Podcasts about editors

Billabong Presents… Smiv and Deadly reflect on the once great Waves Magazine revealing the former Editors who shivved it in the neck in a story straight outta Greek Mythology. PLUS: An exclusive first look at the Sacred Fanning Scriptures - a parchment so biblical Christopher Nolan might use it as his next major film project! Shane Dorian gets absolutely demo’d into shallow Indo reef! Bali locals have had a gutful of pissed touro gronks! And the great Indo Conefest is about to fire up!See omnystudio.com/listener for privacy information.

Today on The Editors, Rich, Charlie, Michael, and Phil discuss the Democratic Socialists of America's desire to overturn the American system as we know it, Lindsey Graham's sister Darline, and Christopher Nolan's The Odyssey. Editors' Picks: Rich: Phil's post "Where Christopher Nolan's Odyssey Succeeds and Fails" Charlie: John Gustavsson's piece "Andy Burnham Is Bad News for British Business" MBD: Armond White's piece "The Odyssey — the Twisted Epic We Deserve" Phil: Jeff's Carnival of Fools "The Democratic Odyssey Moves to America's Dairyland" Light Items: Rich: New Minions movie Charlie: Chad Powers MBD: August vacation Phil: Deck sealing Sponsors:Made InVaer This podcast was edited and produced by Sarah Colleen Schutte. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Editors unpack the Global Air & Space Chiefs Conference in London, breaking down the Storm Fighter CCA program, space launch infrastructure issues and more, plus what to expect from Farnborough Airshow.

Today on The Editors, Rich, Charlie, Noah, and Dan discuss Trump's Thursday night speech, JD Vance's appearance on Joe Rogan's podcast, and much more.  Editors' Picks: Rich: Luther's post “Let the Flyboys Fly” Charlie: Dan's magazine piece “Something Is Going to Happen” Noah: Phil Klein's post “Where Christopher Nolan's Odyssey Succeeds and Fails” Dan: Melissa Langsam Braunstein's magazine piece “Fighting the New Antisemitism” Light Items: Rich: The Odyssey Charlie: SeaWorld Noah: Work event Dan: Bad air Sponsors:Made InVaer This podcast was edited and produced by Sarah Colleen Schutte. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The Page One Podcast, produced and hosted by author Holly Lynn Payne, celebrates the craft that goes into writing the first sentence, first paragraph and first page of your favorite books. The first page is often the most rewritten page of any book because it has to work so hard to do so much—hook the reader. We interview master storytellers on the struggles and stories behind the first page of their books. About the guest author: Julie Carrick Dalton is a New England journalist and farmer. Her debut novel WAITING FOR THE NIGHT SONG launched in January, 2021 as a CNN, USA Today, Newsweek, Parade, and Buzzfeed Most Anticipated 2021 Book, and was an Amazon Editor's Pick for Best Books of the Month. Her writing has appeared in The Boston Globe, BusinessWeek, The Hollywood Reporter, Electric Literature, The Chicago Review of Books, Orion Magazine, Lit Hub, and other publications. She contributes to DeadDarlings, The Writer Unboxed, and GrubStreet's writer's blogs. Her second novel, THE LAST BEEKEEPER, was released in 2023. Mom to four kids and two dogs, Julie also owns and operates a 100-acre farm. When she isn't writing or digging in the dirt, you can probably find her kayaking in New Hampshire or walking in the woods hunting for mushrooms. About the host: Holly Lynn Payne is an award-winning novelist and writing coach, and the former CEO and founder of Booxby, a startup that built an AI book discovery platform with a grant from the National Science Foundation. She is an internationally published author of four historical fiction novels. Her debut, The Virgin's Knot, was a Barnes & Noble Discover Great New Writers book. Her latest book, Rose Girl: A Story of Resilience and Rumi, a medieval, mystical thriller was awarded a Kirkus (starred) review and named Editors Choice from the Historical Novel Society. Holly lives on a houseboat near the Golden Gate Bridge with her daughter and Labrador retriever, and enjoys mountain biking, hiking, swimming and pretending to surf. To learn more about her books and writing coaching services, please visit her at hollylynnpayne.com  and subscribe to her FREE weekly mini-masterclass, Power of Page One, a FREE newsletter on Substack, offering insights on becoming a better storyteller and tips on hooking readers from page one! (And bonus: discover some great new books!) Tune in and reach out: If you're an aspiring writer or a book lover, this episode of Page One offers a treasure trove of inspiration and practical advice. I offer these conversations as a testament to the magic that happens when master storytellers share their secrets and experiences. We hope you are inspired to tune into the full episode for more insights. Keep writing, keep reading, and remember—the world needs your stories.  If I can help you tell your own story, or help improve your first page, please reach out @hollylynnpayne or visithollylynnpayne.com.  You can listen to Page One on Apple podcasts, Spotify, Pandora, Stitcher and all your favorite podcast players. Hear past episodes. If you're interested in getting writing tips and the latest podcast episode updates with the world's beloved master storytellers, please sign up for my very short monthly newsletter at hollylynnpayne.com and follow me @hollylynnpayne on Instagram, Twitter, Goodreads, and Facebook. Your email address is always private and you can always unsubscribe anytime.  The Page One Podcast is created on a houseboat in Sausalito, California, is a labor of love in service to writers and book lovers. My intention is to inspire, educate and celebrate. Thank you for being a part of my creative community!  Be well and keep reading, Holly @hollylynnpayne on IG Thank you for listening to the Page One Podcast! I hope you enjoyed this episode as much as I loved hosting, producing, and editing it. If you liked it too, here are three ways to share the love:Please share it on social and tag @hollylynnpayne.Leave a review on your favorite podcast players. Tell your friends. Please keep in touch by signing up to receive my Substack newsletter with the latest episodes each month. Delivered to your inbox with a smile. You can contact me at @hollylynnpayne on IG or send me a message on my website, hollylynnpayne.com.For the love of books and writers,Holly Lynn Payne@hollylynnpaynehost, author, writing coachwww.hollylynnpayne.com

Maroon 5 - This Love Joan Jett And The Blackhearts - I Love Rock'N'Roll Linkin Park - One Step Closer The Warning - Hell You Call A Dream Kaiser Chiefs - Ruby Junior Senior - Move Your Feet Anastacia - I'm Outta Love ABC - The Look Of Love Toploader - Dancing In The Moonlight Freeez - I.O.U. Editors - Munich Stereophonics - Dakota Bloc Party Banquet The Police - De Do Do Do De Da Da Da Moon Martin - Bad News Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Each month, we will highlight a paper published in Aging chosen as the “Editors' Choice.” These selections are handpicked by our editors and accompanied by a brief summary, showcasing research with significant impact and novel insights in aging and age-related diseases. Cellular senescence is a hallmark of aging and age-related disease, yet the diverse mechanisms that trigger this cellular state remain incompletely understood. The review recently published in Volume 18 of Aging, titled “The multifaceted inducers of cellular senescence,” examines the many intrinsic and extrinsic stimuli that induce senescence, including DNA damage, oxidative and mitochondrial stress, telomere attrition, oncogene activation, cell–cell fusion, and developmental signals. The authors, Hilah Gal and Valery Krizhanovsky, explain how these distinct pathways converge on a stable cell-cycle arrest. By highlighting the complexity and heterogeneity of senescent cells, the authors provide valuable insights that may guide the development of future therapies targeting senescence to promote healthy aging and combat age-related diseases. DOI - https://doi.org/10.18632/aging.206391 Corresponding author - Valery Krizhanovsky - valery.krizhanovsky@weizmann.ac.il Abstract video - https://www.youtube.com/watch?v=5Y7R_8GQ1gk Sign up for free Altmetric alerts about this article - https://aging.altmetric.com/details/email_updates?id=10.18632%2Faging.206391 Keywords - aging, cell senescence To learn more about the journal, please visit https://www.Aging-US.com​​ and connect with us on social media at: Bluesky - https://bsky.app/profile/aging-us.bsky.social ResearchGate - https://www.researchgate.net/journal/Aging-1945-4589 X - https://twitter.com/AgingJrnl Facebook - https://www.facebook.com/AgingUS/ Instagram - https://www.instagram.com/agingjrnl/ LinkedIn - https://www.linkedin.com/company/aging/ Reddit - https://www.reddit.com/user/AgingUS/ Pinterest - https://www.pinterest.com/AgingUS/ YouTube - https://www.youtube.com/@Aging-US Spotify - https://open.spotify.com/show/1X4HQQgegjReaf6Mozn6Mc MEDIA@IMPACTJOURNALS.COM

Today on The Editors, Rich, Charlie, Jim, and Noah discuss the resumption of war with Iran, Ro Khanna's playacting in Israel, and the passing of Lindsey Graham. Editors' Picks: Rich: Also Dan's post Charlie: Noah's piece “The Left Goes After Marco Rubio” Jim: Dan's post “The Last Interesting Man in Washington” Noah: Lamar Alexander “The Senate Doesn't Need a Change in Rules. It Needs a Change in Behavior" Light Items: Rich: Mini golf Charlie: Reverse storm chaser Jim: Pastor Ezra Jin Noah: Patriotic YMCA Sponsors:ExpressVPNVaer This podcast was edited and produced by Sarah Colleen Schutte. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Preview for Later Today: Mark Simon discusses the ongoing imprisonment of six Apple Daily editors in Hong Kong. He details the irregular legal proceedings and the harsh ten-year sentences imposed on those deemed a threat to the state.

