Podcasts about epubs

How is AI transforming accessibility for indie authors — and why should you care even if you consider yourself able-bodied? What happens when the tools designed to help people with disabilities end up making everyone's creative business better? Jeff Adams, accessibility expert and romance author, explores how AI is opening doors that were previously closed. In the intro, Spotify Audiobook Innovations; The Economics of Convention Life [The Indy Author]; Friction in your Author Business [Self-Publishing with ALLi]. Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Jeff Adams is the author of YA thrillers and gay romance, and the co-author of Content for Everyone, a practical guide for creative entrepreneurs to produce accessible and usable web content. 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 How ending a long-running podcast made space for more writing — and how to know when it's time to let go of a good thing What accessibility really means for indie authors and why your digital content might be excluding part of your audience How AI agents like Claude Cowork are removing physical and cognitive barriers for authors with disabilities, chronic pain, or limited energy The culture of shame around AI use in the writing community and why blanket anti-AI statements can be ableist Practical tools including NotebookLM, ElevenReader, and ChatGPT for marketing copy, metadata management, and multimodal research Exciting futures in personalised reading, real-time translation, and AI browser agents that could change how everyone interacts online You can find Jeff at JeffAdamsWrites.com. Jeff also now has a SubStack at contentforeveryone.substack.com Transcript of the interview with Jeff Adams Jo: Jeff Adams is the author of YA thrillers and gay romance, and the co-author of Content for Everyone, a practical guide for creative entrepreneurs to produce accessible and usable web content. Welcome back to the show, Jeff. Jeff: Thanks so much, Jo. It's good to be back. Jo: It is. You were last on the show in March 2023, so over three years ago now. Give us a bit of an update on your writing and publishing business and what it looks like at the moment. Jeff: Sure. I think the biggest thing that happened is that my husband Will, who is also a writer, we ended the Big Gay Fiction Podcast at the end of 2024, after 470-something episodes. It was basically time to do that. So we both focused on writing from that point. In 2025 we had some of our biggest successes in getting writing out into the world. I refound my groove—my difficulty in writing went away finally. We talked a little bit about that back in 2023 too. Will started a new pen name and started producing again, and it was really good to be able to move in that direction. Jo: Was this the hockey romance that really hit at the right time? Jeff: You know, I wish I could have capitalised more on Heated Rivalry when it came out, but I did get hockey books out, and I think I did get to ride that wave a little bit there too. Jo: Yes, and if people don't know about that, that was a super popular streaming series. Was that based on a book? Jeff: It was, yes. Rachel Reid was the author of that book and that series that then Jacob Tierney optioned and made into what fairly turned into a global phenomenon at the end of 2025. Jo: Yes, absolutely. Although I particularly liked Red, White and Royal Blue. That was the one I liked. Not so much into hockey. But anyway, I just wanted to ask you about the Big Gay Fiction Podcast. As you say, you did hundreds of episodes over many years. You and I met over podcasting. You've had lots of connections with people. You ended it, and I know you struggled with ending it, but it sounds like it went really well for you. So maybe you could talk a bit about— How do you know when it's time to end something—a good thing rather than something bad? Does that make more space for writing, essentially? Jeff: It absolutely did make more space for writing for both of us, in particular for me because I have a day job. I balance everything on the creative side with the day job. Will and I had been talking about it for over a year. It just was like, it's really time. After nine years, getting to that 470 mark, we thought about trying to get to 10 years and we thought about, if not 10, then getting to 500 and ending on a milestone. As we looked at everything in our creative business, it was like, this is fun, we enjoy it, but we're not getting as much out of it as we might be if we were actually also writing books, which we also really want to do. It became a time thing and what was the best use of the time. We absolutely miss it occasionally. The whole Heated Rivalry thing, I would've loved to have had episodes to talk about that on, but in the long run, it was worth it. Jo: I mean, one of the things with a podcast, particularly around fiction, was that it was a marketing angle for your fiction. This show is a marketing angle mainly for my nonfiction. So what did you replace the podcast with, in terms of book marketing? Jeff: It was really stepped-up email marketing. I'd always had a list. Will started a list, of course, as he started his new pen name. So it was really turning on that, focusing on that, getting some email marketing with a Bargain Booksy and a Fussy Librarian and a BookBub occasionally to do that work. To be honest, even though we covered things in our genre that if you like what we're talking about, you should like our books, there was never as much of a connection there as you'd want there to be. Even from that book marketing angle, these other things that we can do, it's also a better spend of the money to get those types of promos than it was to continue running the show. Jo: Yes, that is interesting. I mean, obviously I think about podcasting a lot since I have this one, and I put Books and Travel on a hiatus and that was meant to help my fiction and definitely didn't help my fiction sales. But I want to bring it back again because I love doing it. Do you have this hankering sometimes? Do you think you'd ever do the podcast again? Because you are also quite into all the technical stuff and all that. Jeff: It's possible. I've toyed with the idea of doing a short accessibility podcast geared towards creatives, tilting to the same audience that Content for Everyone does. Then I come back and look at the time—is my time better served writing new fiction or perhaps starting a Substack, which I also toy with the idea of, for accessibility stuff? So it bounces around in my head to do another show, but I haven't really decided to jump on that yet. Jo: Yes, and I think that waiting is really good. As you say, you quit a big thing and you don't have to rush to fill it again. I love that you guys are writing more books. So I wanted us to talk about that up front because I know people who listen to this show—I encourage people to start podcasts if you want to, but equally it can take a lot of time. So that's fantastic. Now, you mentioned accessibility, and I feel like the word can be quite difficult for people. So let's just start with a definition. What is accessibility? Why do you care and why should we care? Jeff: So accessibility is really about making sure that whatever the thing is, whether it's something out in the physical world or in the online world, that everybody has access to it. Access to the information, access to getting into a building or being able to cross the street appropriately, whatever that is—that the accessibility of the thing is high. So that regardless of who is approaching it, they can interact with whatever the thing is. If we put that into the digital world, it's about making sure that text on a screen can be perceived by anybody, whether they're trying to read it visually or if they're trying to read it through a screen reader or through a braille monitor. Whatever that is, they need to be able to interact with it, get the information they need, do all the functions of whatever it is on the screen. Check out on Amazon, check out at their favourite e-commerce place, be able to get the products in their cart, check out, et cetera. For creatives, it's about the things that we do: the websites that we build for ourselves, the e-commerce platforms that we use, our email marketing, our social media posts. Making all of that as accessible as we can so that we're not perhaps missing a part of our audience or our prospective audience from being able to engage with our work and in turn, hopefully, buy our books and enjoy our books and become a fan. This became important to me because of my day job. I hadn't really considered this—like, I think most people don't—until I started working at UsableNet. It's going to be 15 years I've been at that company come this autumn, and I really started to see the impacts because UsableNet is all about accessibility on the digital front. I really started to learn, being a project manager for them, what all of that meant and how it impacted people who couldn't buy something online, couldn't book a hotel room, couldn't book an airline ticket. It just really became something I got passionate about. I ended up writing the book because I realised that nobody talks to creatives about this. Nobody tells the independent author what they should do to help make their digital stuff accessible so that they don't miss people. I never expected my day job to interact with my creative side so much, but this certainly has over the last few years. Jo: I mean, has it got better? Like we said, you were on here three years ago. We did talk about some of the things around EPUB formats and taking off DRM and what we need to do on our websites—labelling images, for example, and that kind of thing. Do you think accessibility has gotten better? Jeff: I think the awareness of it has improved, both within the creative community and in the broader web ecosphere, that the awareness is better. There's so much knowledge that needs to go into creating something that is accessible. Sometimes there's so much that you have to think about with colours and alt tags on images and all the little bits and pieces, if it doesn't really come to muscle memory, it's easy for it to fall off. There's a survey that's done by WebAIM every year about the top one million homepages out in the universe, and they surveyed those for just the things that an automated scan can detect, which is a small portion of overall accessibility, and the number of errors across that top million actually ticked up this year. Even though there's all these laws around the world—people get sued all the time in the US—the number of errors ticked up for the first time in a few years. So I think the awareness is up, but I think being able to take action on it and make the time to take action on it isn't where it needs to be. Jo: So last time you gave us all those tips. I'll refer people back to that and also to your book Content for Everyone, which has got loads of great stuff in. I wanted to talk to you for this show because I was sitting watching Claude Cowork—now I use Claude Code a lot more—but updating 140 titles on IngramSpark, where me clicking things and there's like 15 clicks per record on IngramSpark updates for pricing, is an absolute nightmare. I was watching the AI do the work and I realised this isn't just saving me time, it's actually saving my wrist and my arm from repetitive strain injury. That's when I thought about this accessibility thing. As you mentioned, for example being physically accessible into a building, say someone's in a wheelchair, they can't necessarily get into a building if there's no ramp. I was thinking that for many years, being an indie author, being a writer online, there's also been these physical barriers because there's a lot of plumbing and clicking for us. So I wondered, starting with an attitude around a shift in who this is opening up to— How is AI starting to help people with these accessibility issues? Jeff: Yes, there's so much opportunity around this. We should note, just to timestamp this, that we're talking on 14th April 2026, because who knows what will change, even in an hour from now. I think Cowork was one of the first things that we saw, and that's only been out since the very top of this year. Being able to do actual agentic tasks. Other things have sort of gotten there, but Cowork really opened it up. You mentioned the repetitive stress that you would've had clicking all of those forms on IngramSpark across 140 books. But there's that type of stress, chronic pain, cognitive drain for somebody who may have some cognitive disability and trying to work through that form. The cognitive energy just might drain out and maybe knock them out for several days after trying to get through that, or the tasks take them multiple days to do. Someone who has lower vision, someone who's trying to work through that form with a screen reader—all of that draws energy, draws focus. Now we've got something where, with plain language, we could say something like: here's all my pricing information, I've logged into IngramSpark, go update these books. Obviously the prompt's going to be a little more than that, but in broad terms, that's what we're going to tell it. Jo: Hmm. Jeff: And being able to have it go through and do the thing. If it gets stuck, have it come back and say, “Hey, I've got trouble with this. Please help me.” That can just free up so much of the drains that people can have—the things that can take them out of doing the part of the work that they need to do for an author business. They can go write the book through whatever process you're going to use to do that, rather than getting caught up in something like having to update all those books on IngramSpark. Jo: You mentioned writing the book there. I have this real sense of being an able-bodied indie author in terms of my computer use and my ability to write a whole book, a 70,000-word thriller that I write regularly. We're all special in some way, but I do have a reasonably normal brain where I can do this work without too much strain. It's hard work, but I can do it. I meet people who are now using AI to help them write, to help them organise their work—maybe someone has dyslexia or ADHD or cognitive issues or pain—there's just so many things that I take for granted that don't affect me. I hear from people who, at this point in time in the community, are almost shamed for using AI to write. So I wanted to bring this up to discuss it under the terms of accessibility. Do you have any thoughts on that? Jeff: I have real difficulty with people who will say anything in the broad range of, “I don't need to use this thing, and therefore you should not either.” Which is adjacent to indie anti-AI speak that there is out there. Certainly we're living right now at probably the highest point that it's ever been, where more and more there's a sentiment towards not using AI for whatever the reason is. I totally respect that people can have concerns about the environment and about energy use and water use, et cetera. Not to mention all the other things that are on the more difficult side of AI. To shame someone who may not be able to put their story out there without the use of that AI, whichever one they're using, or to shame them because they're using AI to run part of their business—updating IngramSpark, doing other things like that—I think it can come down to there being some ableism there. Ther is some privilege behind that too, where they're just like, “I don't need this, and you shouldn't have it either.” I want to give people just a sliver of an idea of what this can mean for someone who is disabled and what AI can unlock for them. There is a person on LinkedIn that I follow whose name is Hannah Desmond. She's an ADHD coach and a former software developer, and very recently she posted this on LinkedIn. This is a paraphrase of what she said, but: having something that can meet you where you are and help you bridge that gap is what I think I have found so helpful about using AI. Here's what I keep coming back to. Without that support, I wasn't more motivated or more capable. I was just stuck. That's the bit that gets lost. We've been taught that struggling is how you know you're doing it properly. So when something reduces the struggle, it can feel wrong—even when it's the thing that actually makes the work possible. Because there's a difference between avoiding thinking and being able to think at all. I think that rounds it up. She's talking about her time as a software developer, but you can apply that to any realm of AI when we're thinking about trying to shame someone for why they may be using it. We may not know that they have a disability because we don't always share that part of ourselves. So I really feel strongly about that and how we are in this culture of shame. Jo: Yes. It drives me up the wall, actually. But I will also say: you don't have to have a disability or accessibility issues in order to use AI in whatever way you personally decide is okay—talking to the listeners now. I think Orna Ross from the Alliance of Independent Authors says it well, which is you should have your own AI policy. So you personally decide where your lines are, how it helps you, what you want to keep for you, and what you want help with. I was also thinking in terms of accessibility around money. Again, for many of us, professional cover design, professional editing, professional human-level translation, these are things that are pretty pricey for many people. So again, this makes it more accessible. One of the reasons we got into the indie way and being indie authors was to try and remove the barriers to entry to people who have been excluded from the environment of publishing. So, yes, it is really hard to talk about this, and yet that's why I wanted to talk about it, because— There's so many variables for each individual and there's no situation that's the same, really, is there? Jeff: No, not at all. The things that I may need to do my work in the most efficient way possible is different from the way that you're going to work, is different than the way my husband's going to work, is different than every other person and the way that they're going to work. Which is why any kind of blanket statement about “I don't need something and therefore you shouldn't need it either” can just be so problematic, because we have no idea what someone else is going through. Either it's a permanent part of their lives or maybe it's something that is happening temporarily with them where they might need to leverage other tools. Jo: Yes. Talking about that temporary, I think I really got the first sense of this when I had COVID the first time, which was really bad. I remember I was so sick, the only thing I could do was listen to an audiobook. I couldn't think, I couldn't read. It was really probably months of not having my brain back. Then the other thing that's happened as I age, as women age, is menopause kicks in and the brain fog is a real thing. I've heard from other people too who've said having Claude or whoever, an AI tool, to help with the brain fog is so important because otherwise I just wouldn't be able to gather my thoughts. Again, as you said— Even if we don't need these things now, it's quite likely we're going to need them at some point, given ageing, given the potential for injury and disease. I mean, we don't escape this alive, do we? Jeff: Yes, that's a great point because unless we're extremely lucky as individuals, we're all likely to have some sort of a disability in our lives at some point. I know for me, as I age and my eyes get more and more tired after being in front of a screen all day for work, and then whatever creative stuff I do in the afternoon on a book—when it comes near bedtime and I do want to read, I probably want to do that with an audiobook, much more audio, especially for any long reading project. That can also be like, if I have a long document or a long article to read, I am likely to give it to ElevenReader, let it load itself up, and then listen to it, because I take the information in better than trying to follow words across a screen. Jo: Yes. Jonathan, my husband, now also listens to a lot of academic papers on ElevenReader. Most of us will know it as where we publish some audiobooks from ElevenLabs, or you can also publish other things there. So it is super useful to think about what we can do with ElevenReader. Another thing that I found really useful recently is NotebookLM. On NotebookLM, there is a free tier. You can put various things in there and then create a custom audio. So this is something I've been doing as part of research. You can put in, say, 10 YouTube videos or some PDFs or your book or whatever, and then you can create a custom audio. Then I'll go for a walk and I'll listen to the custom audio, and then I'll go back and look at the detail of what it was. It gives me the framework of whatever I'm thinking about on a broader level, and then I can come back to the details. So again, it's this multimodal approach that can help us manage our energy, I guess. Jeff: And it's all about the managing of the energy, I think, too. That is a great way to think about the accessibility of it all. You mentioned a great use there for NotebookLM. That could also be putting your book in there and having it help you build a world bible or something like that. Or building marketing materials off of that. There's a lot of things now that NotebookLM can do in terms of helping you create FAQs maybe for a newsletter or for your website, and building video stuff off of the material that it has. So there's a lot of options there, and ever-growing options that can be useful for someone to manage any number of the things that they may need in their creative business. Jo: Yes. In fact, talking about Claude, there are a lot of Claude plugins now, skills and integrations. Shopify just released a Claude plugin and many of us now have Shopify stores. I have a lot of products with a lot of different variations and the metadata. There's so much metadata. And again, I'm just so pleased now that I can work with Cowork and get it to actually update directly into Shopify. In fact, coming back, you mentioned updating alt tags earlier. That's something again that AI could help you update—the back list of your alt tags on a website. I've now got my Cowork doing EPUBs so I could finally update all my EPUBs with back matter and all of this kind of thing. So I feel like perhaps we could go beyond accessibility to talk about amplification. All the things that we didn't do because it was too tiring and we just couldn't be bothered, or it would just be way too much work, that now it's opened up as a possibility because of these tools. Jeff: Absolutely. I mean, you look at a backlist as large as yours and the things that you're now able to do. I didn't know that Claude had a Shopify plugin. So the abilities that we have now to maybe do things in the business that we hadn't before. One of the things I've been working with Claude on is rewriting my website and creating a more proper website for Will. I'm really making sure that it is not only SEO prepared but also GEO prepared, with all the metadata and all the backend code schema that it needs so that LLMs can find me, can understand what I do, can understand the books, branch out to the other areas that it needs to. Doing that through WordPress would've been so much more difficult, even with Claude, that to be able to rewrite the site in a way that is going to let me manage it better so that I will do it on a more consistent basis. Whatever that thing is, we're now able to do these things. That could be updating keywords in Amazon or making sure we're aligned across all of the sales platforms that we might be on and things like that, that Claude can do and do well. Jo: Yes, I think marketing is just the killer app really for people, isn't it? I think most authors do not enjoy marketing. I find Claude better for creative work, for strategic work, for doing work through Cowork or Code, but— ChatGPT with marketing copy is very, very good. So I've actually been using that as we record this. I've got a Kickstarter launching next week, so I've been getting it to do ad copy and social media copy and all that kind of thing. This is stuff when you have to produce—give me 20 taglines, give me 20 hooks, give me another 20 and another 20. I mean, we just cannot do it as humans, right? Jeff: Yes, I have found GPT wildly helpful. I mentioned trying to get Bargain Booksy and Fussy Librarian promos. Jo: Mm. Jeff: And you have to give it the marketing hook, and it can't just be the blurb that's on Amazon—it's got to be something fresh, and they each have slightly different requirements. Having GPT—here's the blurb, give me a dozen different options—and then I may take pieces of all of them and create one of my own. But it reworks that much faster than my brain was ever going to try to find the right thing I want to give to Bargain Booksy. Jo: Yes, you are right. Or it says write this in 300 characters or less. Jeff: Yes. Jo: I do exactly the same. That kind of transformative work can be really good. In fact, there was somebody I know who has been rampantly anti-AI for years and then said, “Would this help me? I have to do a synopsis for an agent, so I've got this 100,000-word book and it needs to be a 10-page synopsis. How would I do that with AI?” So I was encouraging her to take each chapter and ask it to summarise the chapter, and of course read through it and everything. But I mean, doing a synopsis once you've actually written a book—that can be super useful. So I think what we're saying is— There are levels of need in terms of both the author and the audience. Then there are levels of your personal use from one end of the spectrum to the other in terms of how far you want to go in every area of the business. And in that way, it's just different for everyone. Jeff: Yes, and I think getting to that mindset shift that we were talking about a little bit—it can be so easy to dip your toes in. That one author came to you and said, “Do you think it could do this?” And I think that's the beginning exploratory area for perhaps anyone. People are going to hear us talk about this and it might inspire them to go try something that we've talked about. But these things, whether it's Claude or GPT or Gemini or whichever one it is, you can come to it and say, “I'm an author, I have X, Y, Z going on in my life”—whether that's a disability, whether that's a time constraint because you have a day job and maybe you have kids and a family that need your attention—”I have these time constraints, I want to do X, Y, and Z in my business. How can you help me with that?” It's going to tell you what it can do to help you with that. I would even say, if you have the ability to have multiples of these, you could ask the same question to GPT and Claude, and they're going to give you similar answers in some instances, but they may also have different ones because of the abilities that the different platforms have around these things as well. That can help you make that mindset shift of, “Well, now I see that it can do that. Could it also do this?” And then ask it if it could do that. Because I know for me, Jo, I've taken so much from you and your journey with Cowork that it's like, “Oh, she did that. I wonder if I could do this.” And all of that piles on top of itself. Then eventually I think your brain starts to think on its own, “Oh, I have to do this task. Can Claude maybe do this for me? Let's go find out.” Jo: Yes, and if it couldn't do it for you yesterday, you never know, it might be able to do it tomorrow. Jeff: Right? Because I haven't tested yet its new ability to actually use your computer. Jo: Mm. Jeff: And I'm curious what that might open up. Because one of the things that I've seen that I wish it would do is be able to take the EPUB that's on my drive and actually put it into a platform I'm trying to upload to. Cowork on its own hasn't been able to cross that barrier, but I wonder if with computer use added to that, if it could. Like, “here's the EPUB, upload that over there,” be able to pick it from the file picker, essentially. Jo: Yes. I think, well, a little tip for everyone: I wouldn't give access to your entire file system to the AI. Jeff: That's a good point too. Jo: Yes. I have a Claude folder in my drive and it only has access there. So if you put files in that drive, it might be able to do that. But I know what you mean. I have been using it to help me publish things in German on KDP. Now I can use the browser, so you can actually do that. In terms of uploading the actual file, I know what you mean. These things will change. As we record this, again middle of April, we are almost about to get the next models being Mythos, which might be Claude 4.7 Opus, or also ChatGPT has a new model coming, and these models are getting very powerful. With every shift they can do more things. So as you say, the very first thing to do is ask it, “I want to do this—what are my options?” And some of them, for example, doing an AI-narrated audiobook, ChatGPT and Claude don't do that. You want ElevenLabs or one of the other services for that, but they can tell you what your options are. So that's one thing, but I wondered if you have any thoughts on the gaps that you are seeing. You mentioned one there around file uploads, but— What do you hope might come and some of the things that might be exciting if they arrive? Because you never know, they might be here already. Jeff: There's certainly some movement in some areas. One of the things I'll share is, in March I was at the 2026 CSUN Assistive Technology Conference—CSUN is California State University, Northridge—and they've run this conference for some 40 years now. One of the sessions I went to was from Tara Maisel—I hope I'm pronouncing her last name right. She's a senior project manager in books accessibility at Amazon, and she was doing a session specifically on readability. She had all kinds of statistics and information about what goes into making something readable. One of the things she talked about with AI was the future of personalised reading. If you think about the Kindle app, for example, there's a lot of settings you can make there—font size, colours, brightness, text spacing. There's a lot of tools in there. She was pointing out that potentially readers don't even know what they actually need for the optimised visual reading experience. She sees a world where AI can perhaps do an analysis of your reading behaviour and then help you find the optimal settings. Maybe even multiple optimal settings for, say, if you were reading in a room that had daylight versus at bedtime, and the ways you might shift it. I was almost thinking of this like when you're at the optometrist and they're like, “Which lens is better—this one or that one?” Jo: Oh, sometimes that is very hard. Jeff: Yes. It's that AI could step you through that a little bit to help you find that optimal reading experience in that moment. And then it might even notice, potentially, if you're changing something in the way that you're moving through a page, that it might flag to say, “Hey, do we need to adjust something?” Some other areas that I think are really exciting, for everyone and perhaps particularly for people who are disabled and needing the support of some assistive technology, is what we're seeing in the browsers. OpenAI's Operator has been out for quite a while now, since sometime I think autumn of last year. Perplexity Comet has been around even longer. Then we've got browser extensions from Gemini and Claude that are available, that can let you just type natural language. You know, “Please go find for me jeans in this size that are on sale on this website. Find me the best price for blue jeans on this site and this size,” and it'll just go do it. Which can certainly speed things up for people in the disabled community to find things quickly, to spend time navigating less, and maybe ending up with the AI coming back and saying, “I found these five things. Which one would you like me to buy for you?” Or, “I found this one thing that you do need and it's waiting for you in your shopping cart.” The ability for that on the horizon is an amazing jump from an accessibility point of view. But really it's one of those things that accessibility will then help everyone because we can all just shop that way, if we choose to. These are early days for these browsers and these extensions. The other side of it comes back to basic web accessibility too, because I've seen these types of activities not work so well on a site that may not actually be accessible on its own. A great example is something I ran into with Claude Cowork about a month ago. I was testing to see if it could help me navigate and get things uploaded together for a site where I wanted to upload books, knowing again that it's not going to upload the actual file, but it could fill in the metadata from my master database of metadata stuff. There were areas on the site that it actually couldn't hit the button, because the site itself was also not functional to a screen reader. So there are gaps there. It's early days, but I really see that as an interesting future that'll really help people with disabilities—but again, help everybody too, just manage time better. Jo: I know exactly what you mean there. I've done some collaborative work with Claude Code when it's like, “I can't click the button,” and I'm like, well, I'll click the button—you fill in everything else. Jeff: Exactly. Jo: It's actually quite a funny situation. But goodness, coming back to IngramSpark again—these things need APIs. We need better functions. It's funny because I think a lot of traditional publishers have these APIs or backend upload things that you can do. I'm like, well, we need to get to that with these systems. But I think things will change. Another thing that I think has also shifted is the use of voice. Voice for dictation—it used to be with dictation that you would have to say “comma,” “open quote,” “new line,” and all of that. And you'd also have to make sense. Whereas now I feel like you can just dictate a whole load of things to these AIs and then say, “Tidy that up,” and they will do a lot more than the old situation. So I think voice will also help. Also automatic translation. I don't know if you know this about X, and if you're on X anymore, but just this week they've made it multi-language. So I can read tweets by people who've posted in another language in English. I can read something from Korean or read something that someone French has posted and it gets translated. It has made a huge difference to the content I'm seeing, which is fascinating because I don't think we've ever had this kind of automatic “everything is translated into your language” situation. It's really got me thinking about how [automatic translation] might work for eBooks or other things if the rights are there. I don't know. Have you seen stuff like that? Jeff: There's so much available now with voice and the ability to not have to speak all the other stuff that went with it—comma, full stop, next line. It was a little mind-bending sometimes, trying to think about quote marks and all that stuff. And now it's so good. Different platforms do it to different degrees of ability. Even being able to speak your prompts into the very platforms themselves without having to type all of it. Chronic pain comes to mind, any kind of mobility thing—all the typing would be a drain or maybe even impossible. So the voice ability is so powerful there and unlocks more things. At the same time, those translation abilities—I believe AirPods now have the ability, if you've got the right stuff on your phone, that you could be talking to somebody, they may speak back to you in a language you don't speak, but your AirPods will give it to you in your language. Jo: Hmm. Jeff: Google has, I believe, a live captioning app that you can use. I think there's even a split screen—I don't know if that's available now or something in their future—where you could put the phone on the table and tell it who's looking at what side of the screen, and it'll put the language that I need on my side and the language the other person needs on the other. So there continues to be such a shift in how we're being able to translate stuff that really opens up communication and can open up our books to so many more people. I'm very interested to see—I haven't pulled the trigger on this yet—but how Amazon's auto-translation rolls out and how that's received in terms of the accessibility around our books and being able to put it in someone's hands who doesn't speak—I think it's only English to other languages right now—but who doesn't speak the language it was written in but wants to read that book. We could never, as indies, or really even big five publishers, wouldn't have the money to create custom translations everywhere. But if the AI can help do that and spread those books around so that everybody could have the story they want to read, I think that's such a win for the reading audience. Jo: Yes, I think it's so exciting to think what might be coming, and that's what I want to stay on the side of on the AI discussion. There's enough negativity out there and you can get that information somewhere else, but for me I want us to stay on the positive side of how this helps both the author and the reader. And hopefully the community, to create more and read more and enjoy being human more. Right? Because I find that I do get out more and listen to stuff, or I'm out walking instead of at my desk, and I mean, that's what it's about. I'm pretty excited about the future. How about you? Jeff: I am. I think there are, quite honestly, some scary things that could be out there in the future. I mean, there's been a lot of talk about what Mythos is capable of. But on the other side of it, there are all these advances. I also look back at Google and AlphaFold and what DeepMind was able to do there for science. There's more of that stuff out there, and individually for each of us, spending a little bit of time—and I do have to say, I think you need to spend time on a paid plan because the free stuff doesn't give you the idea of what these platforms are actually capable of. So if you only drop in, even briefly, to experiment on one of the $20-a-month plans and give it your situation, ask it what it can do for you, I think you'll see where, on a personal level, AI will help you unlock some things. It can help you move some things to the next level in your business that for whatever reason you haven't been able to do. You don't have to use it for everything. You may decide that it's still not for you for whatever reason, and that's fine. But I think there's so much to explore here and to let your curiosity run for a little bit to see what's possible and what you might unlock with it. Jo: Brilliant. So where can people find you and your books and everything you do online? Jeff: So pretty much everything lives at JeffAdamsWrites.com. Jo: Well, thanks so much for your time, Jeff. That was great. Jeff: I loved it, Jo. Thanks for having me..The post Accessibility And AI: How New Tools Are Opening Doors For Indie Authors With Jeff Adams first appeared on The Creative Penn.

