bell in the Fog” — Gertrude Atherton A Henry James-flavored Gothic story about an inherited English estate, old portraits, reincarnation, and family tragedy. 101 “The Ghost Club” — John Kendrick Bangs A comic supernatural story about crime, ghosts, and absurd afterlife logic; lighter and more satirical than scary. 102A “A Ghost Story” — Mark Twain Twain turns the haunted-room setup into a comic ghost story, playing with superstition and mistaken identity. 102B “A Psychical Prank” — John Kendrick Bangs Corrected from “Physical Prank.” A humorous Bangs ghost tale built around spiritualism, trickery, and supernatural mischief. 103 “A Midnight Visitor” — John Kendrick Bangs A comic supernatural visit in the night, with Bangs's usual mix of ghosts, manners, and absurd afterlife complications. 104A “A Quicksilver Cassandra” — John Kendrick Bangs Corrected author/title. A satirical ghostly fantasy about prophecy, warning, and not being believed. 104B “The Water Ghost of Harrowby Hall” — John Kendrick Bangs A funny Christmas ghost story about a soggy apparition who floods the ancestral house every year. 105 “The Chromatic Ghosts of Thomas” — Ellis Parker Butler A comic “ghost cat” story involving Thomas the cat and a colorful supernatural problem. 106 “Phantom” — Arnold Bennet       107A “An Astral Onion” — Elia Wilkinson Peattie A strange little supernatural story with Peattie's mix of humor, domestic life, and odd spiritual machinery. 107B “The Haunted Orchard” — Richard Le Gallienne A lyrical ghost story about an orchard haunted by memory, beauty, and possibly the spirit of a young girl. 108 “Glamis Castle” — Elliott O'Donnell A haunted-castle account built around the legends of Glamis, full of old-family dread and spectral atmosphere. 109 “The Return of Imray” — Rudyard Kipling Corrected spelling: Kipling. A colonial ghost/mystery story about a vanished man whose return is not what anyone expects. 110A “Since I Died” — Elizabeth Stuart Phelps A sentimental supernatural piece told from beyond death, focused on grief, love, and the living left behind. 110B “On the Northern Ice” — Elia Wilkinson Peattie A short icy ghost story, also known in some listings as “The Spectre Bride.” 111 “The Withered Arm” — Thomas Hardy A dark rural tale of jealousy, folk belief, class, and bodily curse, with the bleak fatalism Hardy does so well. 112 “The Yellow Wallpaper” — Charlotte Perkins Gilman A woman confined for a “rest cure” becomes obsessed with the room's wallpaper; psychological horror and feminist classic.

Welcome to Season 5 of Storytime for Grownups! This season we are reading David Copperfield by Charles Dickens a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time we'll be reading: Chapter 57Support the show

Il était le plus grand écrivain de son époque. Charles Dickens, auteur d'Oliver Twist et de David Copperfield a longtemps été considéré comme un modèle de décence et de morale. Pourtant, pendant 13 ans, il a connu un amour passionné avec une actrice de près de 30 ans sa cadette. Ellen Ternan, femme de l'ombre, mystérieuse, qui a vécu sa vie dans le secret. Un podcast Bababam Originals Ecriture et voix : Alice Deroide Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Season 5 of Storytime for Grownups! This season we are reading David Copperfield by Charles Dickens a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time we'll be reading: Chapter 56Support the show

Well guess who's back on Rick Flynn Presents again this week? PAM LEWIS returns to show us a different side of herself as she speaks on re-inventing herself.She was honored in 2023 by becoming a distinguished fellow of the Royal Society of Arts (FRSA) during Queen Elizabeth II's Platinum Jubilee Celebration year. Founded in 1754, The Royal Society of Arts fellows include Stephen Hawking, Benjamin Franklin, Charles Dickens, Helen Keller, and Margaret Thatcher. Lewis is also a U.S. Ambassador for The Unity of Faiths Foundation (TUFF) as well as a member of the Churchill Society. In June of the same year, she was the guest keynote speaker with TUFF co-founder Dr. Shamender Talwar at the annual Professional Learning Conference held at MTSU.Lewis' charitable board work is extensive and has included The Tennessee State Museum, Tennessee First Lady Andrea Conte's “You Have The Power,” BRIDGES Domestic Violence Center, Franklin's Charge, Sister Cities of Franklin, Friend of Franklin Parks, Belmont Mansion, Nashville City Cemetery Board, Franklin's Historic Battlefield Commission, the ARC Board, the Tennessee Preservation Trust, the mayor-appointed Franklin Housing Commission, and the Franklin Civil War Historical Commission.Her other community outreach efforts include historic preservation and global green space causes, women and children's advocacy, educational scholarships, fair housing and environmental, and animal rights protection. Her foundation has given away hundreds of thousands of dollars to numerous charities over the last 10 years.Contact: www.plamedia.com