Celebrating Academic Medicine's 100th anniversary are past editors-in-chief Addeane Caelleigh, Steven Kanter, MD, and David Sklar, MD, and current editor-in-chief Laura Roberts, MD, MA. Together, they reflect on where the journal has been and what the future might hold. They discuss how they approached the role of editor, the journal's unique place in the community and achievements over the years, and the importance of peer review, publication ethics, and mentorship in building skills, advancing knowledge, and improving health.   Access the episode transcript at academicmedicineblog.org.

On this week's episode of Female Gaze: The Film Club, Morgan is joined by critic, composer, filmmaker, and writer Brian Skutle in the continuation of our Summer of Editors Series. The pair discuss the 1990 film, "GoodFellas," directed by Martin Scorsese (ever heard of him?) and one of the greatest editors of all-time, Thelma Schoonmaker. Brian and Morgan talk about Marty and Thelma's working relationship, how the film interrogates masculinity, and the elements which make this film a classic. You can follow BrianInstagramThreadsBlueskyTwitterLetterboxdSonic Cinema WebsiteYou can follow Female Gaze: The Film ClubInstagramBlueSkyWebsite

Today on The Editors, Rich, Charlie, Jim, and Noah discuss the new allegations against Graham Platner, Mamdani's Fourth of July speech, and much more. Editors' Picks: Rich: Dan's piece “What Caitlin Clark's Treatment Tells Us About the WNBA” Charlie: Phil's Corner post “Democrats Have Less Leverage Over Graham Platner Than They Think” Jim: Noah's piece “People Who Should Never Work in Democratic Politics Again” Noah: K-Lo's post “When Does Lyndsey Fifield Get Her Post-Platner-Campaign Apology?” Light Items: Rich: July 4th evenings Charlie: World Cup Jim: Pressure Noah: Fourth celebrations Sponsors:DonorsTrustMade InVaer This podcast was edited and produced by Sarah Colleen Schutte. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This weekend marked America's 250th anniversary, but all we were talking about was what was going on with the wedding of the century. Over the holiday weekend, America's biggest popstar Taylor Swift tied the knot with football player Travis Kelce at New York's Madison Square Garden.  Stepping in while our hosts were away, Senior Features Editor Marley Marius sat down with two Vogue staffers who are Swifties and were closely following the wedding festivities: Anna Grace Lee and Anna Cafolla. Lee shared that she attended Swift's first ever MSG concert back in 2009 as part of her Fearless tour. The group discussed the unusual location, the surprising officiant Adam Sandler, the guests both expected and unexpected, the Dior dress, possible honeymoon locations, and everything in between.  “It reads sort of like Mad Libs,” Lee noted, “It's as if someone was like ‘Who would you have at your dream dinner party?' and then you could have all of those people.” Some of the standouts attendees included Karlie Kloss, Selena Gomez, Fergie, Gigi Hadid, Lena Dunham and Cara Delevingne.  The podcast also got a few dispatches from Voguers who were following closely over the weekend. Chloe, who is currently at Paris Couture Week, shared her speculations on Taylor's dress after attending Jonathan Anderson's Dior couture show, which classically closed with a couture bride. The rallying cry from fans and gawkers alike still remains: release the photos (please)!!   The Run-Through with Vogue is your go-to podcast where fashion meets culture. Hosted by Chloe Malle, Head of Editorial Content, Vogue U.S.; Chioma Nnadi, Head of British Vogue; and Nicole Phelps, Director of Vogue Runway, each episode features the latest fashion news and exclusive designer and celebrity interviews. Learn more about your ad choices. Visit podcastchoices.com/adchoices