Estoy investigando el catálogo de ePubs de la Biblioteca Nacional. Se accede desde el enlace de la Biblioteca Digital: https://bnedigital.bne.es/ (Catálogo de ePubs)Cuando grabo este episodio, hay 1.300 títulos disponibles. Por ahora solo me he descargado un par de ellos: Por ahora me he descargado estos dos libros:- Amor y llanto: colección de leyendas históricas originales, de María del Pilar Sinués (1898) https://bne.es/es/colecciones/coleccion-epubs/amor-llanto-coleccion-leyendas-historicas-originales- La mujer intelectual, de Concepción Gimeno de Flaquer (1901) https://bne.es/es/colecciones/coleccion-epubs/mujer-intelectualAdemás en el rato que he estado ojeando el catálogo me he guardado unos 12 títulos más en mis “favoritos”, la mayoría de ellos de Carmen de Burgos.Dime qué te ha parecido este capítulo y deja un comentario en ivoox o Spotify.Si lo prefieres, envíame un correo electrónico a la dirección de Gmail almadailypodcast. En redes soy @almajefi y me encuentras en X / Twitter, Bluesky, Threads, Instagram y Telegram.Y ahora también puedes seguirme en Substack: https://substack.com/@almajefi

In this week's episode, we take a look at eight common ebook formatting errors and how to correct them. This coupon code will get you 25% off the ebook of Ghost Exile: Omnibus One at my Payhip store: EXILE25 The coupon code is valid through April 6, 2026. So if you need a new ebook this winter, we've got you covered! TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 296 of The Pulp Writer Show. My name is Jonathan Moeller. Today is March 27th, 2026 and today we are looking at eight ebook formatting problems that readers hate and how to fix them. Before we get into our main topic, we'll have Coupon of the Week and a progress update on my current writing, publishing, and audiobook projects. So let's start off with Coupon of the Week. This week's coupon code will get you 25% off the ebook of Ghost Exile: Omnibus One at my Payhip store. That coupon code is EXILE25. And as always, you can get the coupon code and the links to my Payhip store in the show notes. This coupon code will be valid through April 6th, 2026. So if you need a new ebook as we leave winter and head into spring, we have got you covered. Now for an update on my current writing, publishing, and audiobook projects. As of this recording, I am currently 97,000 words into Blade of Wraiths, and I'm hoping to get to the 100,000 word mark by the end of today. You will note that if you read the first three books in the series, this will make it longer than the first three by good bit, which is part of the reason why it's taking so long. I was hoping to have it published by now, to be honest, but between the length and the variety of things I've had to do in real life before I can get to writing have slowed me down a bit. I have made progress and I am hoping to finish the rough draft before the 31st, if all goes well. Then it will be time to write a tie-in short story that newsletter subscribers will get for free when Blade of Wraiths is published, and then on to editing. So I'm hoping to have the book out in the second half of April, if all goes well and the creek doesn't rise, so to speak. I'm also 12,000 words into Dragon Mage, which will be the sixth book in the Rivah Half-Elven Thief series. I'm hoping that will be out in May because that will become the main project once Blade of Wraiths is finished. In audiobook news, as I mentioned before, recording of Blade of Storms (as excellently narrated by Brad Wills) is complete. I think as of right now, you can get it at my Payhip store, Google Play, and Kobo. Audible, Amazon, Apple, and a few of the other major stores should hopefully be coming along before too much longer. Recording is done on Wizard Assassin, which you may recall is the fifth book in the Rivah series, and that is narrated by Leanne Woodward. We just have to proof that, and then it'll be time to submit it for processing at the stores. So hopefully you'll be able to get your hands on that before too much longer. I believe next week, Hollis McCarthy will start recording on Cloak of Illusion, the 12th book in the Cloak Mage series. Since a few people have asked about this, I thought I'd mentioned here there will be a Cloak Mage: Omnibus Four in audio that will combine Cloak of Embers, Cloak of Titans, and Cloak of Illusion. I will probably start working on that one month after Cloak of Illusion comes out in audio. So that will probably be along sometime this summer, if all goes well. So that's where I'm at on my current writing, publishing, and audiobook projects. We've got good things coming up for you soon. 00:03:18 Main Topic: ebook Formatting That Readers Hate Now let's move on to our main topic this week, and it's something I have quite a bit of experience with, I have to say, is ebook formatting that readers hate. Today, we're going to talk about issues with ebook formatting, a topic that people have very strong opinions about. I am going to talk about eight issues in particular and then discuss how we can fix or prevent or best of all, avoid them. First of all, what do we mean by ebook formatting? Formatting is the term to describe the layout, text, and images of the book. Back in the print book days, this was a complicated but fairly fixed thing. In the very old days, you would have to lay it out the books manually. A few decades ago, they had programs like QuarkXPress and Adobe InDesign where you could use these software applications to prepare finished files for sending to the printer to be printed as books. But nowadays, in an age where books are electronic files read on dozens of possible devices and apps, it's much more difficult to predict every possible thing that can go wrong with formatting. For example, with a print book in the old days, you would set the layout, and that is the way the layout would look. Every single book (ideally) printed would look the same. But in the modern age, if you have an ebook, it could be read on a Kindle, a Kindle Color, the Kindle app on the phone, a Barnes and Noble Nook, a Google tablet, on Apple iBooks on an iPod, on Apple iBooks on an iPhone, on the Kindle app on an iPhone. There are literally dozens of different potential combinations where an ebook file could be read and therefore dozens of different potential complications that can arise for ebook formatting. If there are formatting problems, readers will not be able to understand or even physically be able to read the text at worst, and more likely will be deeply annoyed by the issues that feel like road bumps such as extra line breaks and will express their displeasure in reviews. There are also an abundance of ebooks out there that are hastily converted from PDF or Word docs that make for an extremely difficult reading experience. Many of the problems we're going to talk about today arise from when that happens, including the first several. So with that in mind, here are eight ebook formatting errors to avoid and how to deal with them. #1: Illustrations, charts, and maps. Some of the most common issues are that these aren't legible in grayscale (like an e-ink reader, like the Kindle or the various Kobo devices) or have too small fonts or a poor quality or low resolution. This is a very common problem, and it's kind of a problem across all ebooks. Like for example, think of the map of Middle Earth from J.R.R. Tolkien's The Lord of the Rings. It's a very complicated map with a lot of different names on it. Now imagine trying to read that map on a six inch black and white Kindle screen. You probably aren't going to be able to do it very well. People using dark mode are most likely going to have problems with seeing images in the same way. So if you have an image heavy book, it's a good idea to test that. So how to fix this? What I've done myself, because I write a lot of fantasy novels and fantasy novels traditionally need maps, is I will put the full color maps on my website and then in the author's note at the beginning, say a map of Owyllain or a map of Andomhaim is available at the author's website on this link. I had a few people ask if I could put the maps in the books and the nearest thing I've done is including the maps with some of the direct sales of my Payhip store. I think the system works very well because those map pages are consistently some of the most visited pages on my website. And to be honest, it would be a lot easier to look at the map on, for example, your tablet or your computer instead of on your phone when you're trying to use the e-reader application. And even if you are looking at the map on my website on your phone, you can pinch zoom in the browser in the way you probably can't in the ebook reader. So that is the quick and easy solution for it. For more image intensive books like textbooks, for example, you just have to take great care and make sure they use large, high resolution images that aren't going to get pixelated. It may be a good idea to set up a website that has these images that the readers can refer to. This would be a bit of extra expense and work, obviously, but it would go a long way to making your readers happy, like I have done with the maps on my website. #2: Paragraphs that aren't indented or unneeded spaces between indented paragraphs. This is one of the biggest pet peeves that people have when reading ebooks. Indented paragraphs are important and if they're properly indented, then space isn't needed between the paragraphs and this will look odd to readers. This was in fact a problem I did have the first couple of years of my ebook publishing career because I used Sigil for my primary ebook formatting and that is the default way Sigil renders ebooks. In time, I started to switch to using Vellum for ebook formatting and that solved the problem. So what I did at that point was I just went through all my entire library, reformatted the ebooks in Vellum, and then re-uploaded them to the various ebook store platforms and that took care of the problem. And that's what I've been doing ever since. I've been using Vellum for ebook formatting since at least 2018 at this point, I think. So how to fix? The easiest way to fix this is to spend a little money on a tool like a Vellum or Atticus or a similar program that does ebook formatting for you because that will make sure your paragraphs are indented properly and then you can spot check as well to make sure that the table of contents is working and the chapters are working and that the paragraphs are being indented properly. #3: Our third issue is hard to read fonts. Some people enjoy fonts that are very stylized, but let's be honest, most readers don't. It's also an accessibility issue if the serifs or the flourishes are too elaborate. How to fix? Honestly, the easiest way is to not use custom fonts for your book unless you have a really, really, really and I emphasize really good reason to do so because part of the appeal of ebooks and ereaders is that you can adjust the font size to whatever you want, which is also particularly important as people get older and it becomes harder to read small print. So if you have a font that is inherently difficult to read in your book, that is going to be a serious, serious speed bump to readers enjoying the book. So my advice for custom fonts is avoid if possible, and even if not possible, still try to avoid. #4: Our fourth issue is basically the same as the third issue, except worse. Font sizes that can't be changed/hard coded text size. A bad font choice is made much worse if the ebook is hard coded to a certain font. This can happen if you use certain exporting tools to export your print book layout into an ebook layout, and sometimes the font size carries over with that. People have strong feelings about fonts and some are more accessible than others, so it's very important not to do this. So how to fix this problem? Don't do it to begin with. It's bad and people will be mad at you. Do not hard set the font size in your ebook, and if you do it by accident, fix it if at all possible. That is my advice in this situation. #5: A fifth potential ebook formatting issue is random hyphens in the middle of words that shouldn't be there. Random hyphens in the middle of words can happen if you convert a book from a PDF file to an EPUB file, and this means it's a very preventable formatting issue. The best way to avoid this is not to upload a PDF file or a Word file to Kindle Direct Publishing and the other ebook platforms, because while they do have automated tools for converting a PDF and a Word document to an EPUB, there's often weird formatting glitches that pop up like the random hyphenations. The best way to avoid this is to use a proper tool to format your ebook like Vellum, Atticus, maybe Scrivener, maybe Kindle Create. So that is the best way to do that by preparing your own EPUB file and uploading that directly. #6: A sixth issue is footnotes or bibliography or endnotes that don't link back to the original page. This also really annoys people. Footnotes and other links within books either need to be popups or linked back to the original page otherwise, readers will be deeply annoyed trying to return to their place each time and even fewer people will read them. And the best way to fix this is to make sure you have set up the footnotes, bibliography, or endnotes properly in a formatting program so that the links work. If you try to do this using a PDF or Word document you upload to the ebook platforms, it's probably not going to work. So it's best to, again, to create your own EPUB and upload it directly. #7: A seventh thing that annoys readers is books without chapters or books without numbered chapters. Books without chapters or unnumbered chapters is a very annoying thing for readers, but most formatting software will help to create and number chapters. Now, how to fix? The technical explanation of this is an EPUB file is essentially a zipped version of several XHTML files and each XHTML file in the sort of zipped package should be its own chapter. The way an EPUB generates table of content files is that every chapter heading should have a H1 HTML key, and that it lets the EPUB know which heading should be chapters. Now you can hand code all this in a program like Sigil, but again, it's much easier to use a program like a Vellum, Atticus, or Kindle Create that will automatically create a proper table of contents for you rather than you having to go through with a XHML or EPUB editor like Sigil and then hand code the H1 tag. It's much easier to automate this and there are applications that will do this for you. #8: The eighth formatting problem that annoy readers is quotation marks the wrong way. What do we mean by that? Quotation marks come in two styles, straight and curly. Curly ones look like flipped commas, while straight quotation marks look more like two lines. Most word processing programs like Word will default the curly quotation marks and convert straight ones. Although curly quotations can sometimes create garbled formatting, they're considered to be the standard. How to fix? Honestly, the easiest way to fix this is to, if it's a problem for you, is to do a find and replace or a find and search. Just if you find that usually what happens is that if you hold down the shift key for too long while you're thinking and then you hit the quotation marks. Sometimes in certain operating systems, it'll convert it to straight quotation marks instead of curly ones. So if you are worried about a few of the wrong type of quotation marks showing up in your document, the easiest way to fix it is just a quick search through the document for straight quotation marks and then remove any ones that you see. We've talked a lot about formatting ebooks and tools for formatting ebooks. So I thought I would suggest the three most popular applications for formatting ebooks, and those would be Vellum, Atticus, and Kindle Create. Vellum is most expensive, but I think it has most features, whereas Kindle Create is pretty simple, but it's free. Vellum is Mac only. As I've mentioned before on the show, I started using it for print layout and then liked it enough that I switched over to using it for all my ebook formatting and that's been true for like the last eight years now. It's very easy to learn. It has excellent features and excellent support. I've never had any technical problems with it whatsoever. I'd say the biggest liabilities for it are that it's the most expensive of the options and it's Mac only. So if you don't have access to a Mac, you would need to choose another option. The next option would be Atticus, which the advantage for Atticus is that it's cross platform. It will work on Windows, Mac, and Linux because it is foundationally a web application. It's also very collaborative in that you can invite other users to use it. The creator of the program, the guy who runs Kindlepreneur named Dave Chesson, has said he wants to create an all- in-one ebook creation, writing, and formatting tool with Atticus, and I think he's taken a pretty good stab at it. I'd say the biggest weakness for Atticus is that it does have a bit of a learning curve because there are so many different functions packed into it. The free option would be Kindle Create, which is a program put out by Amazon. Kindle Create is pretty basic, but it does have everything you need and you can use it to create both files optimized for the Kindle platform and generic EPUBs that you can use on other platforms. I'd say its biggest weakness is that it's fairly simple and that it's produced by Amazon, which some people have strong feelings about, but it is free, which is hard to beat. In Episode 251 (about a year ago), I talked about ebook formatting software and offered pros and cons for each. There isn't one perfect option, so it's good to look over the details for each one of them and watch one of the many available reviews or overviews available online to get a feel for how each one works differently. And now the three strategies for finding formatting issues before your readers do. #1: Test your ebook in each file format (PDF/EPUB) and on multiple devices. It's impossible and prohibitively expensive to test on every possible device, but try some of the most common devices and apps. It's important to test on a Kindle, an actual Kindle and not just on the app, for example. #2: Check the page and chapter breaks in particular. These are the spots where odd formatting tends to cluster. Check all of them to make sure there's nothing weird that you need to fix. #3: Check for legacy things from the print version like page numbers, the table of contents, and so forth. And I find that the easiest way to do all three of these at once is in my final phase of editing a book, I will have my computer read it aloud to me with text to speech and I find that's a good way to find any remaining typos. It's also a very good way of spotting formatting issues since you'll be looking over the entire book one more time and if there's like a weird gap or a line break or something of that nature, you're probably going to have a good chance of spotting it. So in conclusion, ebooks can be a bit difficult to format, but there is dedicated software and a slew of tutorials and guides to help you do it. Learning a little bit of HTML and CSS can help, but it's not a requirement at this point. If you're self-publishing, having a well formatted book is important because readers either won't enjoy or won't even start a poorly formatted ebook. I hope these tips help you with knowing where to start with improving your ebook formatting. So that is it for this week. Thank you for listening to the Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your view on your podcasting platform of choice. Stay safe and stay healthy and we'll see you all next week.  