Welcome to Season 5 of Storytime for Grownups! This season we are reading David Copperfield by Charles Dickens a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo check out Fancy Little Corner, mentioned in this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time we'll be reading: Chapter 55Support the show

Welcome to Season 5 of Storytime for Grownups! This season we are reading David Copperfield by Charles Dickens a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo check out Fancy Little Corner, mentioned in this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time we'll be reading: Chapter 54Support the show

Welcome to Season 5 of Storytime for Grownups! This season we are reading David Copperfield by Charles Dickens a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time we'll be reading: Chapter 53Support the show

Daniel Rood, author of In the Shadow of the Great House, explains that enslaved people like Suki provided the essential "intellectual labor" and agricultural expertise required for successful plantations. Despite this, the domestic slave trade treated two million people as speculative property between 1820 and 1860. Charles Dickens famously witnessed the heartbreak of families being separated on trains for the sake of "short-term profits." This human trafficking machine was fueled by planters chasing high-margin crops like cotton while maintaining a delusion of lifelong stability. (13)1806

SCHEDULE JBS, 7-3-2026.1880 LIMERICKFitzhugh Brundage, author of A Fate Worse Than Hell, discusses the capture of three black sailors from the Isaac Smithin 1863, which forced the Confederacy to decide if black men in uniform were POWs or runaway slaves. While white sailors were quickly exchanged, the Confederacy refused to trade black captives, viewing them as participants in a servile insurrection. A smuggled letter from the sailors eventually reached Washington, contributing to the halt of systematic prisoner exchanges by the spring of 1863. This shift compelled both sides to become long-term custodians of captives. (1)Fitzhugh Brundage, author of A Fate Worse Than Hell, explains that prisoner exchanges were based on 18th-century European customs that sought to prevent the execution or enslavement of captured enemies. Armies used a calculus to trade soldiers, such as equating one colonel to twenty privates to ensure equity. When capture numbers were uneven, the parole system allowed surplus soldiers to return home on the condition they not fight until formally exchanged. This formalized process aimed to keep warfare humane and efficient for both sides until political tensions arose. (2)Fitzhugh Brundage, author of A Fate Worse Than Hell, details how Confederate official John Winder, a West Pointerfrom Maryland, supervised the detention of Union prisoners in Richmond. He oversaw the conversion of industrial structures, like the Libby Prison tobacco warehouse, into overcrowded holding pens for Union officers. These facilities lacked basic amenities, including latrines and protection from the elements, leading to rapid physical deterioration for thousands. Winder, often viewed as a military martinet, prioritized bureaucracy over prisoner welfare as the captive population ballooned beyond Richmond's capacity. (3)Fitzhugh Brundage, author of A Fate Worse Than Hell, describes how Union administrator William Hoffman managed Northern prisons with a focus on extreme cost-savings, even diverting ration funds into camp improvements. Meanwhile, the Lieber Code (General Order 100) was drafted to codify humane treatment for POWs and civilians. However, it included a "military necessity" loophole that allowed commanders to bypass these protections in dire situations. The Confederacy denounced this code as illegal window dressing for the Union's conduct during the ongoing conflict. (4)Fitzhugh Brundage, author of A Fate Worse Than Hell, explains that following the Battle of Gettysburg, the breakdown of exchanges necessitated large-scale prisoner concentration. Andersonville was established in remote Georgia to alleviate the burden on Richmond's food supply and reduce guard requirements. Prisoners like N. Burch endured grueling train transports without hygiene or food to reach the stockade. Conversely, the Union created Point Lookout in Maryland as a retaliatory concentration camp, forcing thousands of Confederates to live in inadequate tents on a sand spit. (5)Fitzhugh Brundage, author of A Fate Worse Than Hell, recounts how, following the Battle of the Crater, black Unionsoldiers like Isaac Gaskins faced extreme humiliation and the threat of enslavement. The Confederacy often refused to recognize black men in uniform as soldiers, instead treating them as rebellious property to be returned to owners or used for forced labor. By late 1864, the Confederate military became the South's largest enslaver. Gaskins survived his ordeal in Danville by being used as a laborer, a fate shared by many black captives. (6)Fitzhugh Brundage, author of A Fate Worse Than Hell, describes how Andersonville became a death camp where 35,000 men were crammed into a space with no shelter and polluted water. Commander Henry Wirz oversaw a site where over 100 men died daily from starvation and disease. After the war, Wirz was prosecuted for war crimes, arguing unsuccessfully that he was only following orders from superiors like Winder. His execution set an international precedent for military