What happens to your creativity when you're in pain or sick, and can you ever get it back? How can you find and sharpen your author voice? J. Daniel Sawyer talks about voice mastery, writing with chronic pain, and building an eclectic author business. In the intro, leaning into your Strengths and deciding what you want to achieve by the end of the year; and Bones of the Deep by J.F. Penn. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn J. Daniel Sawyer is the author of over 30 books across science fiction, fantasy, crime, short stories, and nonfiction, as well as being a podcaster and filmmaker. His latest book for authors is The Pitch-Perfect Author: Voice Mastery for Writers. 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 Writing fiction through chronic pain and re-emerging into health after surgery How your physical health shapes (and darkens) your fiction Rebooting an author business around a weekly Substack column What author voice really is, and why it's fundamentally about sound The building blocks of voice: functional vocabulary, dialect, and musicality The “crossing the line twice” trick for hearing your own voice objectively You can find Dan at JDsawyer.net or on Substack. Transcript of the interview with J. Daniel Sawyer Jo: J. Daniel Sawyer is the author of over 30 books across science fiction, fantasy, crime, short stories, and nonfiction, as well as being a podcaster and filmmaker. His latest book for authors is The Pitch-Perfect Author: Voice Mastery for Writers. So welcome back to the show, Dan. Dan: Hello, Joanna. It's good to be back. Jo: Goodness me, you have been on the podcast a few times, but actually, the last time was April 2017, which is crazy. It's nine years ago. When I saw your book, I was like, “I can't believe we haven't talked for that long.” For anyone who doesn't know you, tell us a bit more about— What does your creative and author business look like these days? Dan: Oh, well, these days it's in a state of recovery because it basically ground to a halt while I was dying a few years ago. It turned out I had an organ disease from the time I was a kid that I didn't know about, and it just progressively got worse and worse, putting me in more and more pain. I hit a point around about 2020 or so where I was in so much pain that I couldn't write fiction. I continued to write nonfiction, but when you're carrying around a lot of physical pain, there comes a point where so much of your brain's activity goes into coping with it that you actually lose the ability to model other people's emotional states—or at least well enough to write fiction. So I was very frustrated, and I was despairing that I was ever going to be a novelist again. Then suddenly, what I was sick with went acute. I went to the emergency room, and they're like, “Oh, if you don't have surgery in the next 24 hours, you're going to die.” So I went and got surgery, and there was one bed in the whole state. There was a three-hour drive to get to the one that was available in the time window. I get there. They wheel me into the OR. I wake up afterwards, and I realise that I'm not in pain, and that I had never felt that before in my adult life. Jo: Wow. Dan: Just the walls of my whole reality came caving in. Two weeks later, I was back up and working, and since then I've been slowly reacquiring my ability to write fiction. So now I've got four novels going again, like I used to have going all the time, as well as doing a weekly column and all sorts of other stuff. Jo: I think a lot of people will be interested in this. A lot of writers have chronic pain issues or chronic health issues, and yours sounds like it was a sort of down, down, down, down—and then more of a sudden up. Maybe just talk a bit more, because I feel like a lot of the time people are too hard on themselves about, “Oh my goodness, if I can't write fiction, is it the end of everything?” So how did you adapt to that, with the mental health aspect of dealing with that change in circumstance? Dan: Well, it was happening so gradually, and it happened at the same time that a whole bunch of other weirdly stressful things happened, like COVID and a couple of family emergencies that derailed my whole life for a couple of years. I assumed it was just really bad stress that would pass with time. So I had the despairing feeling, because when you write fiction, it tends to occupy a central place in your self-concept. I'd also been through very tough times before, so I was like, “Well, got through that then, maybe I'll get through this now.” I just made sure to keep writing something, because at least you keep the discipline of the words flowing. There was still thought going on, so I would have ideas for novels and write them down. There were good days and bad days. Occasionally I would sit down and be like, “I feel like fiction today,” and I would write a couple thousand words, and then it would be 10 months before I could do that again. When you work with your mind, it is really easy to develop or sink into the delusion that your mind is not your body. Now, if you're paralysed or you're missing limbs, you can still write—but your mind and your body are a single system, and eventually, if something terrible is wrong with your body, it's going to affect your cognition, your emotive abilities, and all the things that we depend on for creativity. That doesn't necessarily mean that if you're sick or injured, or you've got chronic health problems from birth, that you can't write. It just means that it really is one of the factors that goes into shaping your experience of the world, that goes into shaping the way you process things and they come out on paper. When there's a massive change in your health, it's going to show up in your fiction somehow. If your health goes way down, especially if you get into a lot of pain or you have a terminal illness, your fiction's going to get darker. One of the reasons—I discovered this after I got my surgery—one of the reasons is that the sense of impending doom is actually a medical symptom of organ death. Jo: Well, don't say that to a dark writer like me. I have a sense of impending doom the entire time. Dan: Well, there's a cognitive sense of impending doom that you get if you're modelling systems and you see how things can go wrong. But the sense that you feel the claws of demons grasping at your heart all the time—that can be a medical symptom. So pay attention to that. I didn't know that until afterwards, or I'd have gotten looked at a lot sooner. Jo: That is really interesting. You mentioned there you are reacquiring the ability to write fiction, or that's what you've been focusing on. You also talked about having to reboot the business. So what are some of the concrete things you're doing to rebuild? Dan: Well, the first thing I did is I allowed myself to get talked into doing a weekly Substack column a couple of years ago, and that's worked out really well. Pay is pretty decent. I've been posting most everything for free except for some previews of upcoming books, but I'm now learning the art of paywalling, so that also helps. Getting paid for the weekly column is quite nice, and a side effect is that it does drive people occasionally to the fiction, even though I'm writing nonfiction. It more frequently drives people to the nonfiction books, but it gives me a good place to announce new releases, to promote book bundles, Kickstarters, and all that sort of thing. It's a very good place for that because the people who are subscribing there—especially the people who are subscribing and supporting—are interested enough in what I'm saying that they want my email every week. So it's a good filtering mechanism for building the email list as well. Jo: You used to do a lot of audio. That's how we connected way back, like 17 years ago, I think, when we first connected. So are you still doing a lot of audio? Dan: I am not at the moment. It's not because of a decision to drop the audio. It's because I am now building my house, and I don't have a place that's quiet enough to record dependably. I'm living in a little RV at the moment while I build the house. In the deep winter, everything is quiet enough in the forest to record some things, and so I do audiobooks for clients, and I work on audiobooks of my own that are coming out. It's not quiet enough to podcast, and it's not quiet enough to be recording any other time than when the whole world is asleep. Hopefully by next year I will have the recording studio building built, and then I'll be back at it. Because boy, I miss it. Jo: I know. So you mentioned there bundles and Kickstarters and things, and we reconnected because I bought a StoryBundle, and your new book, The Pitch-Perfect Author, was in the StoryBundle, which was part of why I bought it anyway. So let's get into the book and what's useful. Let's start with— What is author voice anyway, and why is it important? Dan: Author voice. Everything about the way that you write is part of your author voice. The themes that you gravitate to, the way that you turn a phrase, the way that you tell a joke, the way that you handle dramatic tension. When all of that combines, it creates in the reader's mind an emotional fingerprint, a gestalt that says, “This is a Joanna Penn book. This is a Dan Sawyer book,” or whoever. When you bring the focus down further, author voice is fundamentally an auditory phenomenon. You can see this if you look at the careers of writers who had major worldview shifts during their career, or who shifted genres. If you read an Isaac Asimov mystery, and you read Asimov's Guide to the Bible, and you read Isaac Asimov's The Robots of Dawn, they're all Asimov. You can hear him talking to you through all of those different venues. So author voice is not a genre thing. It's not dependent on content. It has to do fundamentally with how your brain processes language and how it comes out of your mouth. That, in turn, is based on patterns that were laid down when you were pre-verbal as an infant. You learned language by mapping the music of the conversations around you, and then gradually learning that the sing-song you were hearing corresponded to ideas. That's how the brain bootstraps itself into language. So when you start writing, just like when you start speaking, you wind up imitating a lot—unconsciously—the people you've read and heard, because that's how you develop your voice. There comes a point at which all the various influences on you, and who you are, and how they pass through you, crystallises into something definite. By the time you're a moderately competent writer, and you're finishing novels and short stories well, your author voice is pretty well established. But that doesn't mean it's sharp, because most people don't actually concentrate on learning to hear their author voice, so they can't tell when it's off. This is why new writers who revise a lot tend to revise their voice right out. When they write, they're using language as feels right to them, but when they read, they're reading it like an English teacher, or through the lens of someone who has very definite ideas about how grammar should work in all circumstances. So they tend to smooth the quirkiness out of their voice, and what you get is something flat. It doesn't feel alive. It may convey information, it may tell a good story, but it doesn't feel like you're entering something that's living. Jo: I think this is so difficult, especially for people who are new to writing. Because I remember very much spending the first few years going along to writers' conferences, and there were always sessions on “you must find your writer's voice.” You must find your author's voice, and we publish books because of the voice, and all this. It was very, very confusing to me. As you say, it has to emerge somehow, and yet that emergence seems to be very hard to accept. So what are some of the ways we can perhaps think about voice? You mentioned there some patterns. You talk about music. So what are some of those angles? In the book, you have different chapters on all of these things, but maybe just talk more about some of the elements. Dan: The first and most obvious is functional vocabulary. This is not the number of words that you know. These are the words that you can reach for in the moment. You can expand your functional vocabulary by deliberately using more words—burnish your inner thesaurus. The greater your functional vocabulary is, the more your personality is going to come out through your voice. When you've got more options to do something that's just the way that you want to do it, the closer it's going to be to the way you want to do it. So there's functional vocabulary. There's your native dialect and accent. You, being British, have a different set of preferred terms for everything than I, being a West Coast American, do. One of the great differences that's always visible between an English writer and an American writer is that you guys have a different way of speaking. When you speak of a difference between one thing and another, you talk about how this car is different to that car. And Americans say this car is different from that car. It always marks out a British writer versus an American writer. There are 100 little things like that. They happen not just between major countries, but within regions in every country. You could tell on paper the difference between someone from Yorkshire and someone from London, just as I can tell on paper the difference between someone from the West Coast and someone from Mississippi. Even if they're highly educated, the idiom, the preferred turns of phrase, the preferred imagery—all of that is going to be a little bit different, and it conveys that regionality. There's also the musicality of the language. This is the actual rhythm of the words with which you speak. When you learn to analyse poetry or to write poetry, you learn something called scansion. How a poem scans is—what are the beats of the lines, how are the beats of the lines related to each other, and how does the rhyme move in and out of that? A Shakespearean sonnet, or a sonnet from the Elizabethan era, has a specific metre, a specific number of lines, and a specific rhyme scheme, and the metre is iambic pentameter. An iamb is “bum-bum,” if I remember right. It's the rhythm of the heartbeat. It's “bum-bum, bum-bum, bum-bum.” And you can hear it in the name of the metre, the iamb. The iambic pentameter is where the stressed syllable is the second syllable and the unstressed syllable is the first syllable. All of Shakespeare is written in blank verse, which is unrhymed iambic pentameter. The pentameter is five feet per line, so one iamb is “bum-bum”—that's one foot—and five of those makes one line of Shakespeare. We all have inherent rhythms like that in the way we naturally speak, but we can also tweak those rhythms on purpose to achieve dramatic effect. The iamb has the sound of the heartbeat. It's a very reassuring speech rhythm. The trochaic is a much more rapid one—it mirrors the rhythm of a rapidly beating heart. So you see this a lot in Edgar Allan Poe, especially in his frenetic poems like “The Bells,” how they jingle, jingle, jangle on a hoary moonless night. There's a rushing sound to that metre. You're going to find that you will automatically do a little bit of this, just the way that you'll automatically have picked up the convention of breaking sentences up into shorter lengths during really exciting or suspense-filled parts of your book. Once you know what it is, you can start to use it on purpose. Quite a lot of developing your voice is learning to recognise these latent, existing qualities in the way you communicate, and sharpening them up and making them conscious tools that you can pull in whenever you want. Jo: On the one hand, there are a lot of technical words there that are really interesting, and maybe poets know a lot more of those words than most other writers. The book is really interesting in that way—kind of learning about these different things. I guess I want to reassure people as well that, as you said, some of this can be unconscious. So often when I'm self-editing and I'm reading a sentence to myself, there's something that doesn't feel right about it. So I will rewrite that sentence so that it feels right. Sometimes we do something that might be grammatically less correct, but it sounds better than it did before. So many of these things we almost know instinctively, just from reading so much. Dan: Oh, yes. From reading so much and talking so much, and again, from the way you acquire language. That gives you a template in your head of what sounds right. Language is inherently musical. So if you've ever listened to a song—especially one that wasn't recorded by a professional, but someone singing in a church choir, or your kid practising for a recital, or you practising for a recital—you know that