In this episode, I take you even further down the rabbit hole of vibe coding and share what I have built in just one week using Replit and AI-assisted development. What started as curiosity quickly turned into a fully functioning software tool I am actively using in my own workflow. I walk through the evolution of my new app, PodBriefer—why I built it, how it works, and the real-world problems it solves for me as a coach working with entrepreneurs who are also content creators. I explain how the app lets me subscribe to podcasts, search the Apple Podcasts directory, store episodes locally for instant access, generate transcripts, download audio files, and analyze content without the friction I used to accept as normal. I also share how I am using custom GPTs to create deep-dive summaries, pull quotes, action items, and insights from transcripts. You will hear how I connected the app to Kindle to automatically turn podcast episodes into EPUBs, complete with cover art, show notes, transcripts, and a table of contents, so I can read, highlight, and extract notes directly into my thinking and journaling workflow. Along the way, I talk candidly about costs, tradeoffs, beta limitations, and what this kind of tool might make possible in the future, both for me and potentially for others. This episode is a behind-the-scenes look at how AI is changing the way I build, think, and work right now. Affiliate Link For Replit: If you are curious about vibe coding and want to explore Replit for yourself, visit podcastanswerman.com/replit to check it out. Next Level Mastermind or One-On-One Coaching If you are interested in the Next Level Mastermind, one-on-one coaching, or want to talk about whether any of this fits into your own creative or business journey, email me at cliff@cliffravenscraft.com.

Ken Jones is an experienced book publishing software expert. Before founding Circular Software, he served as the Technical Production Manager, software trainer, and automation developer at Penguin. Circular Software is a UK company that specializes in software, training, and strategic guidance for publishers—including Quarto Group, Bonnier Books, Hachette, Simon & Schuster, and Pan Macmillan—helping them get the most from their print and digital workflows.Ken joined us on the Booksmarts Podcast to discuss the role of fixed-layout EPUBs in modern publishing exploring how they differ from reflowable ebooks and PDFs, along with their design, content, and accessibility considerations. During the conversation, he referenced a recent Circular Software article on Groundbreaking No-Code Accessibility for Fixed-Layout EPUB, which highlights how the company helped Pottermore Publishing achieve top quality accessibility standards.He also recommended Canva's Affinity Studio as a free alternative to Adobe—a highly valuable resource for publishers that can accommodate ebook capabilities.To learn more about Circular Software, visit their website.

Welcome to the Kobo ReWriting Life Podcast! Alongside your regularly scheduled Kobo Writing Life podcast episode releases, we will also be featuring some highlights from our backlist. This episode features two former Kobo employees, Simon Collinson and Ben Dugas! These two experts share everything authors need to know about EPUBs and eBook files, and offer some great advice to indie authors looking to avoid common formatting and file-making errors. Join Chrissy as she sits down with EPUB experts Simon Collinson and Ben Dugas from Kobo. They teach us everything we need to know about eBook files. They explain the different types of EPUB files, the tools available to authors to make their own EPUBs and common errors to watch out when creating your own file. They also discuss the future of eBooks and accessibility. In this episode: Simon and Ben tell us what the difference between different EPUB formats is. Simon talks about the different ways authors can go about creating their own EPUB files. Ben chats about the common issues he encounters when looking at EPUB files. Ben recommends trying out your EPUB on different devices to make sure it will be readable on all platforms. They talk about accessibility and the future they see for EPUBs. And much more!