accountability and helped shape the future Geneva Conventions. (7)Fitzhugh Brundage, author of A Fate Worse Than Hell, reflects on how the remains of prisoners became symbols of uneasy national memory, with many sites like Camp Douglas in Chicago resulting in unmarked mass graves. At Andersonville, nearly 14,000 Union soldiers perished, a death toll exceeding the Union losses at Gettysburg. Thanks to a secret list kept by a prisoner, Clara Barton and others were able to identify 13,000 of the dead. Today, the site is a national cemetery marked by rows of numbered stones, serving as a poignant pilgrimage site. (8)Daniel Rood, author of In the Shadow of the Great House, recounts how, in 1933, agronomist Wofford Camp led the Associated Farmers of California to violently suppress cotton worker strikes in the Central Valley. This conflict represented the "cutting edge" of plantation capitalism, which Rood traces back to 17th-century Barbados. Figures like John Yeamans established the model of using manufacturing technology and enslaved labor to produce high-profit export crops like sugar. This system viewed labor as disposable and sought modern, lower-cost production for global markets. (9)Daniel Rood, author of In the Shadow of the Great House, argues that the modern link between race and slavery was a conscious creation by planters to secure a lifelong, reproductive workforce. Philosopher John Locke codified this in Carolina's founding documents, granting freemen absolute authority over black slaves regardless of their religion. This prevented enslaved people from using Christian conversion as a path to freedom. This "fictional" racial category was reinforced by early slave codes in Virginia to ensure the perpetual growth of plantation profits. (10)Daniel Rood, author of In the Shadow of the Great House, explains that American founders like Thomas Jefferson lived in a state of "incoherence," advocating for liberty while fearing a genocide of white people if slaves were freed. Early Virginia history shows a decline in freedom, as African-born men like Anthony Johnson initially owned land before legal opportunities were narrowed. Nathaniel Bacon's 1676 rebellion further entrenched racial hierarchy by demanding the expulsion of Native Americans to secure more land for an unending supply of enslaved labor. (11)Daniel Rood, author of In the Shadow of the Great House, describes how, during the Siege of Yorktown, Cornwallisprioritized British sugar profits in Jamaica over the lives of thousands of black refugees, pushing them out to starve or face recapture. In contrast, the American "patriots" used human property as a military recruitment tool, offering poor white soldiers land and "one healthy sound negro" for their service. This strategy hardened the link between slavery and freedom for white Americans, ensuring the plantation system's survival long after the Revolution concluded. (12)Daniel Rood, author of In the Shadow of the Great House, explains that enslaved people like Suki provided the essential "intellectual labor" and agricultural expertise required for successful plantations. Despite this, the domestic slave trade treated two million people as speculative property between 1820 and 1860. Charles Dickens famously witnessed the heartbreak of families being separated on trains for the sake of "short-term profits." This human trafficking machine was fueled by planters chasing high-margin crops like cotton while maintaining a delusion of lifelong stability. (13)Daniel Rood, author of In the Shadow of the Great House, recounts how, during the Civil War, General Shermantargeted "great houses" like that of Confederate politician Howell Cobb for destruction to cripple the planter class. Field Order 15 initially provided a path for land reform by settling refugees on abandoned plantations, but the policy was reversed by Andrew Johnson after Lincoln's assassination. Planters regained their property, and formerly enslaved families were evicted and forced into exploitative labor contracts, representing a tragic "lost opportunity" for reconstruction. (14)Daniel Rood, author of In the Shadow of the Great House, traces how the plantation system evolved globally, with Cubabecoming a sugar powerhouse using industrial steam technology after the Haitian Revolution. In modern Brazil, multinational corporations like BP and Cargill run "mammoth sugar farms" using unfree contract labor for ethanol production. Similarly, California's agricultural boom relied on the Bracero program and guest workers who lacked political rights. This modern planter class continues to prioritize investor profits over the stability and rights of their laborers. (15)Daniel Rood, author of In the Shadow of the Great House, reveals that the University of Georgia's Baldwin Hall was built over an unacknowledged burial ground for enslaved people. Although the university initially claimed the remains were European, DNA analysis and archival research proved they were of African descent. This attempt to "re-bury the history" illustrates the ongoing need to escape the shadow of the great house by embracing the truth of the past. Roodargues for an anti-plantation counterculture that values human relationships over "breakneck exploitation." (16)All 16 formatted, John — Fitzhugh Brundage throughout (added to the standing correction log alongside the earlier "Fitz" flag), book titles italicized, single paragraphs, numbered at the tail.