feeling that happens when someone hits a wrong note. There's that little wince down in the core of your being, and then the song carries on and you forget about it, unless there are too many of them, in which case you just sort of cower and ooze out of the room. That feeling of “Ooh, someone just hit a wrong note”—that's exactly the feeling you get when you're reading through to edit your work and something is off in the technical layer of your voice. You should pay attention to that and rewrite so that it feels good, or feels great, which is even better. You've got the opposite of the wince, which is that sense of rapture and joy if you're listening to a professional musician and they go on an amazing guitar solo, or a flautist does an incredible trill that just sends shivers up your spine. That sense of excitement and joy—that's what happens when you're reading and the author does something with the language that makes the whole piece fly. So you want to be paying attention for those too, because those you'll commit without intending to. When you're reading back and you find those, you want to make note of them, because that's you seeing where you are at your strongest with your voice. By learning both where you're making mistakes and where you're being brilliant—just like with anything else—you can start to advance towards being brilliant more often and making fewer mistakes. Jo: Then there's a difficulty around where the line is, especially when you're an early-stage writer. Many people work with editors, and you mentioned the problem of revising your voice away, and that may also happen if you're working with an editor. Like you said, as a Brit, I work with an American editor, Kristen, and she's excellent. She's very, very good at letting my voice be my voice, and then fixing things that make it better. But a lot of people don't feel that way about their editors. So how can people understand where those lines are between being well-edited and becoming a better writer, and then needing to hold the line on their voice? Dan: It really helps if you understand where you are weak. Why are you hiring the editor in the first place? I'm a big believer in the utility of having other eyes on the manuscript, but it's really important to know what you're looking for from them. You and I have both been to the Oregon Coast writing seminars, back when that was a thing. Jo: Mm. Dan: One of the things they would talk about with editors is when you've got a story editor or a beta reader who says, “Hey, something here didn't work in the story for me,” you usually don't want to look at that point. You want to trace back from that point to figure out where you set the wrong expectation. Any editorial feedback is going to have a gap between what they notice and what really needs to be fixed. As a writer, learning to interpret the feedback properly so that you actually elevate the material, instead of interpreting the feedback like you're trying to do customer service for an employer, where you just want to make the customer happy, is a really important skill to develop. That's regardless of whether the feedback has to do with voice or plot or characterisation or whatever. Some editors are really good at back-tracing and actually spotting the real problem. Editors make their money, or get hired, or get picked by you to volunteer, because they're good at being an audience—not because they're good at being a writer. So learning to interpret the editorial feedback is a really important step in that maturation journey. Jo: Yes. I think “maturation journey” is a good way to put it. Personally, I think it was around book five when I really felt, “Okay, now I see what my voice actually is.” Like, it had to be five novels, and then I was like, “Okay, now I know.” I just didn't get it before then, and then finally—I don't know—a penny dropped or something. Maybe I grew into it, grew more confident, that kind of thing. Dan: Yes, and that's actually about right. If you look at writers with a big catalogue, five books in is usually where they start really sounding like them. So that's a pretty normal maturation curve. There is a way to speed it up, which is to read your books aloud—or even better, make audiobooks and then listen to them a thousand times. Listen to them until you are sick of them, and then listen to them until you start to like them again. Jo: That's a lot. Dan: It's a lot, but there's a really specific neurological mechanism at work. You're familiar with the comedy term “crossing the line twice,” right? Jo: Not really. Dan: Okay. Have you seen the Monty Python Spam sketch? Jo: Yes. Dan: Okay. So for those of you who have not seen this—in the Monty Python Spam sketch, there's a couple, they're in a diner, and everything on the menu has spam in it. They say the word “spam” so much that you just want to shoot your television. But they keep it up, and then suddenly, at some point—it's a different point for everybody watching—they keep it going on long enough that everybody gets there. At some point, the word “spam” itself becomes hilarious, and you can't stop laughing, and you don't know why, because it shouldn't work, but goddammit it really does. It's so funny that we named junk email “spam” after this sketch, because it's a whole bunch of stuff that you don't want, but it keeps showing up anyway. That's crossing the line twice. What's going on is that your brain is getting accustomed to a sound. It has extracted all of the meaning it can, and so it's doing what it does with all sensory input. When it thinks it's got it mapped out, it's trying to filter it. Unless you are going to sit and concentrate on it, you can't feel the texture of the fabric of your clothing on the back of your legs, because your brain—despite the fact that it's getting that input all the time—is filtering that out, because it needs you to have your resources free for thinking. When you experience something over and over and over, no matter what it is or how complex it is, the brain habituates like that. But if that signal refuses to be filtered, and the input keeps coming, and it keeps getting more intense, or it stays persistent and it's too complex to filter easily, your brain starts to think, “Oh, maybe I shouldn't be filtering this out.” “Maybe there's meaning here that's important for my survival that I hadn't extracted.” And so suddenly it starts searching for meaning to associate with that sensation—and that's the point at which the joke becomes funny again, or you start to experience your voice as if it's somebody else's. When you begin to experience your author voice as if it's somebody else's, you can hear it as a distinct, objective style, rather than just as an echo of the voices that are in your head. That's why music students practise over and over and over, even on a piece they know cold. They're doing the same trick that I'm advocating with listening to your audiobooks until you're not sick of them anymore. Jo: I mean, I think that's terrifying, because I just don't want to listen to my books over and over again. I think it's very interesting that you think it could shortcut that voice process. Staying on audio—since we last spoke, I have done a lot of my own audiobook narration, mainly for nonfiction, but also my short stories. I haven't done my full-length fiction. What I discovered in doing this is that what read fine to me when I was self-editing my own work on the page—and obviously I'm hearing it in my head—when I perform the audiobook, I actually have to edit things again. So what are some of your tips for how we can bridge that gap? Because that's kind of strange. Dan: So what's happening is that there's a much wider latitude of things that work on the page than what works with voice. The reason is that with voice, all of those rhythmic elements I was talking about before are really pronounced, as well as all the sensual elements. Basically every word and sound has a mouth shape. The mouth shape affects the emotional valence of the sound. Stuff that's unpleasant tends to have a really close-in feel—I'm trying to scrunch my face up—where you would grit your teeth and scrunch up your face if something is unpleasant. And if something is really pleasant, it tends to have a rounded feel, and our language reflects it. In fact, all languages reflect this, because language is a physical thing that's based on the sensuality of the body. So, like, in all cultures “mama” is the word for mother that babies first say, regardless of what it is. It has a round feel, because babies associate their mother with roundness. A lot of language is built up that way, from baseline sensual cues. When you're working just in text, that aspect is not nearly as obvious to you. When you're reading, it's not as obvious to you. It's still at play, but when you go to do something verbally, and you go to read a text, all of those sensual cues come in at the same time. Then the rhythm comes in hard, and you suddenly realise that—hey, that conveys the thought, but it doesn't feel right. So you wind up retooling a bit. There's also occasionally tongue twisters, which you have to work your way around. So that's why that happens. Jo: Then I guess another thing—I hear quite often, people say, “Oh, I don't like my voice.” And they mean, “I don't like speaking out loud. I don't want to be on video. I don't want to be on audio.” I wonder— Does that sort of resistance potentially affect their writing voice? Are there ways people can get over that feeling? Dan: Yes, for sure. There are a few things that go into that. One is basic self-loathing. A lot of people carry it around. Most people learn to make a decent life even though they kind of secretly suspect that they're not worth anything, or they secretly find themselves revolting. That kind of thing you can't really fix with exercises. That's something you fix with — Jo: Therapy. Dan: Psychological work, or spiritual work, or that kind of thing. Jo: Yes. Dan: But the not liking the sound of your own voice—that's easy to fix. Here's why it happens. When you're listening to your voice as you speak, the bones in your head are amplifying the bass signals and attenuating the treble. It's kind of like if you were to shout in another room and your spouse hears you, but they can't make out the consonants. That's because all the consonants are being filtered out by the wall in between, but the bass is being resonated through. The same thing happens in your head. So when you get on a microphone—especially if it's an accurate microphone—you're suddenly hearing what everybody else hears when you speak, and it sounds thin and tinny and unpleasant compared to what you're used to hearing. The really easy way to get around this is to get a microphone that is tuned for singers. The condenser mic that I have isn't made anymore, so I can't really recommend a good condenser mic. If you're on a dynamic mic, the Shure SM58 is the one to use. I podcasted with that for years before I could afford an upgrade. It is tuned for singers to sound as good as possible without any other help from the sound engineer, which means that the baseline sound for that microphone is what you're hearing in your head. If you use the right equipment, you get around that problem really quickly, to the extent that you can technically. Then after that, it's just a matter of crossing the line twice. You listen to yourself enough that you stop hearing, “Oh my God, I'm talking,” and you start hearing, “Oh, that voice is making this sound.” And once you hear, “Oh, it's that voice making this sound,” you don't have that problem anymore, ever again. Jo: Oh, good. Well, hopefully that's fixed it for people. And of course, there are lots of brilliant things in the book, The Pitch-Perfect Author. Before we finish up, I did want to return to your Substack. I was having a look at it, and it includes some really interesting things. Like, you're doing this metalwork, which is really cool. It felt coherent to me, because I know you, and you're a polymath, and you're interested in so many things. So your Substack kind of stood out to me as quite eclectic, compared to, say, other writers who are going on Substack to try and sell specific books. So is this a deliberate marketing choice, or is it just be an interesting person and you will attract people who are interested more generally? Dan: Well, I suppose it kind of winds up being the latter, but basically it's that I get bored easily. If I'm going to be writing every week, I need to stay interested in it. One of the books I wrote when I was really sick—that's not out on the market yet, but it is serialised on Substack—is a guide to self-education. It'll be coming out later this year on the general market. It's called Reclaiming Your Mind: An Autodidact's Bible. I talk in there quite a bit about the illusion of discrete areas of knowledge. There is a level of learning at which the silos of information start to collapse together. Woodworking and writing have a lot to do with each other. A lot of the terminology we use in writing is pulled from the trades—especially woodworking, and metalworking, and gunsmithing. As you begin to spot these connections between different areas of knowledge, it becomes really easy to slide between them for your hobbies, for your writing, for just your personal gratification. As I've gotten older—and also as I've gotten access to a little space that's not contained within a teeny little apartment—I have just gone with it. As I've discovered, “Hey, this thing is tangentially connected to this other thing over here,” I'm like, “Oh, well, I'm going to go over to this other thing and see what's over there.” It's tremendously creatively fertile. Since a lot of the things that our language connects us to have to do with trades and crafts and nature, it gets you out in the open air, which is really good for any writer—because sitting at a desk all day is worse than smoking three packs of cigarettes a day for 40 years. Jo: I love that. Dan: My curiosity is the chief feature of my Substack, and it kind of works for me as a writer, because it's also one of the chief features of my fiction. Jo: Me too, and I was actually quite inspired by your Substack. Because I think this happens when you've been in the writing industry long enough. Substack has become the sort of trendy place to be now. People are going into specific niches, very much like blogging did, and then podcasting had to be on a specific niche, and all this. Of course, we know logically that, marketing a book—you know, if you had just a Substack on voice mastery, then for sure that would be a better marketing vehicle. But, as you say, how boring. Dan: Well, it depends a lot on what you're trying to cultivate as an author. If you're a single-genre author with a very narrow niche, and you're really happy writing that kind of stuff, then a narrow column supporting it is not a bad idea. Especially when you serialise old novels, once you've got 20 or 30 under your belt. That's not a bad idea, because you're trying to attract people who want one thing and want it regularly. If I were to get a reader who wants one thing and wants it regularly, and finds it, say, in my Clarke Lantham mysteries, and then they hop over to my science fiction—oh boy, are they going to be pissed. If they're not there for my voice, and they're just there for the way I write a mystery plot, then not only are they not going to get what they're looking for—but they're going to start to doubt whether they can trust that they're going to get what they're looking for in my next mystery. Whereas if they're coming to me through something where the multiplicity of what I'm doing is on display—whether that's this Substack, or whether that's what I used to do on The Every Day Novelist when I was podcasting that, or whether it's what I did with all the after-shows on my fiction podcast when I was doing that—then they kind of know what they're in for. The people who stick with me are more likely to be people who are in it for the experience of my voice. And for my bibliography, that's what I've got to offer, because I'm all over the place in terms of genre and subject matter. Jo: Yes, which is why I find you interesting. Dan: Oh, why thank you. Jo: So where can people find you and your books online? Dan: Well, you can find pretty much everything at JDsawyer.net. I've got the weekly column at jdanielsawyer.substack.com. At jdsawyer.net there's a page with all of my podcasts on it, and there's also a store with all of my books on it. Of course, everything is also available on Amazon and just about everywhere that the distributors take you. Jo: Brilliant. Well, thanks so much for your time, Dan. That was great. Dan: Thank you, Joanna. It was great to talk to you again.The post Author Voice Mastery, And Rebooting an Author Business With J. Daniel Sawyer first appeared on The Creative Penn.