The Shakespeare Book Club meets tonight to talk about A Midsummer Night's Dream. Zoom link here for paid subscribers. Paid subscribers can also join this chat thread and ask me (or other subscribers) whatever they want. Tell us what you are reading, what you disagreed with me about this month. Ask niche questions someone here might be able to answer. Ask me anything you like (I might not answer!) This is an experiment... let's see where it goes... Join the chat.Katherine Dee InterviewWhen we have strong feelings about literary characters, isn't that somewhat the same as ficto-romantics—people who fall in love with fictional people and create part of the identity around that relationship? This is the sort of question you can talk about with Katherine Dee. I am a long-time fan so I was delighted to be able to ask her about the way AI is changing writing, fandom in culture, role play writing, fan fiction, ficto-romance, internet culture, and the way technology is changing what we read, how AI is changing Katherine's writing, and how she uses ChatGPT to discuss her emotional life (she says it is pretty good!). Katherine is one of the most interesting Substackers, writing at default.blog, as well as writing for other publications. You might remember her piece called “No. Culture isn't stuck”. I find her case-studies especially interesting (this is the one we talked about in the interview). Katherine is not judgemental: she simply tires to understand. Here is her Twitter. Here's what Katherine told me about fandom in modern culture.Henry: Why is there so much fandom in modern culture? We've got LARPing, people having AI boyfriends and girlfriends, fictoromance. You're writing about all these things all the time. Why is this such a big part of culture?Katherine: That's a great question. I think that the foundational reason is our culture is oriented around consuming media. And this is, you know, like, the subculture of media consumption is always going to be a fandom. But also, like, other things have eroded, right? Like, you know, it almost feels cliche to bring up, but everything from, like, third places to organized religion, you know, to national identity, you know, all of these things, right? What remains in its status is fandom. And so, you know, the marriage of the erosion of these other sort of cultural cornerstones, plus the importance of consuming media and the way we communicate, it creates this perfect storm. And I've even argued that, like, fandom is, in a way, like, you know, the main way that we know how to organize at this point. It's the chief way we express ourselves. You know, politics tend to, like, devolve into fandom. But the question is, like, well, what else do we have, really?And here's part of our discussion about ficto-romance.Henry: Now, about ficto romance. I find this, like, really fascinating and I've been reading your case studies avidly. But I also am confused, like, people have always had strong feelings for characters in novels, right? So I read an essay, a 19th century essay about Pride and Prejudice recently. And I mean, this made me laugh. Some people don't like it. But the critic was like, these are the five most attractive heroines in 19th century English fiction and had, like, robust views about what made these fictional women attractive. What is different or what feels different about ficto romance today?Katherine: You know, I don't think it is that different is the thing. I think a lot of stuff maybe feels different because it's somehow like more lowbrow or we don't respect the expression as much. I also think the role of art has changed. Like, we don't see, you know, like I talk to a lot of I actually posted an interview today with a guy who identifies as fictoromantic and his fictive other, which is the term they use instead of like significant other, is from Homestuck, which is a web comic that was really popular on Tumblr and is still very popular on Tumblr. And I think, like, ordinary people don't consider that art. Right. And so, like, it's difficult. Like, you see someone who maybe has this, like, devotion to, you know, someone in a great novel or maybe to, like, you know, Aphrodite or Venus or something like that. And they're producing what we're already primed to think of as great art in service of this love. And because the media properties that many of these people are emotionally attached to feel lowbrow, we take it less seriously and we think they're crazy. But if you actually talk to them, they're not crazy at all. I mean, it's a spectrum of expression. But I've never spoken to someone who feels like they're in active psychosis or something. It feels very familiar. Like I brought up in this interview that I posted today, you know, the way this young man was talking about this Homestuck character. And this is going to sound, I mean, this is going to sound crazy, maybe, but it reminded me of Mirabai, who I don't know if I'm pronouncing her name correctly, but she is this Hindu poet who had this great devotion for Krishna. And it was it felt very similar to me. It's just that it's reskinned in this way that is there's some dissonance.There's a complete transcript of the interview below. Transcript (AI generated so there may be errors)[00:00:00] Henry Today, I'm talking with Katherine Dee, the internet culture writer and the author of the default friend, Substack. Katherine, welcome.[00:00:11] Katherine: Hey, thanks for having me.[00:00:15] Henry: So how is AI changing writing right now and how is it going to change it in the next, say, couple of years?[00:00:22] Katherine: In the next couple of years, I'm not sure. But right now, I've noticed a lot of people who write news are using AI. AI is interesting because it's like, you know, if you read a lot of fan fiction, for example, there's like a fan fiction register. And so if you then go and read like a mass market paperback, you know, a lot of these people start off in fan fiction, you can kind of tell like who's who, right, because there's certain phrases that are common, certain slang. And the same is similar with AI, right? And so I can, I've, I use AI so much as like a chat companion, that there's like certain phrases that I know, are very specific to AI. So I've picked up from like, talking to it and, you know, it being sort of like a friend of mine, for lack of a better word, that people who write news and write digests, use AI a lot. And I've also noticed that people do like, polish on their writing, like they will fix the grammar, or what have you, which I think is less, less scandalous. But I do think that there's also a backlash, right? There is this, people want to sound human. And it's, it's opening up like, more space somehow, right, somehow, more, even more space for like, messy confessional writing. And maybe just, you know, validating that our, our, our long love for it, is never, is never going away.[00:02:03] Henry: Yeah, just when you thought there couldn't be any more personal essays, right, here they come.[00:02:07] Katherine: There's even, Substack really like, created an explosion of them. I thought, I thought it was over, but it absolutely is not.[00:02:17] Henry: I was amazed the other day, because I've been writing like, I would say quite a balanced view of AI, but people take it to be highly positive. And someone who was writing against it, actually said in their piece, oh, that last sentence was written by AI, by the way. And I was like, it's insane to me that that would happen. If you're so against it, but also that people don't realize that if he hadn't mentioned that, you wouldn't have said, oh, that was an AI sentence.[00:02:46] Katherine: Well, you don't know that it, I do think, and I went, I can't quite figure out what, what is the tell for AI writing when there's certain words that I could list, but there is a register, right? So if you're using it a lot, like, I use, I use like deep research all the time to find like, contact information for people. If I have a problem in my life, it's like, I asked chat GPT first, right? So there's like words like, you know, people have pointed out that it uses an em dash a lot. It uses the word crucial a lot. The word realm, weirdly, I've noticed, right? So you kind of internalize it, right? But there's also a register that is very like, AI specific. And I think, all this to say, I think people can tell.[00:03:38] Henry: You said you're talking to it a lot, like every day. What are you talking to it about?[00:03:45] Katherine: Like, you know, if I get anxiety about something that feels silly, or like, if I get upset about something, sometimes, like, I can't, because I'm online so much, like, very susceptible to getting this sort of, like, internet tunnel vision, where I don't know if I'm like, if my reaction is really to scale, I try not to get into, like, fights on the timeline or anything. But it doesn't mean I don't have the reaction, right? So I'll ask AI, like, I had, you know, this back and forth with someone on Twitter, and I feel like, pretty upset about it, am I overreacting? And it's not always actually, like, a good tool for that. But even just the process of me, like slowing down to ask, has made me, I think, a little bit more rational.[00:04:35] Henry: Do you think you're better at seeing when something's written with AI, because you've got this background in fan fiction and online writing, so you're, like, in a way, very highly trained on different internet registers? Whereas to some of us, it's like, people are just doing internet speak, and we don't have that kind of discrimination between the types?[00:04:55] Katherine: No, I think that if you read a lot of anything, you sort of, you pick up, you become fluent in the tone. People who, you know, there's an academic register, right? Like people who are in STEM speak in a particular way and write in a particular way. And it's not necessarily that the topics that they're talking about, it's certain phrases. People who are the humanities, there's similar things. And I think we're not conscious of being able to detect these different tones or registers, but everyone is capable of doing this.[00:05:34] Henry: How many people, how many, like, prominent people or people who are known for their voice do you think are using AI without telling us?[00:05:43] Katherine: I can only think of one who I would bet money that they're doing it. They mostly send out, like, a news digest. So it might be, you know, I haven't noticed it in their, like, opinion pieces. But in, like, their news digests, definitely, right? There's all sorts of tells. But there's, I mean, there has to be more, right? Because there's so many people who have interesting ideas, but aren't necessarily articulate. And there's probably a lot of people who collaborate with AI, right? So it's, they will have the, you know, Chachapiti or Claude or whatever, structure their piece. And then they will go in and edit it and put it in their voice. Or even the reverse, like, they'll structure it, and then they'll have it be polished or fix the grammar or put it in the tone that they want, and then they'll do minor tweaks. I think that is probably super common. But, like, wholesale, yeah, I've only picked up on this one person.[00:06:48] Henry: How close are we to a time when writers are going to feel obliged to put a little disclaimer saying this is what I do and don't use AI for in my writing? Or will that not come?[00:06:59] Katherine: Some people already do that. I don't want to skip ahead to mention our conversation, but I know we're going to be talking a little bit about fan fiction. And on fan fiction sites, there is, like, an AI-generated tag. And then in some digital magazines, they'll be like, this piece was generated with AI or, you know, was edited with AI or something like that. But I think there's probably a lot of shame around it. And people don't want to feel like they're not a real writer. We don't really know where to place or how to conceive of these tools. And it's complicated, right? And you see these conversations playing out in fandom quite a bit. And you see just how complex it is. I don't think there are easy answers.[00:07:53] Henry: Why is there so much fandom in modern culture? We've got LARPing, people having AI boyfriends and girlfriends, fictoromance. You're writing about all these things all the time. Why is this such a big part of culture?[00:08:06] Katherine: That's a great question. I think that the foundational reason is our culture is oriented around consuming media. And this is, you know, like, the subculture of media consumption is always going to be a fandom. But also, like, other things have eroded, right? Like, you know, it almost feels cliche to bring up, but everything from, like, third places to organized religion, you know, to national identity, you know, all of these things, right? What remains in its status is fandom. And so, you know, the marriage of the erosion of these other sort of cultural cornerstones, plus the importance of consuming media and the way we communicate, it creates this perfect storm. And I've even argued that, like, fandom is, in a way, like, you know, the main way that we know how to organize at this point. It's the chief way we express ourselves. You know, politics tend to, like, devolve into fandom. But the question is, like, well, what else do we have, really?[00:09:22] Henry: Right. Fandom, but also anti-fandom, right? I think that's a big part of culture.[00:09:25] Speaker 3: It's like. Yeah, absolutely.[00:09:28] Henry: Now, about ficto romance. I find this, like, really fascinating and I've been reading your case studies avidly. But I also am confused, like, people have always had strong feelings for characters in novels, right? So I read an essay, a 19th century essay about Pride and Prejudice recently. And I mean, this made me laugh. Some people don't like it. But the critic was like, these are the five most attractive heroines in 19th century English fiction and had, like, robust views about what made these fictional women attractive. What is different or what feels different about ficto romance today?[00:10:14] Katherine: You know, I don't think it is that different is the thing. I think a lot of stuff maybe feels different because it's somehow like more lowbrow or we don't respect the expression as much. I also think the role of art has changed. Like, we don't see, you know, like I talk to a lot of I actually posted an interview today with a guy who identifies as fictoromantic and his fictive other, which is the term they use instead of like significant other, is from Homestuck, which is a web comic that was really popular on Tumblr and is still very popular on Tumblr. And I think, like, ordinary people don't consider that art. Right. And so, like, it's difficult. Like, you see someone who maybe has this, like, devotion to, you know, someone in a great novel or maybe to, like, you know, Aphrodite or Venus or something like that. And they're producing what we're already primed to think of as great art in service of this love. And because the media properties that many of these people are emotionally attached to feel lowbrow, we take it less seriously and we think they're crazy. But if you actually talk to them, they're not crazy at all. I mean, it's a spectrum of expression. But I've never spoken to someone who feels like they're in active psychosis or something. It feels very familiar. Like I brought up in this interview that I posted today, you know, the way this young man was talking about this Homestuck character. And this is going to sound, I mean, this is going to sound crazy, maybe, but it reminded me of Mirabai, who I don't know if I'm pronouncing her name correctly, but she is this Hindu poet who had this great devotion for Krishna. And it was it felt very similar to me. It's just that it's reskinned in this way that is there's some dissonance.[00:12:35] Henry: So you don't think, because I read that interview and I thought it was great. Do you don't think like the behavior that the person you interviewed, like it's actively living with this fictoromantic partner and there's lots of like daily behavior involved. Right. And it's part of the structure of this person's life. Whereas, you know, in the past, like Diana Wynne-Jones used to say that she got a lot of letters about Hal's moving castle from, I think, basically teenage girls who fell in love with Hal. But that would be like. Almost entirely in their imagination, maybe if they wouldn't structure their life around it, is there some kind of difference there?[00:13:18] Katherine: What is different is I feel like because everything's commercialized, there's maybe more of an opportunity to buy products associated with the character that they're attached to. But if you look at the way people, most people, not all of them are expressing these relationships, like I ask these people, what does your relationship look like? It looks like creating art. And, you know, in another time, maybe they wouldn't have become a famous artist or whatever. But like I think it would have been more socially acceptable somehow. The student we used was Puppet, which is sort of maybe a little silly. But Puppet, who's the young man I interviewed, when I asked him, what does your relationship with Ro Strider look like? He said that he writes, he draws, he fantasizes. There is also, you know, there was also like a commercial component, like buying the body pillow. And that's maybe a little different. But to me, it reminds me of just any sort of creative expression. It's just phrased in a slightly different way.[00:14:36] Henry: Right, right. And one thing I liked about that interview was that I don't do the creative activities that this person does, but I was like, well, I speak pretty intensely about fictional characters. It made me sort of I was sort of forced to think, like, how different am I from this guy? Like I'm I have very strong feelings about people in books.[00:14:59] Katherine: I think a lot of us do.[00:15:02] Henry: Or movies, right? For a lot of people, it's movie characters, right?[00:15:04] Katherine: Yeah. I mean, that's that's the beauty of like dramatic structure, right? Like it you it allows us to suspend our disbelief and we feel like we're within the world of the narrative. And if you really like it, you want to take that feeling with you after the show has ended or the book has ended.[00:15:23] Henry: So I guess you're saying that this what it looks very weird to a lot of people, but it's not really so different from the way people grieve about like when Matthew Perry died and people were just completely distraught. It's kind of a similar thing because they had this strong identification with his character.[00:15:42] Katherine: Yeah, I mean, it's more intense, but like there were probably people who felt a really strong connection to Matthew Perry or to any celebrity. And again, it applies also to fictional characters, of course.[00:16:03] Henry: So what are people getting from fan fiction that they're not getting from other sorts of art? Like why is fan fiction so big now?[00:16:13] Katherine: It's playing in the space of a media property and an established world that you already have an attachment to. You know, people bring up a lot like there's, you know, there's certain stories that are like retold over and over and over again. Right. There's certain characters that reappear throughout novels through centuries. Right. And it's a similar idea. Right. It's like you enjoy the world of the story and you want to make it your own. Fan fiction is incredibly diverse. Right. There's some fan fiction that is that moves away from the canon so much you almost wonder, like, why, you know, why aren't you just creating an original work? But there's something that lies in there. And I also think part of it is the types of media that people are consuming are they already have these fandoms set up. Right. So it's it's it's it almost invites that form of expression.[00:17:21] Henry: Do you mean like you read Harry Potter and then you realize that there's already a massive Harry Potter fan fiction ecosystem so you can… it is to us what a theme park was to the 80s or whatever.[00:17:35] Katherine: Yeah, there's there's already this there's already somewhere to go and to meet people.[00:17:41] Henry: I was researching it earlier because I like I know nothing about it. And obviously I was asking deep research. And as I was reading all the stuff it gave me, I was like, people are trying to create almost like folktales based on this, you know, whatever the the original sources in this collectivizing impulse, whereas you say like it diverges, it has these repetitive tropes that they almost want to turn it into these kind of fairy tales or a collection of stories like that. So it seemed it seemed quite interesting to me. Now, you personally, you wrote on your sub stack, you said my lineage isn't literature, it's text based online role playing. Yes. Tell me what that what is that?[00:18:28] Katherine: So I so I always wanted to be a writer, but I wanted to be a writer because I would role play and role play, role playing the way I did it is is like playing, you know, it's like imaginative play that children do, like with Barbies or, you know, even just themselves. But it's it's translated to text because it's it's mediated. And so I would do, you know, I would role play all the time. And it wasn't like I was a voracious reader. I never was. And I don't think I am now. And I think it's it's actually reflected in my writing, actually, but it was because I was like role playing all the time. And I think a lot of people are like this, right? Like I didn't even really write fan fiction. I preferred role playing, which is a little bit more dramatic than than just than just writing. But I but at the time I thought, oh, because I'm I am literally writing something down that I am a writer. But really, it's more like theater, if anything.[00:19:28] Henry: So tell me what's happening, like you would be logging on to some kind of forum and you would be writing as if you were a particular person or character in this in the scenario and other people would be responding.[00:19:43] Katherine: Yeah, it's it's like acting, but through text, so you could do when I started, you could either do it in a chat room, there is text based role playing games, which I didn't actually participate in, like mod some multi user dungeons. I didn't I didn't even know those existed at the time. And then there was forums where and so there would be a theme and the theme could either be from a fandom like Harry Potter, for example, or it could just be a setting. So like high school or the beach or, you know, like an apartment complex and you would design a character and then you would it was it sort of looked like a collaborative story. But really, it was like you were you were just you could only control your own character. So you would just write a description of like, you know, someone says the setting is the beach and then character one comes in and describes what character one is doing and then character two comes in. And, you know, sometimes you would be ignored. Sometimes people would start a fight with you. All sorts of things could happen. And I it's I spent most of my time doing this for like over a decade.[00:20:53] Henry: So are there certain areas where this doesn't does not happen? Like, is there Jane Austen role playing or is it is that not the sort of premise?[00:21:02] Katherine: No, there's role playing for everything. There's like historical role plays. There's, you know, any novel under the sun. You could probably find someone, you know, more like Jane Austen. There's like a there's a rich role playing tradition. People love Jane Austen novels. Something I would do very often is if I was learning about a particular historical period in school, I would get like I would have I would develop these sort of like parasocial attachments with certain historical figures or even settings very similar to the way people feel about fandom. And then I would go home and role play the historical setting and I would read a lot about, you know, whatever it was, ancient Rome or whatever. And it would help me in school because I would be like acting it out online.[00:21:49] Henry: Yeah. You're working on fan fiction and A.I. at the moment. And I'm interested in this because I have this feeling everyone's like A.I. is only going to produce slop. It's not going to do anything new. But I've seen people. I've saw an interesting essay on Substack about someone writing their own fan fiction with A.I. And I sort of I wonder if the confluence of these two things is going to start leading to lots of very new types of fiction and potentially even I don't I mean, this is like a long term speculation, but even some kind of new type of literature. Tell us what you're working on with that.[00:22:32] Katherine: So I was curious the way I was curious, like how people were using A.I. in fandom spaces. And right now it looks it looks like there's this prohibition against using A.I. like people do you do create A.I. generated fan fics, but there's something about like the process and the love that you put into writing your fan fiction that people are very precious about. And they feel that A.I. infringes on this. And part of it is they're very concerned about like, where is the data coming from? Right. Is it somehow unethical because of the data that these LLMs are trained on? But where you see a real difference is people who use A.I. to role play. And that's where it's it seems like people are more open to it. It the feeling the feelings and reactions are a bit more mixed, but there does seem to be like a debate in different fandom spaces. Like some people argue like A.I. is an accessibility issue, like some people aren't good at writing. Maybe English isn't their first language. And this opens up a lot of space for them. And they feel like they're they're collaborating with this tool. Other people say that it's it's unethical and that since they're taking away the process, it is it's harming the work.[00:24:04] Henry: If they could be convinced or, you know, to their own satisfaction that it's not unethical, the data, the data sets and everything like it would be fine. Would they still just not want to do it? It would be fine. Would they still just not want to do it? Because this is the wrong phrase, but like it ruins the game. It's not the point.