Preview: Professor Daniel Rood discusses Charles Dickens' historical American tour and his observations of the brutal overland slave trade. Rood describes Dickens' harrowing account of witnessing a mother and children separated from their family by sale. This poignant encounter illustrates the profound human suffering inherent within the expanding southern plantation economy.1850 LOWELL MASS

Clare joins Alistair MacNichol for part of his long‑distance walk from Holborn in London to Tong in Shropshire as he recreates the journey made by Little Nell and her grandfather from Charles Dickens's novel The Old Curiosity Shop. The 166‑mile route has been meticulously researched by Alistair, who for many years has questioned whether this fictional adventure could ever be mapped onto real English landscapes.Preparing for the walk has taken him deep into Dickens's world: re‑examining the novel, studying nineteenth‑century maps, and delving into many decades of Dickensian research. He has even carefully traced Dickens's own travels through the Midlands using the author's diary entries and letters.Alistair hopes to complete the walk in eleven days. As a veteran of long‑distance trail walking, including a 1,514‑mile hike from Cape Cornwall to Cape Wrath, the challenge is well within his reach, although averaging a little under fifteen miles per day represents a considerable test.Clare joins him for part of day six, walking from Wroxton in Oxfordshire to Warmington in Warwickshire, and asks how his twin passions for walking and the works of Charles Dickens have come together in this, his latest adventure.Presenter: Clare Balding Producer: Karen Gregor

Welcome to Season 5 of Storytime for Grownups! This season we are reading David Copperfield by Charles Dickens a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time we'll be reading: Chapter 52Support the show