On this week's episode, Summer of Editors continues and Morgan is joined by editor and one of the busiest humans in podcasting, Chels Eichholz to discuss the 2016 film "Adult Life Skills" written, directed, and edited by Rachel Tunnard. Chels and Morgan discuss the way the film portrays depression and turning 30, Jodie Whitaker's performance, crash outs and lash outs in the film, and Tunnard's editing throughout the film. You can follow ChelsBlueskyLetterboxdSerializd You can follow And a Rewatch PodBlueSkyInstagramYou can follow The Q Division PodBlueSkyInstagramAcross the WhoniverseBlueSkyInstagramYou can follow The Mixed ReviewsInstagramBlueskyPatreonYouTubeShhh, My Stories Are On!BlueSkyInstagramThe World According to GlennBlueSkyInstagramYou can follow Female Gaze: The Film ClubInstagramBlueSkyWebsite

We all know we should brush and floss our teeth. But the reason goes beyond a sparkling smile and keeping bad breath at bay. The mouth is a critical and often overlooked organ when it comes to improving overall health. Dr. Sanjay Gupta sits down with Dr. Kami Hoss, author of “If Your Mouth Could Talk,” to discuss the importance of oral health and the brushing routine he recommends for morning and night.  For more on Dr. Hoss' oral care recommendations, check out his e-book: https://supermouthcdn.blob.core.windows.net/website/The_Oral_Care_Revolution.pdf  -- Editors' Note: This episode originally aired in January of 2026 and was assembled from two interviews (one host-led and one producer-led) that took place on separate occasions. Our show was produced by Sofia Sanchez. Medical Writer: Andrea Kane Showrunner: Dan Bloom Technical Director: Dan Dzula Sr. Director of Podcasts: Zach Goldbaum Learn more about your ad choices. Visit podcastchoices.com/adchoices

https://www.lindsaychampion.com/This week's interview covers the introduction and development of the Cast vs. Crew trilogy by Lindsay Champion, the role of an editor in publishing, addressing serious topics in middle grade literature, creating diverse and realistic characters, the role of beta readers and sensitivity readers, the inclusion of fictitious and real musical references, a discussions of Cast vs. Crew Tech Week, the third book 'The Show Must Go On,' and the author's experience in writing middle grade fiction and future plans.TakeawaysMiddle grade seriesWriting for childrenChapters00:00 Introduction00:56 Lindsay Champion and the Cast vs. Crew Trilogy05:58 The Role of Editors and Collaboration in Writing11:50 Creating Diverse Characters and Authentic Voices18:02 Theater and Fictitious Musicals in Cast vs. Crew24:09 Future of the Series and Writing Middle Grade Fiction26:56 The Evolution of Middle Grade Literature

Today on The Editors, Rich, Charlie, MBD, and Ramesh discuss all things U.S.A. as we approach America's 250th birthday. Sponsors:DonorsTrustVaer This podcast was edited and produced by Sarah Colleen Schutte. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This piece is essential listening for anyone interested in modern academic publishing. Recorded at the Collaborative Clinical Trials Meeting in Prato, Italy, TopMedTalk hosts Kate Leslie and Mike Grocott speak with Eric Rubin (Editor-in-Chief, New England Journal of Medicine) and Jocalyn Clark (International Editor, BMJ) about medical publishing. The conversation covers, engaging with clinical researchers and seeing impactful work. How AI can help authors—especially non-native English speakers—while raising concerns about confidentiality, inaccurate or fabricated content, reviewer misuse, governance policies that struggle to keep pace, and AI-generated correspondence overwhelming journals. They explore how AI affects originality and idea generation, note an NEJM AI experiment using AI reviews, and consider how journals should communicate beyond clinicians to address misinformation and declining attention, while maintaining trust and collaborating more across publishing and science. -- The 2026 International Practicum on Cardiopulmonary Exercise Testing will be held at the Balmer Lawn Hotel in Brockenhurst, UK, from September 16th to 18th this year. It is organised by iPOETTS , the international perioperative testing and training society. Come and join us at this premier educational event designed for clinicians, scientists, and healthcare professionals interested in sport, exercise, and perioperative medicine. This is an International Perioperative Testing and Training Society accredited event so when you attend you can get your iPOETTS accreditation, showing that you are a practitioner who has reached a high, standardized level of competence in performing and interpreting Cardiopulmonary Exercise Testing (CPET) for patients preparing for major surgery. Go now to http://www.ebpom.org

In this HT Editors episode, Jordan Eigsti and Nate Gilmore connect with Crystal Gibbons to discuss the recently released July/August issue of Holiness Today on Moses.   Lifelong Learning Code: 28473 Click here to learn about Lifelong Learning.