[00:24:25] Katherine: I think for some people. Yeah, I think the the ethical dimension is is extremely significant for a lot of people. But but for some, it's like, you know, they're not doing it to produce work for its own sake. Right. To go back to the example I gave about the writer who I suspect is using AI to create these news digests, like that person has committed to producing these digests, you know, X number of times a month as part of their livelihood. And so you can sort of see like, well, them using AI is a little bit more sympathetic. But if it's something you're doing for free, for fun, as an expression of love, I can I can see where people are like, well, you're farming it out. But I also am very sympathetic to the other side of that, where it's like maybe, you know, your writing skills aren't as strong and it does open doors and they are your ideas. And it's helping you speak more clearly in a situation where you couldn't otherwise.[00:25:32] Henry: Is it because the way people do this online together, it's a form of communicating, like it's all very oblique and indirect, but it's really just a form of people socializing and they feel like if the AI is there, then they're not getting what they need from it in that sense.[00:25:49] Katherine: Um, it is a form of communication. But I also think there is really a value placed on the like the personal dimension of it. Like, um, like bad fan art, right? Like if you know someone, someone's really trying their best, they really are committed to a fandom. They really love it. But their drawing isn't great and they share it. Of course, there will be people who are mean and who shame them. And there's all sorts of weird, like, you know, labyrinthine dramas that occur in these spaces. But there will also be people who are like, this is beautiful because you tried, because it was coming from a real place of love. And that that that devotion is a very important piece of the puzzle. Again, there there are gatekeepers, there is shaming that occurs. And you know, there's a lot of people who feel like they're not good enough. Like you constantly see this in forums on Reddit, on Wattpad, on AO3, like on all these spaces, people who are like self deprecating, they feel like their work isn't good enough. But there's again, like this, this sense of like, I did it because I love the property. I love the character. Which I guess sort of ties back to the thing about ficto romance, where it's just this extreme expression of, you know, a pulse that's already moving through the space.[00:27:12] Henry: The piece I read on Substack, it wasn't written by the person writing the book. It was written by her roommate. And she was saying, you know, to begin with, like, oh my God, I thought this was dreadful. But actually, the more I saw what was going on, she was like, I can see my roommate has written like 20,000 words in a week. And she's working really hard at it. And she's, you know, prompting and reprompting. And she knows what she likes. She really knows what she's doing and what she wants and how to get it to change its output. And she kind of, she didn't come around to saying, oh, this is a good thing. But I think she mellowed on the idea. And she could see that there was a certain amount of, there's something new happening, right? Some new kind of fiction is coming out of it.[00:27:55] Katherine: I totally agree too, that like, prompting and reprompting is in itself a creative expression. And this is something I tried to argue about AI art, where there is like, you know, not everyone is going to be able to produce the same thing. Like the writing the prompt is in it of itself a skill. And also there's your own taste, which informs the prompt and informs what you include. Like, I'm very proud of the images that I've produced with Mid Journey. Not, you know, not the same way I would be if I had, you know, painted it myself. But like, I do feel like it's informed by my unique experience and taste. And this particular combination of things is unique to me. And that's a type of art, even if it's involves different things than, you know, again, if I were myself painting it. And I think that applies to fan fiction as well. What I have been worried about, I mean, this is a tangent, is like, what happens to the generation that is like, all they know is prompting and AI, and they don't have that space to develop their own taste and their own perception. Like, I think that like, if you start out too fresh, if you started too green, and you haven't had time to develop taste, and that's where I see these platforms being a little bit more dangerous.[00:29:23] Henry: But couldn't we say that about you in the role-playing forums? Like, when they develop taste through like, deep immersive experiences with the AI?[00:29:36] Katherine: Well, no, because with the role-playing, it has to come from myself and from other people, right? And there's nothing like limiting it, right? Like, it's purely through my eyes. Like, maybe there's an issue here where like, the actual writing product would have been better if I was, you know, if I read more, right? Or if I watched different films, but it's only filtered through myself and through other people. Whereas, you don't know how you're gonna get walled in with the AI, especially if you go in too fresh, and you don't know how to prompt it.[00:30:17] Henry: Weren't those people more likely to be, aren't they more likely to get bored?[00:30:24] Katherine: I don't know. I don't know if they're more likely to get bored. I think they might get stuck. I mean, the flip side is maybe they'll innovate more because they're coming from a completely different perspective.[00:30:37] Henry: Right, that's true. I had this interesting experience recently where I saw a whole load of young people that I'm related to. They range from like eight to 16 or something. And some of them just could, they could not not be holding their phone. And some of them, they're like, they don't like the phone. They're reading Jane Austen. So there's a diversity in that sense. But they were all just against AI. Like it's a bad thing. People use it to cheat, all the usual stuff. And I was fascinated. I was like, guys, you should all be using AI. Let me tell you what the good models are. So I wonder if we'll see this bigger diversity within that generation where some of them, a bit like in our generation, right? Some people were online a lot. Some people weren't. And some people are still.[00:31:24] Katherine: I've noticed that there's a very strong anti-tech sentiment among younger generation. And it seems like bifurcated. In the same way you described, people who are so online that they're just like these internet creatures, right? Like if the internet is a forest, like they're like natives of it. And then the other side of it is people who feel like it stole a lot from them. It took a lot from their childhoods. And they're moving away from it. And as a statement, they're either getting like dumb phones or they don't have social media. Or if they do have social media, it's like very sparse. And they tend to have like two very different outlooks. The ones who are more online seem to be more chaotic, a little more nihilistic. And the ones who are more offline, like they seem to be like looking for something more. Like they're more obviously searching for meaning.[00:32:24] Henry: Are we gonna see more like book reading among the offline people?[00:32:30] Katherine: I mean, I would hope so. Who knows, right? Like who knows how much of it is a performance and how much of it is really happening. But I mean, I would imagine so. It does seem also that like a lot of digital outlets feel like something is changing. And I've noticed a lot more like physical media seems to be coming back. I'm interested in seeing how this develops in fan spaces. Early in fandom, like in the... And I guess like early is like right when it was like really starting to grow. So not at the origins, but it's sort of this like... Fandom exponentially grew in the late 70s. And the way people communicated with each other and like a very important mode of expression was a physical fanzine. And this was because first there was no internet and then the internet was confined to certain populations and not everyone had it. And I wonder if fanzines will come back or like handwritten letters. Even I have a couple of books that are collections of letters that these sisters wrote to a particular fandom. And it was just like, it was just a huge part of that particular world. And I thought that was really interesting as a way to keep in touch with people and to keep the community together.[00:34:01] Henry: Yeah, that sounds like a fascinating book.[00:34:05] Katherine: Yeah, it's a collection of... It's called like elf magic letters or something. It's really interesting. And it's also interesting because it's like not something that you can easily read because it's so specific to the time and the place. Like it really was for the people it was for, right? It's not, it doesn't stand the test of time in the same way.[00:34:28] Henry: So is there not much sense of tradition in fandom? Like are people going back to read the fanzines and stuff?[00:34:37] Katherine: There is a sense of tradition for sure. Some of these fanzines are hard to find. It depends on which fandom you're in. Fans love whatever property it is they're fans of. So there's always archivists and people who are curating these things and making these things available. I just wonder if it'll become more popular to return to physical media. And it probably is in certain spaces. I'm just not personally aware of them. Okay.[00:35:09] Henry: Do you think, like, how do you think fan fiction is going to change significantly with AI? Beyond questions of like register and stuff that you were talking about before. Are we going to see, is this going to be like a significant step change in the evolution of the form? Or is it just going to be what people are saying? Like lots of slots in the form of slot content, nothing new as it were.[00:35:33] Katherine: I'm not sure. There's a lot of fan art that's generated with AI that I feel like at first people were really skeptical of. And now they really like it. And it's sort of proven itself. I mean, there's still people who are fiercely against it. But with writing, it's a little bit trickier. And again, the reactions are like very mixed, mostly negative. Again, where I think you will see the most change is with role-playing. You know, AI is always on. You can say whatever you like without feeling embarrassed. Something that I've noticed in reading transcripts of people who, like, on some of these sites where people role-play with bots, you could publish the role-play. You could publish the transcript. And there's just completely disinhibited. Like, they're just really just saying whatever, right? Not in a way that they're trolling or trying to break the bot. But it's like, you know, there's a certain etiquette when you role-play. And they're really just going for it. And I'll just be honest. This is particularly obvious with sexual role-plays, right? They'll just get straight to it. If the person is there to role-play sex, they'll just jump straight to the point. And you don't have to worry about that. You don't have to worry about being embarrassed. If it doesn't work out or, you know, you don't get the response you want, you start it over, you reprompt it, or you go to another bot. So I think it might take away from that social aspect. Not everybody likes role-playing with bots, but I think a lot of people do.[00:37:21] Henry: To me, this is like prime material for people to write novels about. But I don't see, I don't yet see a lot of people taking that up. Do you think, like, how likely is it, do you think, that some people from within this space will end up, in whatever way this looks like in the future, writing and publishing something like, you know, a straightforward literary, whatever the word is, novel, about this subculture and about these ways of existing? Do you think some people will, like, prompt themselves into being novelists, as it were?[00:38:00] Katherine: I mean, I definitely think that people will write about AI companions and chat bots. I think we're already seeing that to some degree. I think, you know, it seems that everyone is fascinated by emotional attachment to chat bots. And there's, like, just explosions of big pieces about this, because it's so new. And what's surprising to me is, like, there's very little judgment. You know, there's very few people who are like, this is dystopian, right? You see some of that, but most of it is like, well, it is real love, you know? That's been very surprising to me. Something that I could foresee is, and I think would be very ethically tricky and might cause some controversies, people trying to publish their role-playing transcripts. Which, you know, some fan fiction is, like, downstream of role-playing transcripts, and it'll be, like, a collaborative work, right? But it would be, like, very controversial if, you know, like, you and I had a Pride and Prejudice roleplay. And, you know, so we were sending emails back and forth or something, and then I collated all of that and published it as my own story, like, you know, with some edits or whatever. Like, that would be stealing your work. What I could see happening is someone having, like, a really good roleplay and wanting to save the transcript and then, you know, cleaning it up, maybe running it through AI, and the prompt is, you know, turn this into a story and, like, remove redundancies or, you know, whatever. And then it'd be, like, is that their work, right? Like, how much of that belongs to them?[00:39:38] Henry: But I can see something happening where it's, like, you know, in the 19th century, things that were supposed to be cheap and lowbrow, like crime stories and things like that, became a whole new genre of literature, right? And by the end of the 19th century, you've got detective fiction, science fiction, fantasy fiction. They're all flourishing. They've all had decades of really interesting work, and it becomes, like, maybe even the dominant form of fiction in the 20th century. Do you think there's scope for, like, you know, a weird novelist like Muriel Spark, a new one of her to come along and, like, turn this, whatever this is happening with these role plays and everything, turn that into some kind of new kind of fiction, whether it's created with the AI or not with the AI, like, you'll get both, right? Is this, like, everyone thinks the literary novel is exhausted, is this the way out? I don't know.[00:40:37] Katherine: I think that they, like, maybe, maybe, like, a new type of, like, pulp novel or something, you know, something that's, like, considered, like, something that's considered lowbrow, right, and maybe isn't always treated that way. But I'm curious, like, how, like, I'm imagining, you know, people printing, like, paper books or creating EPUBs, but do you mean, like, an interactive form of a novel, maybe, or, like, are you talking about people, like, I mean, what are you imagining, I guess, is my question? I think, so I think it could be, I think in terms of format, it could be all of those.[00:41:25] Henry: What I really want to see is how this interacts with audiobooks, because I think audiobooks have become, like, quietly very dominant in the reading habits of people who are typically reading, like, highbrow nonfiction, literary fiction, whatever. And I can sort of imagine a scenario where, I don't know how long this takes, but, like, a new kind of pulp fiction has been created, it's drawing on fandom, roleplay, AI, so we've got this new kind of sub-genre, and then that gets morphed, a bit like genre fiction in the 19th century, into something much more, quote-unquote, literary, and that could be, like, a boring, typical old book, or it could be some kind of audio thing where, like, you're interacting with it, and you're picking the route and whatever, or you could interact with it through your LLM. You see what I mean?There's all these different ways, right?[00:42:26] Katherine: So I think this stuff already exists. Oh, okay. Oh, so that, I think that maybe what I was confusing was, you know, like, imagining, like, a new style, or, you know?[00:42:37] Katherine: But all of these, so all of these things, so I don't know if they're books, I mean, that's actually a good question, like, is it a form of literature? Like, are these bots that people are roleplaying with, is that literature, right? Because there's set parameters, and when you create these characters, you can, you have a lot of control over designing them, what their world is, what the person talking to them will receive back, right? And there's audio versions of that. So it is, like, stepping into a pre-created world where there's, like, some kind of collaboration. And then on the other hand, there's been lots of novels that started off as fan fiction, and this is actually pretty common, a lot of these, you know, like, teen romances or whatever that get popular on TikTok, a lot of those come from people who had been writing fan fiction smut, right? And turned it into original work. And you can see the traces of whatever fandom they were operating in, in the work, whether it's, like, an allusion to a pre-existing character in another property, or it's just the style of writing, or, like, the way they express romantic intimacy. So both things exist in different forms. I wish I had asked a clarified question earlier, because I feel like we were talking in circles a little bit, so I wasn't quite sure what you were envisioning. But yeah, there's a lot of, I wondered also, like, how will reading change as these bots become more sophisticated? Right now, it's a lot of, like, it's a lot of, like, just, you know, like, teenagers messing around in their fandoms, or people doing erotic role-playing, right? But what is the literary version of that? And that's a very exciting question, and, like, interesting realm of inquiry.[00:44:38] Henry: It's a good, it's currently a very good, like, footnotes-on-demand service, right?[00:44:44] Katherine: Yeah.[00:44:45] Henry: Yeah, like, what the hell is this kind of carriage that they're talking about, or whatever? Do you think it'll, you think it's going to develop beyond that kind of thing?[00:44:53] Katherine: Um, yeah, I do. I mean, something really interesting, I don't know if you've heard about this, it's not literature, but the website Every, so they have, like, several different tech newsletters, and they have a service where they'll take all the research for a given article, and you can talk to an LLM about the stuff they didn't include in the piece. But, so, here's even another idea, like, let's say, you know, you take, like, Harry Potter or something, and then there's, like, a Harry Potter LLM, and you can ask questions about the book, or, like, you know, what's in the store that didn't, you know, that we didn't open, right? Metaphorically, you know, what's behind the scenes and all this stuff we don't see in the actual text? And ordinarily, that's where fandom steps in, and fans will fill in that white space for themselves with their headcanon, so the decisions they make about the whatever narrative universe they're choosing to step into. But maybe in AI, you know, the author can say, all right, these are all my notes, and this is all the, this is the whole world that I couldn't fit into the actual story.[00:46:07] Henry: How is AI changing the way you write?[00:46:12] Katherine: All right, so I correct my grammar a lot. My grammar is, like, atrocious, or at least it is in my own opinion. Maybe it's actually not, but so I'll check for grammatical errors, and then I use it all the time as, like, a search engine. So I love, like, the deep research function on chat GPT. It's, like, I never use Google anymore. So if I have, like, questions about something, or if I'm not sure that an argument makes sense, either I'll, like, run it by, you're like, all right, I'm arguing, you know, like, this, this, and this. Like, does this make sense in my own head, or does this actually make sense? So that's a common DF question to chat GPT.[00:47:05] Henry: But, like, are you thinking about, you know, are you going to be a different sort of writer? Are you going to write more or less of certain things? Are you thinking about how people will be reading less? You know, you're competing with the AIs, you've got to write for the AIs. Is it affecting you like that, or do you feel like what you do is reasonably immune?[00:47:26] Katherine: Um, no, you know, I don't feel like I'm competing with AI. I feel like I'm competing with other people, but I'm not competing with AI. And I'm not, I'm not writing for it. I, you know, I remember that, that Tyler Cowen quote, and I wasn't totally sure what he meant by that. I mean, like, I don't know. I'm definitely not writing, writing for it. I mean, does he mean, like, as the AI, like, learns about each person and learns that, you know, each, each writer is contributing to the conversation, you want to make sure it's easily parsable. So you could, you could be included in history or something as AI starts to write our history. Actually, I guess that's a good point, if that doesn't end up happening. But no, I don't, I don't consider either of those things.[00:48:17] Henry: Um, you wrote about, you wrote a short response to the Machine in the Garden essay that was famous on Substack a few months ago. You said, if you don't have copycats, then you're doing something wrong. Just make sure people don't forget you're the original article. How, how do you do that? How do you, how does that affect the way you organize your writing?[00:48:43] Katherine: Oh, man, I publish a lot. If I feel like something is my unique idea, I repeat it over and over and over again. Yeah, I mean, that's, I guess it also, I mean, a question I don't have the answer to is like, you know, people worry about being plagiarized from or copycats, but what happens, you know, what happens with AI, right? Like, how does AI change that equation? I don't know. But, you know, you just hope for the best, you know, that humanity, you know, just the fact of being human is enough.[00:49:26] Henry: Do you think that the internet and social media are making things worse in the culture generally, the way that people like Ted Gioia argue, or are you more optimistic?[00:49:39] Katherine: Um, I'm slightly more optimistic. I think Ted Gioia is as much too dismissive of technology to the extent that I feel like I've, I've almost like taken a contrarian position, you know, and I, I've been a little bit I've been a little bit more techno-optimist than I would have been normally, because I just like, can't all be bad, right? There's a lot of really good things about the internet and about social media. I think that we really undervalue the friendships people make. And then people will say, well, like, well, look at, you know, how so-and-so got screwed over, you know, whatever famous drama. It's like, those people will f**k you over in real life, you know, in the physical world, right? That's a human problem. That's not a technology problem. I think we also, I, particularly people like Ted Gioia and John Height and Freya India, I mean, and I like all these people. I'm not, you know, but I think they also are, like, I don't know where Ted Gioia lives, but John Height's in New York and Freya is in London, as far as I know. When they talk about going like phone-free or like using the internet less or screen-based childhoods, you know, I, like, I agree. Like, look, like, I don't want my son attached to a phone or something. But I also live in Chicago. There's like a ton of stuff going on. And every single day, no matter what the weather is, he can go, one, see other children and two, go do something really fun. And so can I, right? And that's because I live in Chicago. But if I lived in a small town in Texas, like I did, you know, 10 years ago, like I need the, I, like the internet was my lifeline. Then it's how I made friends. It's how I entertain myself. And it sucks that it was like that. But like, not everyone has the privilege of a rich culture in their immediate environment. You don't have, you know, like, it doesn't mean you have to be online 24 seven, but for social media is like very important for people in those situations. And it's, I think there's this weird binary in the discourse where it's like, you're either online all the time, you know, rotting your brain with just like, you know, nonstop live leak videos, right? Or you have no phone at all, right? But I think there's even like high volume usage that isn't, you know, what I just described, that it's beneficial for certain people in certain situations.[00:52:12] Henry: What is it that you like about Mirabi's poetry? You mentioned this earlier, but I wanted to ask you specifically.[00:52:18] Katherine: Yeah, so I discovered her in my senior year of college. And I didn't know what ecstatic love was. Like I had never, I was completely unfamiliar with that concept. So even on the conceptual level, I was like, so struck by this ability to feel love for a deity, feel love for something non-physical.[00:52:54] Henry: Do you admire other poets in that tradition like Rumi?[00:52:59] Katherine: I'm not as familiar with other poets in that tradition.[00:53:02] Henry: Okay. After fan fiction and AI, what will you do next?[00:53:08] Katherine: I'm working on a whole bunch of stuff. Another piece I'm working on is about techno-animism. So this idea of like, I don't believe that technology is literally insoled, but I think that it's maybe not a bad thing to treat it as if it was. And if we're going to be in such like a technologically rich environment, like maybe if we did see a little bit of life in it, it would be better for us psychologically, which is like kind of a hard thing to argue because I think it turns people off like immediately. And I think there's like a lot of fear around it, but it's a very sad and sterile world, right? If we think that we're around all this lifelessness. And I think that's why I'm so attracted to writing about ficto-sexuals and ficto-romance because I love this idea of being able to see life in something where other people don't see it.[00:54:15] Henry: Katherine Dee, thank you very much.[00:54:18] Katherine: Thank you for having me. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