When the supernatural seeps into our world, it doesn't just leave behind fear—it can also leave sickness. From shadowy visitors to ominous dreams, some eerie paranormal encounters suggest that the price of witnessing the unknown may be paid in flesh and blood.EPISODE BLOG PAGE (includes sources): https://weirddarkness.com/SupernaturalSicknessREAD or DOWNLOAD the full transcript of this episode: https://weirddarkness.tiny.us/hp3ua63cFEATURED STORIES IN THIS EPISODE: When the supernatural intrudes into our lives, it's not just our minds that are affected. We'll delve into a few bizarre cases where individuals fell gravely ill after brushes with the paranormal. Is it coincidence? Or something more sinister? And could these illnesses be due to the paranormal literally draining us of life? (Supernaturally Sick, Paranormally Poisoned) *** Helen Duncan made a living from conducting séances—until her uncanny knowledge of classified World War II tragedies spooked British authorities. (Britain's Last Witch) *** Jeremy Bentham was a philosopher whose ideas about mortality and utility extended beyond death. Bentham's wish for his body to be preserved and displayed as an "auto-icon" – so it could be seen publicly by all. And while his wishes were granted, it came with a few hiccups along the way… mostly with his poor head. (The Strange Story of Mr. Bentham's Corpse) *** Annie Dorman was discovered lifeless with a gunshot wound, sending shockwaves through her tight-knit community. Suicide seemed improbable, leaving detectives baffled and family perplexed. Was it a crime of passion, an accident, murder… or truly suicide? In a similar case, just a few years later, in the serene countryside of Greenwich, New York, the lifeless form of Maggie Hourigan is found, floating in a tranquil pool, speculation runs rampant. Were these cases suicide, as hastily concluded, horrible accidents… or sinister murders? (The Mysterious Deaths of Annie Dorman and Maggie Hourigan) *** AND MORE!CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = The Foreboding00:02:11.442 = Show Open00:04:40.830 = Supernaturally Sick, Paranormally Poisoned00:21:39.741 = The Mysterious Deaths of Annie Dorman and Maggie Hourigan ***00:34:55.265 = Britain's Last Witch ***00:43:19.651 = The Strange Story of Mr. Bentham's Corpse00:54:21.727 = Eccentric Habits of History's Elite ***01:04:25.454 = Show Close*** = Begins immediately after inserted ad breakLISTEN ON PODCAST APPS: Look for this podcast on Apple Podcasts, Spotify, iHeart Radio, Amazon Music, Pandora, TuneIn Radio, and other podcast apps. Get a list of free listening apps here: https://weirddarkness.com/wdapps*No AI Voices Are Used In The Narration Of This Podcast*SOURCES and RESOURCES:“Supernaturally Sick, Paranormally Poisoned” by Nick Redfern for Mysterious Universe:https://weirddarkness.tiny.us/6bu93dju“The Mysterious Deaths of Annie Dorman and Maggie Hourigan” by Robert Wilhelm for Murder By Gaslight:https://weirddarkness.tiny.us/meu37k4m; https://weirddarkness.tiny.us/4y9mn9a4“The Strange Story of Mr. Bentham's Corpse” by Melissa Sartore for Weird History: https://weirddarkness.tiny.us/yt6uetju“Britain's Last Witch” by Parissa Djangi for National Geographic: https://weirddarkness.tiny.us/2p8by87t“Eccentric Habits of History's Elite” by John Munoz for ListVerse: https://weirddarkness.tiny.us/bdh2dw3x(Over time links may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)WeirdDarkness® is a registered trademark. Copyright ©2026, Weird Darkness.Originally aired: April 17, 2024Weird Darkness gathers five accounts in this episode: people who fell gravely ill within days of a paranormal encounter, two unsolved deaths of young women in the late nineteenth century, a wartime medium jailed for witchcraft, a philosopher who arranged to have his own corpse put on permanent display, and the private oddities of history's most famous figures.It opens with the argument that anemia and anorexia-like wasting can follow a paranormal encounter within hours or days. The Franciscan monk Joseph McCabe, who died in 1955, catalogued dozens of people who developed anemia soon after nighttime visits he blamed on the Mesopotamian demons Lilu and Lilitu. Albert Bender, the Bridgeport, Connecticut man who launched the Men in Black mystery in the early 1950s, endured migraines, stomach pain, memory lapses, and sharp weight loss after three phantom figures ordered him to drop his UFO research, then recovered, married, and lived to 94. In 1982, a fourteen-year-old named Robbie watched a flat black shadow crawl across his bedroom ceiling in Beckenham, Kent, was hospitalized with meningitis, and months later collapsed from acute anemia. Jim Harpur opened his door to two black-eyed children outside Orlando, Florida in March 2008 and was diagnosed with type 2 diabetes three weeks afterward. In Nova Scotia, Michelle came down with severe ulcerative colitis two days after a vivid Slenderman dream in January 2017. The longest case belongs to Alison, a seventeen-year-old in Texas who shed roughly twenty pounds in six weeks in 1998 while a tall, pale Woman in Black appeared at her bedside each night, starting days after she and two friends used a Ouija board; sea salt and sage spread through the house ended the visits, and she recovered.From there, the episode turns to two deaths that juries could not explain. Maggie Hourigan, a 19-year-old servant in Greenwich, New York, was found floating face-down in a roadside pool on October 20, 1889; a first autopsy by Dr. S. Walter Scott ruled drowning and suicide, but a second team found a head wound inflicted before she entered the water, and Dr. Scott later sued the New York Sun for libel over its coverage and won a $6,000 settlement. Eight years later and a state away, 18-year-old Annie Dorman was found shot dead in her half-brother John Dorman's farmhouse near Cobb's Creek, Philadelphia, on September 1, 1897; the rusty pistol that killed her sat unused on a high shelf the five-foot-tall victim could not reach without standing on furniture that had not been moved, it had been fired five times, and the coroner ruled she was shot by a person unknown.Next comes Helen Duncan, the Scottish medium nicknamed Hellish Nell, who produced ectoplasm and channeled spirit guides named Peggy and Albert at séances across wartime Britain. In May 1941 she announced the loss of the H.M.S. Hood before the public knew, and that November she described the sinking of the H.M.S. Barham, which the government withheld until January 1942. Authorities arrested her at a Portsmouth sitting and tried her at London's Old Bailey beginning March 23, 1944 under the 1735 Witchcraft Act; a jury convicted her on April 3, and she became the last person imprisoned under that law, serving her sentence at Holloway Prison while Winston Churchill dismissed the case as obsolete tomfoolery.After that, the episode examines Jeremy Bentham, the English philosopher born in 1748 who asked that his body be dissected, preserved, and displayed as what he called an auto-icon. Dr. Thomas Southwood Smith carried out the dissection three days after Bentham died on June 6, 1832, but his attempt to preserve the head with sulfuric acid and an air pump left it leathery and discolored, so a wax replacement by the French artist Jacques Talrich was fitted to the seated skeleton. The figure went on display at University College London, where students stole the real, shriveled head in 1975 and returned it after the university paid £10 against their £100 charity demand; the head later served as a soccer ball before being moved to a climate-controlled storeroom in 2002.The episode closes with ten eccentric routines of the wealthy and famous. Howard Hughes wore tissue boxes over his feet and wrote a manual instructing employees how to prepare and serve a can of peaches; Nikola Tesla fed pigeons in New York parks and called one white pigeon his muse; Salvador Dalí napped in a chair holding a key over a metal plate so its clatter would wake him; Marlon Brando dropped ice into hot coffee to drink it at once; Queen Elizabeth I whitened her skin with a mix of white lead and vinegar; Andy Warhol ate McDonald's nearly every day for two decades; Benjamin Franklin sat naked by open windows for what he called air baths; Michael Jackson traveled with a pet elephant named Gypsy on his Bad tour; Charles Dickens walked miles through London at night to feed his writing; and Albert Einstein gave up socks because his shoes already covered his feet.