It's that time of year again - Welcome to Wrexham time. Andy and Tim are joined by three of the people who make it happen, executive producers Jeff Luini, Bryan Rowland and Andy Thomas who take us through how they made season five so special.We talk about Trina the cleaner, Will from the wheelchair team, the Bailey Jones story, the women's success and so much more. They tell us all about Josh Windass, Oliver Stephens and give us all the Rob and Ryan's goss with some never before heard stories from our fav doc.We go through their favourite episodes, scenes, what they wish they've have done more of and their hopes for the future of the show.Tim and Andy also talk transfers, five years of Parkinson and so much more. Website here: fidpodcast.com

Today on The Editors, Rich, Charlie, MBD, and Phil discuss the recent SCOTUS decisions, Scott Wiener's fall from grace with certain segments of his party, and much more. Editors' Picks: Rich: Dan's SCOTUS ruling analyses Charlie: Also Dan's Supreme Court pieces MBD: Brian Garner's magazine piece “The Heart of Conspiracy” Phil: Emphatic agreement about Dan's pieces Light Items: Rich: Ratings of an old Eddie Murphy movie Charlie: Germany's defeat MBD: The Reformation Divided by Eamon Duffy Phil: Watching the World Cup Sponsors:VaerBlood and Progress by Noah Rothman This podcast was edited and produced by Sarah Colleen Schutte. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The Campaign team looks back on Cannes Lions Festival of Creativity 2026. Editors from Campaign's sites around the world pick their highlights, including the Film Lions and Titanium winners and the big themes of the festival, plus the best parties.Gideon Spanier, UK editor-in-chief of Campaign, hosts the podcast, alongside Maisie McCabe, editor of Campaign UK, Jameson Fleming, editorial director of Campaign US, Nikita Mishra, editor of Campaign Asia, and Chris Powell, co-editor of Campaign Canada.This is the last of three Campaign Cannes Global Podcast episodes. We previewed the festival in episode one and reported on the ground from Campaign House at Cannes in episode two.Further reading:Cannes Lions 2026: Watch all the Grand Prix-winning workCannes Lions 2026: final UK winners tableOgilvy, LePub Milan and Heineken win network, agency and brand of year at Cannes Lions 2026Can we talk about taste? Hosted on Acast. See acast.com/privacy for more information.

Today we are talking about Marketing, AI, and Drupal with guest Paul Johnson. We'll also cover Curated Colors as our module of the week. For show notes visit: https://www.talkingDrupal.com/559 Topics Paul's Current Projects Enterprise AI Summit Details Marketing the AI Initiative Partnering on Event Booths Drupal's Outside Perception What's Working Now Growing the Marketing Team How to Contribute Outside In Storytelling Case Study Examples AI Initiative Impact Roadmap and Launch Planning Finding New Adopters Where Pros Research Conference Pitch Story Local Event Playbook Funnel and Webinars Industry Guides and Demos SEO and AI Search Why Agents Avoid Drupal High Leverage Contributions Measuring AI Mentions Vibe Coders to Governance Fixing Misconceptions Resources Drupal AI Initiative home page Slack #ai-initiative-marketing Enterprise AI Summit Rotterdam AI Dev Summit Rotterdam Drupal AI TV We've curated a selection of the best presentations, workshops and demonstrations freely available to provide a practical way to stay informed about the latest innovations in Drupal AI. Drupal AI Webinars playlist Demos Ryan Whitcombe 1xINTERNET S1xSignals free AIO GEO assessment All things open World cancer day Guests Paul Johnson - pdjohnson Hosts Nic Laflin - nLighteneddevelopment.com nicxvan John Picozzi - epam.com johnpicozzi Scott Falconer - managing-ai.com scott-falconer MOTW Correspondent Martin Anderson-Clutz - mandclu.com mandclu Brief description: Have you ever wanted to allow editors on your Drupal site to choose styling from a brand-approved color palette? There's a module for that. Module name/project name: Curated Colors Brief history How old: created in Apr 2026 by Kyle Einecker (ctrladel) of True Summit Versions available: 1.0.0 which works with Drupal 10.3, 11, and 12 Maintainership Actively maintained Security coverage Test coverage Documentation - in-depth README Number of open issues: 2 open issues, neither of which are bugs Usage stats: 27 sites Module features and usage Curated Colors enforces brand consistency by replacing generic color text inputs or wide-open color pickers with a curated, visual swatch popover containing only pre-approved, named options It streamlines rebranding by storing abstract keys (such as brand-primary) instead of raw hex values (e.g., #0678be) in the database. That means updating a brand color in the future only requires a CSS or configuration change rather than a massive data migration Curated Colors is also extensible beyond colors. It functions as a generic visual variant selector. Site builders can repurpose it to let editors pick card layouts, button styles (like primary, outline, or danger), hero text alignments, or icon themes Editors can pick from neatly organized groups with human-readable labels and see a live preview swatch of their selection before saving Palettes are managed as exportable Drupal configuration. Each entry maps a machine key to a label, administrative hex preview, and optional custom CSS The module provides a curated_color field type and an accompanying swatch-based popover widget that can be restricted to specific palette groups. It also features a native curated_color_picker Form API element and integrates with the Canvas module via SDC annotations The field exposes properties like value, hex, style, and css, making it simple to output selections as classes, inline styles, or raw codes in Twig templates Finally, Curated Colors includes an example submodule providing a working SDC component and sample palette templates so you can see exactly how it's meant to be used

IREI editors convene to discuss issues of the day, and you're invited to listen in. Joining the discussion is Loretta Clodfelter, the organization's editorial director; Mike Consol, editor of Real Assets Adviser; Andrea Zander, editor of Institutional Real Estate Americas; and Marek Handzel, editor of Institutional Real Estate Europe. (06/2026)

IREI editors convene to discuss issues of the day, and you're invited to listen in. Joining the discussion is Loretta Clodfelter, the organization's editorial director; Mike Consol, editor of Real Assets Adviser; Andrea Zander, editor of Institutional Real Estate Americas; and Marek Handzel, editor of Institutional Real Estate Europe. (06/2026)

IREI editors convene to discuss issues of the day, and you're invited to listen in. Joining the discussion is Loretta Clodfelter, the organization's editorial director; Mike Consol, editor of Real Assets Adviser; Andrea Zander, editor of Institutional Real Estate Americas; and Marek Handzel, editor of Institutional Real Estate Europe. (06/2026)

To start off the 2026 Summer of Editors Series, Morgan talks with editor Catherine Haight, ACE. Morgan and Catherine discuss her start as an editor, her working relationship with Joey Soloway, her work in film and television - such as "Transparent," "Afternoon Delight," "Girls," and "Sirens" - and the community of women editors she has built. You can follow CatherineInstagramIMDbYou can follow Female Gaze: The Film ClubInstagramBlueSkyWebsite

Today on The Editors, Noah is again hosting for Rich and is joined by Charlie, Dan, and Michael. They discuss the primaries in New York, Trump's meeting with GOP Senate members, and much more. Editors' Picks: Noah: MBD's piece “What Social Media Looks Like to Men” Charlie: NR's editorial “Bernie Moreno's Left Turn” Dan: Skyler Safriet's piece “Among Trump's True Believers on the National Mall" MBD: Jeff Blehar's post “Spider-Noir — a Surprise from the Shadows of Depression-Era New York” Light Items:
 Noah: Newport Beach visit Charlie: The World Cup Dan: First grilled steaks of the season MBD: Angry at the Mets' front office Sponsors:VaerFast Growing Trees This podcast was edited. And produced by Sarah Colleen Schutte. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Editors discuss what Boeing CEO Kelly Ortberg and Airbus CEO Guillaume Faury said in exclusive interviews that feature in the next issue of Aviation Week & Space Technology magazine.