In this episode, Thomas Domville provides a detailed walkthrough of the ElevenLabs Reader for iOS. This versatile app transforms any text content into natural, expressive speech using advanced AI-generated voices. Perfect for articles, ePubs, PDFs, and more, it enables users to enjoy their favorite content on the go. With an extensive and ever-growing library of voices, the app offers a personalized listening experience tailored to any mood or occasion.ElevenLabs Reader: AI Audio on the App Storehttps://apps.apple.com/us/app/elevenlabs-reader-ai-audio/id6479373050transcription: Disclaimer: This transcript is generated by AIKO, an automated transcription service. It is not edited or formatted, and it may not accurately capture the speakers' names, voices, or content. Hello and welcome.My name is Thomas Domville, also known as AnonyMouse.I'm going to introduce you to an app called 11 Labs Reader, and it's spelled just as it sounds like.So 11 Labs is one word, E-L-E-V-E-N-L-A-B-S, 11 Labs, space, reader.This is an amazing app that you definitely want to check out if there's something that interests you, of course.So I'm going to do a nice little review and walk through and show you a demonstration how to use 11 Labs Reader.Now before I do that, 11 Labs should sound familiar for most of you out there.If you haven't heard of 11 Labs, no problem.11 Labs has been around for some time now, and what they're known for is being able to take any text and convert it into audio for you to listen.It's incredible technology.It sounds marvelous, and it's trying to do its best to sound as natural as possible.And I personally think they're getting really close to that moment where we will be able to say, wow, this is definitely a hit on their hands.And I think this app is no doubt going to be something that's going to be popular by some of you out there.Now I have used other apps.I won't mention those names.They will take various files like text files or probably PDFs or EPUBs and try to read it out using whatever voice over voices that we have now.And as you know, well, for myself, I'm not a big fan of those things.And it's really kind of hard to read books or listen to articles with those voices, especially when I come back in a background where I'm not used to using older voices such as eloquence and such things like that.It just sounds very unnatural, very robotic.So I'm really more into more natural sounding speech.So this is no doubt one of the big app that I definitely going to keep on my main home screen from now on.Now it's saying that there are some quirks and issues with this app.Yeah, for the most part, it is accessible and usable.Now there are some things that if you need to do, it can be difficult.So I won't be pointing that out.But I'm hoping that there's definitely going to be some update to this app and to making things more efficient for voice over users.Overall, I think this app definitely has potential and it definitely is going to be something I'm going to be using a lot.So let's go ahead and…