A man reads about a murder in his morning paper over breakfast in his Piccadilly rooms. That should be the end of it. But something follows him from that reading — something that refuses to stay on the page. And when fate places him in the jury box at the murder trial itself, he begins to count his fellow jurymen, there there should be twelve, he counts thirteen... Dickens wrote this story with a title that is itself a warning. Whether you take that warning as a comment on the narrator, on the law, or on the nature of what follows, is a question the story leaves carefully unanswered. *"To Be Taken with a Grain of Salt"* was first published in the Christmas 1865 edition of *All the Year Round*, Dickens's own literary journal, as part of a collection entitled *Doctor Marigold's Prescriptions*. It was later republished under the titles *The Trial for Murder* and *The Thirteenth Man*. Charles Dickens (1812–1870) was born in Portsmouth and is widely regarded as the greatest English novelist of the Victorian era. He was also one of the finest writers of ghost stories in the language, and this story was considered the definitive English ghost story for decades, before M.R. James arrived to claim that title. The Classic Ghost Stories Newsletter — short essays on the genre, odd discoveries, and recommendations. Free, fortnightly. Subscribe: https://www.classicghost.com/#/portal To. buy my paperback books: https://books.by/tony-walker-books To buy my ebooks and audiobooks: payhip.com/TheClassicGhostStoriesPodcast Or, if you'd just like to make a one-off gesture of thanks for my work https://buymeacoffee.com/10mn8sk *Intro and Outro Music by The Heartwood Institute*