The Campaign team has been busy in Cannes Lions and reports what's been happening so far at the festival, which runs from 22 to 26 June.Editors from Campaign's sites around the world discuss a 25% drop in award entries, the work that has been winning from their region and some of the key sessions in the Palais and at Campaign House.Gideon Spanier, UK editor-in-chief of Campaign, hosts the podcast, alongside Maisie McCabe, editor of Campaign UK, Jameson Fleming, editorial director of Campaign US, Vinita Bhatia, editor of Campaign India, and Chris Powell, co-editor of Campaign Canada.This is the second of three Cannes global podcast episodes. The third episode will look back on Cannes and be released in the week after the festival.Further reading:Cannes Lions 2026: rolling UK winners tableCannes Lions round-up: UK Grand Prix wins, shortlists & high mane-tenance horses Hosted on Acast. See acast.com/privacy for more information.

“Introducción al Baile I (Vamos A Bailar)” es lo nuevo de Levitants y una de las canciones que vamos a tener en bucle este verano. Una historia de dolor y trauma post-ruptura, inspirada en el sonido Madchester, en el britpop y en Primal Scream. Doble estreno con levitants en este podcast y en el de Turbo 3, de Julio Ródenas.Aparte, compartimos lo nuevo de Carlos Ares y Baiuca, de Aiko el Griupo, Construimos Escaleras, Julia de Arco, Editors y la versión que han hecho Anni B Sweet y Pedro de Dios de Guadalupe Plata de "Momentos", de Los Ángeles.  GARA DURÁN, BARRY B - Una casa en el TeideFKA Twigs - On Your Mind (ft. Lil Yachty)DANIELLE PONDER – PowerAIKO EL GRUPO - Oda a la muerte de nuestro amorCONSTRUIMOS ESCALERAS - CorreMALA GESTIÓN - SkolJULIA DE ARCO - BafTHIS IS LORELEI - Billy Came BackEDITORS - The RushANNI B SWEET, PEDRO DE DIOS - Momentos levitants - Introducción al Baile I (Vamos a Bailar)PRIMAL SCREAM - Movin' On UpBAIUCA, CARLOS ARES - NoitadaCARLOS ARES - ImportanteKIKO VENENO - HelicrisumYARD ACT - New BeginningsEscuchar audio

Today on The Editors, Noah guest-hosts while Rich is away on assignment and is joined by Charlie, Phil, and Jim. They discuss updates on Trump's Iran deal, Keir Starmer's demise, and the Reflecting Pool failure. Editors' Picks: Noah: Jim's Jolt “TThe U.S. Loses Its War Against Iran” Charlie: Jim's Jolt “Trump's Face Takes Over Washington” Jim: Brittany Bernstein's Forgotten Factcheck “The New York Times Celebrates Gender Confusion for Father's Day” Phil: Jeff's post “Donald Trump Can't Stop, Won't Stop Catfighting with Our Allies” Light Items: Noah: The county fair Charlie: Pool volleyball Jim: Week in Hilton Head Phil: Williamsburg Sponsors:Made InVaer This podcast was edited and produced by Sarah Colleen Schutte. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Today on The Editors, Rich, Charlie, MBD, and Dan discuss the MOU, the new Barak Obama Presidential Center, and the San Francisco Giants. Editors' Picks: Rich: Abigail's work on Great Britain's grooming scandal Charlie: Phil's piece “Trump's Prompt and Utter Humiliation” MBD: Daniel J. Flynn's piece “The Department of Education Was a Bad Idea Then — and It Still Is” Dan: Jim's magazine piece “Club Dread: On the Ground in NATO's Nervous Eastern Flank” Light Items: Rich: Jose Altuve bobblehead Charlie: Summer science experience MBD: Katamino Dan: Color-coordinated photoshoot Sponsors:VaerBlood and Progress by Noah Rothman This podcast was edited and produced by Sarah Colleen Schutte. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

We love to hear from our listeners. Send us a message.For episode 131 of Cell & Gene: The Podcast, we're sharing a recent "Better Biopharma" roundtable that Erin Harris had the opportunity to join alongside her Life Science Connect editorial colleagues. Hosted by Tyler Menichiello, this conversation brings together chief editors from across the Life Science Connect network to take a midyear look at what's shaping the pharmaceutical and biotech landscape in 2026. Featuring perspectives from Katie Anderson, Jeff Buguliskis, Ben Comer, Ray Dogum, Rachel Grabenhofer, Dan Schell, Anna Rose Welch, and Harris, this is a valuable listen for anyone looking to better understand where the industry is headed, and how CGT fits into that broader trajectory. https://www.bioprocessonline.com/solution/better-biopharmaSubscribe to the podcast!Apple  |  Spotify |  YouTubeVisit my website: Cell & GeneConnect with me on LinkedIn

"Slow Horses" is a British spy thriller television series based on the Slough House novels by Mick Herron, and adapted for television by the English comedian and writer Will Smith. It follows an MI5 unit that consigns disgraced or failed agents, under the supervision of Jackson Lamb (Gary Oldman). It also stars Jack Lowden, Kristin Scott Thomas, Jonathan Pryce, Saskia Reeves, Rosalind Eleazar, Christopher Chung, and Aimee-Ffion Edwards. The series premiered on Apple TV+ on April 1st, 2022, to highly positive reviews. The first five series have adapted the novels "Slow Horses," "Dead Lions," "Real Tigers," "Spook Street," and "London Rules," respectively. Slow Horses has been renewed for a sixth and seventh series, based on the novels Joe Country and "Slough House" (series 6) and "Bad Actors" (series 7). The sixth series is set to premiere on September 16th, 2026. Members of the series's crew, including Cinematographer Danny Cohen, Editors Zsófia Tálas and Fiona Brands, Supervising Sound Editor Joe Beal, and Re-Recording Mixers Martin Jensen & Ben Tisdall, were all kind enough to spend some time talking with us about their work and experiences making the fifth season of the series, which you can listen to below. Please be sure to check out the series, which is up for your consideration for this year's Emmy Awards and is now available to stream on Apple TV. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

Today on The Editors, Rich, Charlie, MBD, and Noah discuss the MOU, Trump's birthday celebration, and much more. Editors' Picks: Rich: NR's editorial “Release the Text of the Iran Deal” Charlie: Hans A. von Spakovsky and Marc Wheat “The Bill of Rights' Missing Amendment” Noah: Kaitlyn Kiepert's piece “Coming Soon: Humanity's First Outpost in Deep Space” MBD: Ramesh's magazine piece “The Fights on the Right” Light Items: Rich: Disclosure Day Charlie: Thunderstorms Noah: Boat season MBD: End of rec league baseball season Sponsors:Made InVaer This podcast was edited and produced by Sarah Colleen Schutte. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Andrew Nycz went from rock bottom to running a thriving video production business in South Florida—and his story is proof you really can rebuild from just about anything. In this episode, he shares how he validated a brand-new podcast offer with cheap Facebook ads before signing his first studio lease, why hiring editors was the smartest first move he made, and how he keeps a remote team that feels more like family. It's part business strategy, part comeback story, and all heart. Key Takeaways Test demand before you commit. Andrew ran $5/day ads for his podcast offer before signing a lease—proving the interest was there without the risk. Editors are the easiest first hire. Pulling editing off his plate freed Andrew up to focus on production, sales, and marketing. Great hiring is really about leadership. Patience, clear SOPs, and letting people inside your head turn a new editor into a great one. A fresh start can change everything. Moving to Florida and getting sober rebuilt Andrew's life and reignited his passion for video. About Andrew Nycz Andrew Nycz is a filmmaker and founder of Nycz Productions, a South Florida–based media company helping brands, entrepreneurs, and organizations scale through strategic video and storytelling. With a background in documentary filmmaking and digital marketing, Andrew blends cinematic storytelling with performance-driven content systems designed to drive real growth. Originally from New Jersey, Andrew made the move to Florida in pursuit of change—building his career from the ground up through persistence, discipline, and a commitment to mastering his craft. That journey continues to shape the way he shows up today: as both a creator and a strategic partner to the clients he works with. He has been proudly married to his wife Jennifer for 8 years, and together they are raising their two children, Layla and Daxton—who remain his greatest source of purpose and motivation. Andrew specializes in building full-scale content ecosystems, from podcast production and short-form distribution to brand stories and long-form narrative content. He has worked with brands, medical organizations, and high-level entrepreneurs to transform their message into scalable media engines—turning attention into authority, and authority into revenue. In This Episode [00:00] Welcome to the show! [05:33] Meet Andrew Nycz [19:11] Owning A Studio [27:17] Hiring To Scale [28:55] Standard Operating Procedures [31:50] Training An Editor Well [34:46] Using AI Notes [35:33] Connect with Andrew [36:24] Outro   Quotes "Rags to nothing to something—and it's all possible with the camera." — Andrew Nycz "If you're not having fun, you're not doing it right." — Andrew Nycz "Change is the only constant in life." — Andrew Nycz "You can have it all. You just have to figure it out." — Andrew Nycz, recounting advice from his coach "You're living testimony that you can do hard things and overcome massive obstacles." — Ryan Koral Guest Links Follow Nycz Productions on Instagram Links Find out more about the Studio Sherpas Mastermind Join the Grow Your Video Business Facebook Group  Follow Ryan Koral on Instagram Follow Grow Your Video Business on Instagram Get your Early Bird tickets for the Onward Summit Join the Studio Sherpas newsletter