Nic and Lauren discuss the up and downsides of sharing pdfs of fics and also why epubs are helpful. --- Send in a voice message: https://podcasters.spotify.com/pod/show/roseanddagger/message

Andre is a writer and software developer. He is a hybrid author but favours self-publishing because owning your own platform is important and also because he secretly enjoys tinkering with ePubs. Andre published many non-fiction books focused on computer programming, and has been featured in a couple of Science Fiction and Horror short story anthologies. If the procrastination gods smile upon his fate, he hopes to publish his first novel in 2021. Andre is originally from Brazil but now lives in the UK with his cat. Links Blog do Andre Markdown Leanpub little.webby.press Lisp UFF Kauai's Hindu Monastery Mozilla Apress WebOS Firefox OS IoT Lua LivrosRoguelike Development with JavaScript Quick Guide For Firefox OS App Development Structure and Interpretation of Computer Programs How to Design Programs Mr Robot Existenz Editor do EpisódioValdinei de Paula Junior OsProgramadoresSite do OsProgramadores Grupo do OsProgramadores no Telegram Canal do Youtube do OsProgramadores Twitter do Marcelo Pinheiro

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Enjoy LessWrong in ebook format, published by Stuckwork on February 13, 2023 on LessWrong. I would like to inform the community that all LessWrong Community Sequences are now available in EPUB and pdf format. These formats provide an alternative way to these sequences, allowing for offline reading on e-readers. You can find the library with all ebooks here: Personally, I feel that reading entire sequences have several benefits over reading individual posts. It gives me a clearer understanding of the development of ideas and the context in which the posts were written. However, most sequences are too long to read in one session and if I read them on desktop and don't finish them, I tend to forget that I was reading them. Reading sequences like I read ebooks makes it easier to keep track. Furthermore, reading on an e-reader provides a nice distraction-free environment. Ideal for those who want to read LessWrong without having social media one click away. Therefore, I have also made ebooks of the most upvoted posts on LessWrong of every month since January 2012. I'm planning to generate such an ebook every month, such that I can read the best material in a calmer environment. Also, e-readers offer features such as adjustable font sizes and glare-free screens, making the reading experience more comfortable. I have tried to make sure that the images and math are all rendered correctly, preserving the original visual content of the blog posts. I have tested a random sample of the ebooks on a Kobo Aura, Remarkable 2, and in Calibre. On these devices, they all seem to render nicely, but your mileage may vary based on your device. Additionally, the source code (written in Python) for the scraping and generation of the EPUBs is available for those interested in generating their own EPUBs. Feel free to provide suggestions for any improvements. Finally, if any authors would rather not have their content available in ebook format, please contact me and I will try to promptly remove them from the library! Thanks for listening. To help us out with The Nonlinear Library or to learn more, please visit nonlinear.org.

Join our guests Christine Foushi and John Foliot of Content Industries as they talk about accessible epubs. We explore the different versions, how they are structured. Did you know that epubs are basically HTML 5 documents? Stay tuned to listen to us talk about the importance of metadata at the book-level rather than the data-level. We reveal the secret of converting a zip to an epub and how to reverse engineer a word doc to get to the hidden zip contents! Christine and I also have a great discussion about the woes and wonders of alt-text for images. Finally, we get to hear about the online epub testing tool currently under development. This was a really interesting episode!    

For our last long-form episode of 2022, we're diving into the library again, but this time we're headed to the fiction section, and the Immortal Eyes novel trilogy. These books tie in to the three Immortal Eyes setting/chronicle books from 1st edition, fleshing out the story and giving some more options for incorporating the plot (and metaplot) into one's own chronicle. It was a grand experiment that, while not unsuccessful, is difficult to define in terms of its actual impact on the game line. Nevertheless, they weren't a chore to read, and we wanted to take some time to discuss them—as well as the overall role of RPG-associated fiction in the game space. If you want to get in touch with us to comment, inquire, or just croon wordlessly about this (or another) episode: Discord: https://discord.gg/SAryjXGm5jEmail: podcast@changelingthepodcast.comFacebook: https://www.facebook.com/profile.php?id=100082973960699Mastodon: https://dice.camp/@ChangelingPodPatreon: https://www.patreon.com/changelingthepodcast ... links in the chain You can pick up the novels on DriveThruRPG for $0.99 each. As Josh points out, they're PDFs rather than EPUBs, which makes them tough for some e-readers, but the price is actually significantly lower than what Pooka said on the show (bad research!), so there's that. Follow the links below: The Toybox: https://www.drivethrurpg.com/product/82356?affiliate_id=3063731Shadows on the Hill: https://www.drivethrurpg.com/product/82357?affiliate_id=3063731Court of All Kings: https://www.drivethrurpg.com/product/82358?affiliate_id=3063731 Additionally, if you want to hear our episodes where we give deep dives into the setting/chronicle books proper and their usefulness for a chronicle, behold even more links...!: Immortal Eyes: The Toybox: https://changelingthepodcast.com/podcast/episode-6-immortal-eyes-the-toybox/Immortal Eyes: Shadows on the Hill: https://changelingthepodcast.com/podcast/episode-13-shadows-on-the-hill/Immortal Eyes: Court of All Kings: https://changelingthepodcast.com/podcast/episode-20-court-of-all-kings/ ... your hosts Josh Hillerup (any pronoun) is building a chimerical monstrosity from stripped book covers as retribution for 90s publishers' excess. Pooka G (any pronoun/they) often turns enemies to stone and pries loose their gem eyes, and so now has more Eyestones than they know what to do with. "It's not that pookas never tell the truth. It's just that our version of the truth does not always correspond with majority opinion." —Rasputin, noted street performer, decorated war hero, and Grand Nabob of the Tenderloin

It's 5:05, on Wednesday, November 2nd, 2022. Each day we bring you updates on open source and cybersecurity news that might slip by the major news sources. We have 20 reporters from around the world. Today's updates are from Ax Sharma in Manchester UK, Edwin Kwan in Sydney Australia, and Mark Miller in New York City. Let's get to it!Edwin Kwan, Sydney, AustraliaGov proposes "up to $50m" fines for serious data breacheshttps://www.itnews.com.au/news/gov-proposes-up-to-50m-fines-for-serious-data-breaches-586802Mark Miller, New York CityYou Need to Update Chrome, Windows, and Zoom Right Nowhttps://www.wired.com/story/google-chrome-windows-zoom-critical-update/Ax Sharma, Manchester UKThese China-based developers are storing 1000s of ePUBs in GitHub and npm to bypass censorshiphttps://socket.dev/blog/these-china-based-devs-are-using-github-and-npm-to-store-ebooks

“But then Chris comes to town and says, “I'm starting Chris's Winslow Lawn Care, and I'm gonna go to Google, and I'm gonna buy keyword ads against Alan's Winslow Lawn Care.” which is a trademark that you own. That's yours. You get to do that. You get to - you paid the money you'd trademark, you went through the diligence to protect your brand so that some other asshole can't come in, and like f*cking shit up, destroying your reputation - because that can actually cause damage to your business and your ability to feed your family.And Google lets Chris buy that, so everyone that searches for your thing gets his thing and it's the top three links and they click on it instead. And there is only one recourse you have, because they don't let you fight the trademark thing: you have to buy AdWords for Alan's Winslow Lawn Care, and you have to outbid him. And so now they've got you in a bidding war against someone illegally using your trademark, and they're making money off of both of you motherf*ckers.”Show Notes:Equilibrium (00:47)Cornfield Brutality (03:52)Swapping insect bite stories (10:33)thewebisfucked.com (19:38)The tyranny of cycles (26:19)How typesetting evolved (33:25)ePUBs (38:54)“That's what the internet was for.” (44:08)Basecamp vs Monday (47:48)“That's a spoiler.” (54:07)Chatter that could be commentary (58:52)Write in (1:03:18)Show Links:Lofty's (still) hiring! Check out what's on offer!Support Friday Afternoon Deploy Online:Facebook  | Twitter  | Patreon  | Teespring

"Donde se cuenta lo que en él se verá", entre otros salseos pajeriles más o menos interesantes del que esto suscribe, para goce y deleite del oidor. --- Podcast asociado a la red de SOSPECHOSOS HABITUALES. Suscríbete con este feed: https://feedpress.me/sospechososhabituales

"Donde se cuenta lo que en él se verá", entre otros salseos pajeriles más o menos interesantes del que esto suscribe, para goce y deleite del oidor. --- Podcast asociado a la red de SOSPECHOSOS HABITUALES. Suscríbete con este feed: https://feedpress.me/sospechososhabituales

Mike goes through more questions for the Lazy DM's Companion Kickstarter! Links Back the Kickstarter Contents 00:00 Start - About the Kickstarter 02:09 Any modifications based on upcoming D&D changes? No. 04:05 Will the Companion be useful for non-D&D games? Yes! 05:05 Can you show the book in action? Yes! Next time. 06:33 Will the spiral-bound Workbook be available post-Kickstarter? Yes! 07:36 Really? No Stretch goals? Yep, no stretch goals. 09:04 Will the PDFs come through DriveThruRPG? Yes! 09:22 Will we get the PDFs of existing books right away? Yes! 10:00 Will the digital versions include existing ePubs? Yes! 10:44 Can we get the physical versions of the "Fantastic" book add-ons? Not through the Kickstarter. 11:52 Is the Companion "Done"? No. First draft is done. 13:02 Can we see what the books will look like? Not yet. 13:30 Can we add audiobooks as add-ons? Unfortunately, no. 15:00 Can I print maps for my own private use? Yes. 15:17 Can I give away extra digital copies? Yes. 16:02 Can we get the digital art as a download? Yes. 17:41 Will these questions get added to the FAQ? Yes. 18:09 Will there be a retailer pledge? No, but... 19:16 Will the printed books be available on Amazon? Yes, eventually. 20:19 Will Return look like Babar in hardcover? No. 21:17 Going to any conventions this year? No. 23:05 How different are the printed books from PoD? Nicer! 25:03 Experiences with Off-set Printing? Too early to say. 29:12 Plans for different languages? Not at the moment. 31:30 How do you plan to cope with the next 21 days? It's great! 35:48 A look at the TOC and design of the Companion 37:03 The Lands of the Fey page and design 42:51 Turning a 1d20 list into a 1d400 list 45:23 Useful guidelines and generators each in a single page 48:00 Not re-creating existing guidelines 49:36 Monster templates 57:57 Can I mix and match physical and PDF orders? Yes!