Welcome to Season 5 of Storytime for Grownups! This season we are reading David Copperfield by Charles Dickens a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time we'll be reading: Chapter 51Support the show

Welcome to Season 5 of Storytime for Grownups! This season we are reading David Copperfield by Charles Dickens a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time we'll be reading: Chapter 50Support the show

Welcome to Season 5 of Storytime for Grownups! This season we are reading David Copperfield by Charles Dickens a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time we'll be reading: Chapter 49Support the show

Welcome to Season 5 of Storytime for Grownups! This season we are reading David Copperfield by Charles Dickens a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time we'll be reading: Chapter 48Support the show

The latest public version of ChatGPT can be made to generate sexualised images or depict scenes of graphic violence with a simple prompt, researchers have told the BBC. British AI security startup Mindgard figured out how to make ChatGPT create graphic pictures by slightly altering a widely-shared instruction, or prompt, which was originally designed to produce humorous results. To find out more, Anita Rani speaks to Technology correspondent Chris Vallance and Mindgard's Peter Garraghan. A spokesperson for Open AI said: "We take these reports seriously. After investigating this trend, we've introduced additional safeguards against this type of prompt. Our safety systems are designed to block potentially harmful images that are uploaded to ChatGPT and we analyse whether the AI generated image violates our policies before we show the image to the user. We also combine automated systems and human review to identify and block harmful material.”Jon Snow, the lead presenter of Channel 4 News for 32 years, has revealed he has Alzheimer's disease. During his career, he reported on stories including the fall of the Berlin Wall, the release of Nelson Mandela and Barack Obama's inauguration, receiving numerous awards including the BAFTA Fellowship in 2015. In a new Channel 4 documentary, made in conjunction with the Alzheimer's Society, Jon Snow: A Last Big Story, he is seen uncovering an environmental disaster in Zambia. In her first broadcast interview since the diagnosis was announced, Jon's wife, Dr Precious Lunga, joins Anita to talk about how they are navigating life now. Testing the microbiome of your vagina is increasing in popularity, with direct-to-consumer companies offering at-home tests and claiming that this information is critical to women's health. Anita speaks with Dame Lesley Regan, Professor of Obstetrics and Gynaecology at Imperial College London, and Dr Caroline Mitchell, Professor of Obstetrics, Gynaecology and Reproductive Biology at Harvard Medical School, to discuss what we know about the vaginal microbiome and the recent surge in private testing. New novel Mrs Dickens by Emily Howes, tells the imagined story of Kate Hogarth, wife of the writer and journalist Charles Dickens. She is much loved at first, but as Charles finds fame and the family rise through the ranks of Victorian society, Charles's attitude towards Kate changes and she is devastated. Emily talks to Anita about how she pieced together and embellished the invisible life of Kate, a woman who bore Charles 10 children during a 22-year marriage and had an unparalleled view of one of the world's greatest writers.Presenter: Anita Rani Producer: Corinna Jones

Welcome to Season 5 of Storytime for Grownups! This season we are reading David Copperfield by Charles Dickens a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To submit a question or comment about this episode, click hereTo visit the merch store, click hereTo become a Storytime for Grownups member and gain access to our online community and monthly voice chats, click hereTo visit the Storytime for Grownups webpage, click hereTo learn more about your host, Faith Moore, click hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo support the show financially, click hereNext time we'll be reading: Chapter 47Support the show

Let's continue our sojourn to sleep through a month of travel readings with more from Charles Dickens and his tour through Italy. This time, we conclude our visit to Genoa, have a strange experience with puppets, an even stranger visit to Marseilles, and consider that things are often more beautiful seen from a distance. Truth indeed.   Help us stay ad-free and 100% listener-supported! Patreon: https://www.patreon.com/boringbookspod Buy Me a Coffee: https://www.buymeacoffee.com/d5kcMsW   Read "Pictures from Italy" by Charles Dickens at Project Gutenberg: https://www.gutenberg.org/ebooks/650   Music: "Peace," by Lee Rosevere, licensed under CC BY, https://leerosevere.bandcamp.com   If you'd like to suggest a copyright-free reading for soft-spoken relaxation to help you overcome insomnia, anxiety and other sleep issues, connect on our website, https://www.boringbookspod.com.