Wes makes a passionate case for film editors as the unsung heroes of cinema, highlighting legendary editors like Thelma Schoonmaker and Sally Menke who shaped the visions of Scorsese and Tarantino respectively. Editors are just like the unsung music producers of Pearl Jam and Creed.  818-835-0473 orwhatevermovies@gmail.com www.orwhatevermovies.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Today on The Editors, Rich, Charlie, Michael, and Dan discuss the reaction to the Karmelo Anthony sentence, the DOJ announcement about disparate impact, and Europeans' reactions to the U.S. as they explore the country while attending World Cup games. Editors' Picks: Rich: Sarah Schutte's upcoming magazine piece Charlie: Christian Schneider's piece “The Left's Citizens United Dishonesty Continues” Michael: Dan Flynn's piece “Is America 250 Not Really in 2026? Dan: Noah's post “Graham Platner Is the Very ‘Toxic Masculinity' Stereotype the Left Invented" Light Items: Rich: Random act of kindness Charlie: Music from the '50s Michael: His son's athletic accomplishments Dan: Air & Space Museum Sponsors:Made InVaer This podcast was edited and produced by Sarah Colleen Schutte. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Today on The Editors, Rich, Charlie, Jim, and Noah discuss the LA primary, Trump's dramatic exit from a TV interview, and much more. Editors' Picks: Rich: Dan's tribute “R.I.P. Gordon Wood” Charlie: Jeff's piece “In California, the Real Scandal Is What's Legal” Jim: Noah's post “Russia Is Losing Its War, and Congress Should Help Finish the Job” Noah: Seth Cropsey's piece “In Europe, Trump Can Embrace the Opportunity Russian Weakness Presents" Light Items: Rich: Milan, Italy Charlie: Visit to Manhattan Jim: D.C. southwest waterfront Noah: Patio cleaning Sponsors:ExpressVPNVaerFastGrowingTrees This podcast was edited and produced by Sarah Colleen Schutte. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this episode of Best in Fest, host Leslie LaPage sits down with Joi Noelle Worley, editor, director, and content creator with experience across DreamWorks Animation, Netflix, Hulu, and independent film, to explore the evolving landscape of storytelling across animation and live action.Joi shares her unique career path working in both mediums, breaking down the creative and technical differences between editing animation and live action—and how those skills translate into directing, writing, and building original IP.

Today on The Editors, Noah, Phil, MBD, and Dan discuss Graham Platner's evolving controversies, and the anti-establishment victories in the recent primaries. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

We get into the latest Valley episode where Brittany's BF Brandon is causing major red flags and ICKS, Jesse says Brittany is the HBIC of the mean girl club, cameras spy on Danny and Editors spotlight it, White Claw accusations are being made and Brittany gets her revenge bod! Brittany needs to heal fast so she can help Zack throw a redo party!Ready to reach your goals? Visit www.forhers.com/vanderpump to get personalized, affordable care that gets you.Refresh your everyday with luxury you'll actually use. Head to www.quince.com/vpr for free shipping and 365 day returns!For bonus content, Trivia Hangouts, giveaways and more, head to:www.patreon.com/vanderpumprulespartyThis podcast uses the following third-party services for analysis: Magellan AI - https://docsend.com/view/5vdvbdx7cr4tikmyClaritas - https://claritas.com/privacy-legalPodscribe - https://podscribe.com/privacy

Today on The Editors, Rich, Charlie, MBD, and Dan discuss Jill Biden's new book, Donald Trump's aborted plan to put himself on a $250 bill, and James Talarico's attempt to "moderate." Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Today on The Editors, Rich, Charlie, Noah, and Jim discuss the latest news from the war in Iran, Ken Paxton's defeat of John Cornyn in the Texas Senate primary, and the appeal of Spencer Pratt in Los Angeles. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Today on The Editors, Rich, Phil, Noah, and Dan discuss Thomas Massie's Kentucky loss, the DNC 2024 presidential race autopsy, and much more. Editors' Picks: Rich: Andy's piece “AG Blanche Delivers Tax Audit Immunity to Trump, His Former Client” Phil: Noah's piece “DNC Autopsy Exposes the Left's ‘Gaza' Excuse as Nonsense” Noah: Jeff's post “The Unfinished Shambles of a DNC Autopsy Is Finally Released” Dan: Kamden Mulder's piece “Violent Crime Spiked During Prosecutor Steve Descano's Tenure. He Insists Crime Is Down” Light Items: Rich: Vietnam: An Epic Tragedy by Max Hastings Phil: Yankees Noah: No Memorial Day party Dan: Meeting a moonshiner Sponsors:VaerCatholic CharitiesUnder Their Own Vine & Fig Tree by Dr. J. B. Boone Pre-roll:Duke Energy This podcast was edited and produced by Sarah Colleen Schutte. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

(Part 1) It's Summer House finale and In The City premiere day! This two-part episode was a whirlwind of emotions. We shed some tears, looked at it from all perspectives, and analyzed every moment. Are we proud of Amanda? Was that Lindsay and Carl moment a little much? Should they have broken the fourth wall more? It truly felt like the end of an era in the Hamptons. Plus, we deep dive, In The City, with Danielle reappearing and starting off the Lindsay/Danielle feud. We were fully immersed in the demise of Kyle and Amanda. Who are our new favorites? Come judge with us!Editors note: We recorded this prior to the release of the reunion trailer.You can find us:Linktree: Two Judgey GirlsPodcast: ACast, iTunes, Spotify, wherever you listen!Instagram & Threads: @twojudgeygirlsTikTok: @twojudgeygirls // @marytwojudgeygirls // @courtneytjgYouTube: @twojudgeygirlsFacebook: www.facebook.com/twojudgeygirlsMerch: www.etsy.com/shop/twojudgeygirlsPatreon: www.patreon.com/twojudgeygirls LTK: @marytwojudgeygirls // @courtneytjg Hosted on Acast. See acast.com/privacy for more information.

(Part 2) It's Summer House finale and In The City premiere day! This two-part episode was a whirlwind of emotions. We shed some tears, looked at it from all perspectives, and analyzed every moment. Are we proud of Amanda? Was that Lindsay and Carl moment a little much? Should they have broken the fourth wall more? It truly felt like the end of an era in the Hamptons. Plus, we deep dive, In The City, with Danielle reappearing and starting off the Lindsay/Danielle feud. We were fully immersed in the demise of Kyle and Amanda. Who are our new favorites? Come judge with us!Editors note: We recorded this prior to the release of the reunion trailer.You can find us:Linktree: Two Judgey GirlsPodcast: ACast, iTunes, Spotify, wherever you listen!Instagram & Threads: @twojudgeygirlsTikTok: @twojudgeygirls // @marytwojudgeygirls // @courtneytjgYouTube: @twojudgeygirlsFacebook: www.facebook.com/twojudgeygirlsMerch: www.etsy.com/shop/twojudgeygirlsPatreon: www.patreon.com/twojudgeygirls LTK: @marytwojudgeygirls // @courtneytjg Hosted on Acast. See acast.com/privacy for more information.