Mike goes through more questions for the Lazy DM's Companion Kickstarter! Links Back the Kickstarter Contents 00:00 Start - About the Kickstarter 02:09 Any modifications based on upcoming D&D changes? No. 04:05 Will the Companion be useful for non-D&D games? Yes! 05:05 Can you show the book in action? Yes! Next time. 06:33 Will the spiral-bound Workbook be available post-Kickstarter? Yes! 07:36 Really? No Stretch goals? Yep, no stretch goals. 09:04 Will the PDFs come through DriveThruRPG? Yes! 09:22 Will we get the PDFs of existing books right away? Yes! 10:00 Will the digital versions include existing ePubs? Yes! 10:44 Can we get the physical versions of the "Fantastic" book add-ons? Not through the Kickstarter. 11:52 Is the Companion "Done"? No. First draft is done. 13:02 Can we see what the books will look like? Not yet. 13:30 Can we add audiobooks as add-ons? Unfortunately, no. 15:00 Can I print maps for my own private use? Yes. 15:17 Can I give away extra digital copies? Yes. 16:02 Can we get the digital art as a download? Yes. 17:41 Will these questions get added to the FAQ? Yes. 18:09 Will there be a retailer pledge? No, but... 19:16 Will the printed books be available on Amazon? Yes, eventually. 20:19 Will Return look like Babar in hardcover? No. 21:17 Going to any conventions this year? No. 23:05 How different are the printed books from PoD? Nicer! 25:03 Experiences with Off-set Printing? Too early to say. 29:12 Plans for different languages? Not at the moment. 31:30 How do you plan to cope with the next 21 days? It's great! 35:48 A look at the TOC and design of the Companion 37:03 The Lands of the Fey page and design 42:51 Turning a 1d20 list into a 1d400 list 45:23 Useful guidelines and generators each in a single page 48:00 Not re-creating existing guidelines 49:36 Monster templates 57:57 Can I mix and match physical and PDF orders? Yes!

In this episode… News Videos on demand for CreativePro Week 2021 InDesign + Type Summit (online event) July 29–30, 2021 InDesign Magazine for May 2021 (gradients) and June 2021 (type and typography) Making presentations with InDesign Keyboard shortcut of the month: Control-B (Command-B on Mac) Obscure InDesign Feature: On Click (Self)  Links mentioned in this podcast: Videos on Demand now available for CreativePro Week 2021  The InDesign + Type Summit Creating Presentations with InDesign InDesign Magazine feature story Free InDesign presentation template InDesign Template of the Month: Flexible Presentation InDesign presentation templates at Adobe Stock (many free) Jesus Ramirez: Yes, we have a Banana (in Photoshop) https://photoshoptrainingchannel.com/photoshop-easter-eggs/ in5's post, "Interactive PDF is dead" https://ajarproductions.com/blog/2018/03/26/interactive-pdf-is-dead-heres-what-you-can-create-from-indesign-thats-even-better/ CircularFlow for better fixed-layout EPUBs for Kindles https://www.circularsoftware.com/apps/circularflo  InDesignSecrets… YouTube videos Facebook group LinkedIn group

Brad West, the co-creator Vellum, joins us on the podcast this week to answer our questions about his ePub creating software. Brad tells us how Vellum its start, how the software works, what users can expect from Vellum in the future, and he talks to us about what he’s learned during his time as a small business owner.  Learn more about this episode!

This year SlideShare has been absorbed by Scribd; so what can we use to share and promote presentation? Scribd can be used for the purpose of uploading eBooks, PDFs, ePubs and various other types of documents apart from presentations. The rapid growth of SlideShare from a small startup to a top website began in 2009, in a tiny room in India, when Amit Rajan, Rashmi Sinha, and Jonathan Boutelle saw the need for a "YouTube for presentations." Within a few years, they had built a network of 38 million registered users by providing a desperately needed tool—and a new social channel for presentations.Sadly, that era is over and what was the best place to share presentations and gain new viewers is disappearing behind a paywall. Video killed the radio star, and quite possibly slideshare too.However, if you are looking for simpler sharing platforms explore the following:https://www.authorstream.comhttps://speakerdeck.comhttps://speakerstack.netFor the full episode, click here.SPEAK|Pr is for business owners to unlock the value in their organization for free with effective communication and is hosted by international Pr agency owner and entrepreneur Jim James.If you like this podcast, then subscribe to our newsletter herePlease visit our blog post on PR for business please visit our site:https://www.eastwestpr.com/blogs/Create content using AI - Trylately!Automatically generate social posts from videos and podcasts into dozens of social posts.Support the show (http://www.paypal.me/eastwestpruk)

This year Slideshare has been absorbed by Scribd; so what can we use to share and promote presentations? Scribd can be used for the purpose of uploading eBooks, PDFs, ePubs and various other types of documents apart from presentations. The rapid growth of SlideShare from a small startup to a top website began in 2009, in a tiny room in India, when Amit Rajan, Rashmi Sinha, and Jonathan Boutelle saw the need for a "YouTube for presentations." Within a few years, they had built a network of 38 million registered users by providing a desperately needed tool—and a new social channel for presentations.Sadly, that era is over and what was the best place to share presentations and gain new viewers is disappearing behind a paywall. Video killed the radio star, and quite possibly slideshare too.However, if you are looking for simpler sharing platforms explore the following:https://www.authorstream.comhttps://speakerdeck.comhttps://speakerstack.netSPEAK|Pr is for business owners to unlock the value in their organization for free with effective communication and is hosted by international Pr agency owner and entrepreneur Jim James.If you like this podcast, then subscribe to our newsletter herePlease visit our blog post on PR for business please visit our site:https://www.eastwestpr.com/blogs/Create content using AI - Trylately! Automatically generate social posts from videos and podcasts into dozens of social posts.Support the show (http://www.paypal.me/eastwestpruk)

Olá booktwitter,sejam mais uma vez bem vindos ao nosso podcast. E nesse episódio nós duas estaremos debatendo(sem treta),sobre nossas experiências com epubs e livros físicos,e traremos para vocês também informações sobre como funcionam algumas leis em nosso país,e sobre como funcionam os grupos de traduções responsáveis pela alegria de muitos de vocês traficantes de epubs. Sintam-se a vontade para comentar aqui e no twitter @castsumários. Espero que gostem desse episódio,e até a próxima. -Episódio editado por Vanessa Besse. -Livro citado no fim desse episódio: Bring me Their Hearts. --- Send in a voice message: https://anchor.fm/entre-sumarios/message

Empower more people to read your books. This behind-the-scenes at Kobo episode features Senior QA Analyst Wendy Reid, talking about the importance of EPUB accessibility, and specific features you can include in your eBooks to make them more accessible. Wendy also discusses her role in launching audiobooks for Kobo and how specifications for audiobooks do not exist (yet). Start self-publishing today with KWL. Join the platform that’s fast, free, easy. www.kobo.com/writinglife

In this episode, I talk with AC de Fombelle about the StreetLib ebook and print book creation and distribution platform. StreetLib can help you create plain ebooks in EPUB format and fixed-layout EPUBs from a PDF doc. You can sell your book in the StreetLib store, on your own StreetLib author page (with your logo), and create a curated bookstore from the other books on StreetLib. They provide an HTML widget so you can sell direct to customers from your StreetLib store (where you get higher royalties) from your own website. There's also a marketplace where you can find editors, designers, and translators. You'll find out about their partnership with the Babelcube translation service and how to reach markets that don't have Amazon.com.

Continuing my Quick guide to Self-Publishing Series I talk about formatting, that is creating a version of your document that can be sold either as an eBook or as paperback. I talk about ePubs and mobi files for eBooks and PDF files for paperbacks. Show notes for this episode are available at https://beginselfpublishing.com/quick-guide-part5-formatting

Join Chrissy as she sits down with EPUB experts Simon Collinson and Ben Dugas from Kobo. They teach us everything we need to know about eBook files. They explain the different types of EPUB files, the tools available to authors to make their own EPUBs and common errors to watch out when creating your own file. The also discuss the future of eBooks and accessibility.

Ken Jones is Director of Circular Software, creating software like CircularFLO (to easily create advanced fixed-layout EPUBs) and GreenLight (to make sure that files from your team and suppliers follow all the right specs for your printer). He's also helped develop exciting ebooks like Galdo's Gift (with Tapocketa), which we talk a little about in the podcast. In this episode, Ken talks about his background in print (an actual family tradition), his time spent training and in particular his work creating software to help publishers do their jobs better. We discuss the need to experiment and learn, and how important it is to listen and understand what publishers actually need.

Listener “Rick” asks about a contradiction. Andrew's tip for creating ePUBs quickly. Send your project questions/ideas to neshcom@gmail.com, subject line “After Things.” Picks: Andrew: Aliens Justin: Star Wars: The Force Awakens Brian: Accounting

Listener “Rick” asks about a contradiction. Andrew's tip for creating ePUBs quickly. Send your project questions/ideas to neshcom@gmail.com, subject line “After Things.” Picks: Andrew: Aliens Justin: Star Wars: The Force Awakens Brian: Accounting

In this episode: Latest news: All 3 conference sites are up and running and taking registrations! Ta-da! Check 'em out: PePcon, CreativePro Conference, InDesign Conference "The White(space) Issue" InDesign Magazine/April 2016 Interview with Daniel Dejan of Sappi Paper Using One-Hit-Wonders: Single Attribute Live Preflight Profiles Obscure InDesign Feature of the Week: Limit Number of Rows Per Error News and special offers from our sponsors: >> PePcon (the Print + ePublishing Conference) is for anyone who's on the front lines of creating publications and wants to peek over their own cubicle to see how others are tackling the same challenges. In the two-day multitrack event (plus pre- and post-conference workshop days) we dive into the "how-to" and "why" of print and digital publishing in a broad and deep way, covering InDesign, HTML5, PDF, print production, iBooks Author, mobile app development, CMS's, Editorial workflows, EPUBs, Kindle publishing, and more. Each speaker provides a detailed PDF handout, and typically the final compiled Speaker Handout distributed to attendees is over 400 pages long(!). The seventh annual PePcon is in San Diego, June 5–8, 2016. Register and reserve your spot today!  Links mentioned in this podcast: Time for PePcon 2016! Sign up now and we'll see you in San Diego in June (also home of the Creative Developers Summit) CreativePro 2016: The Conference for Photoshop and Illustrator Users, July 11-13, Minneapolis MN InDesign Conference 2016: Washington DC, November 7–9 Premium Member content: Mike Rankin's amazing "tumbling" animation effect Steve Werner's crazy in-depth piece on CC Libraries Colin Flashman on overprinting options Daniel Dejan: LinkedIn, Haptic Brain, Haptic Brand, The Future of Print webinar Kenya Hara's book, White David Eagleman, Neuroscientist: TED talk, Incognito book Template Essentials: Preflight Profiles Creating a custom preflight profile post Video on using Live Preflight to find common errors Screenshots: Choose Define Profiles from the Preflight panel menu to manage and edit Preflight Profiles. The "OHW" ones on the left are different "One Hit Wonder" profiles (as discussed in the podcast), like the active one, OHW - Interactive, that flags any interactive elements.   Choose which Preflight Profile you want Live Preflight to check against on the fly from the pop-up menu, found to the left of the Live Preflight reporting section (red dot or green dot) at the bottom of the window:

Die Fragen, die die Welt bewegen stehen heute auf dem Programm. Muss man wirklich seinen Kalender als ein Statussymbol behandeln, gibt es den heiligen Gral um schneller Lesen zu lernen und was passiert wenn man in der Öffentlichkeit verkündet, dass man fortan links fährt… äh… unnormal tippt. Lieber Fluggast, wenn dir das Gehörte gefällt oder dir Sorgenfalten auf die edle Stirn fabriziert, dann haben wir etwas für dich: iTunes Bewertungen. Follow-Up MeisterTask Andreas hat sich nach der großen Productivity Episode noch einmal ins Zeug gelegt und MeisterTask angesehen. Das Tool ist ein Kanban-ähnliches Task Tool, wie Trello. Der Clou: Mind Maps aus MindMeister “synchronisieren” sich mit MeisterTask – was die Arbeit sehr einzigartig macht. So kann man MindMeister für Dokumentation und kreative Arbeit nutzen und MeisterTask für die ganze Erledigung der Aufgaben. Business Prozesse lassen sich so schön abbilden. Es ist leider ein Abo, das mit 9€ pro Monat zu Buche schlägt. Hier noch eine schnelle Übersicht der Feature Highlights von Andreas. The disturbance in the Productivity Force Home screen sharing time? Here is my current one. Back to simplicity. pic.twitter.com/BxNQWmLHoP— Sven Fechner (@simplicitybliss) February 23, 2016 Extensify Die Cydia Alternative für jalbreaklose rollt an. Anmelden könnt ihr euch auf der Webseite und up to date bleibt ihr per Facebook. Die Profis unter euch können auch hier schnüffeln. Pflicht zur Busyness Man muss sich schämen heutzutage, wenn der Kalendar Lücken aufweist. Beschäftigt sein wird wichtiger genommen als Kreativität, tiergehende Arbeit und Ergebnisse. Ist diese Kultur individuell selbst injiziert (durch falsche Wertewahrnehmung) oder ist es tatsächlich der Maßstab der arbeitenden Gesellschaft? Auf jeden Fall ist es innerlich und manchmal auch äußerlich ein großer Kampf nicht mitzumachen. Speed Reading Speed Reading ist eigentlich eine Lese-Methode bei der verschiedene Arten zu lesen benutzt werden um schneller zu lesen. Dabei werden sehr häufig feste Fixierungen auf eine Seite sowie die damit auf einmal eingesaugten Worte trainiert. Speed Reading versucht die Subvokalisierung zu verringern, die Verständnis zu erhöhen. Ganz anders als beim Speed Reading mit einer App, wird dabei also nicht einfach ein Text langsam oder schnell abgespult, sondern tatsächlich trainiert mit weniger Fixierungen pro Seite, mehr Worte pro Fixierung zu verstehen. Leider helfen die wenigsten Apps genau dabei. Die Speed Reading Apps die es gibt, sind häufig als Spiel maskiert. Denn beim Speed Reading müssen die aufgenommenen Worte pro Zeiteinheit erhöht werden. Das festzuhalten und zu messen funktioniert am besten als Spiel. Zum Speed Reading, also der Umsetzung gibt es leider noch weniger. Eine der Apps hat sich heraus getan, aber kommt, wie gesagt, sehr verspielt daher. Zwar kann man ePub Bücher hinzufügen. Sieht aber immer erst das, sehr farbenfrohe, Spiel. Andreas Lieblings-App zum lesen bleibt Voice Dream Reader. Diese kann zwar nicht mehrere Wörter gleichzeitig highlighten, hat dafür aber einen Scrolling Modus. Outread wäre auch noch sehr cool, würde es mal ein Update bekommen. Acceleread ist das App das Spiel ist, aber auch ePubs lesen lässt. Ansonsten gibt es noch die Reading Arena von HeKu IT, den QuickReader (der hoffentlich bald ein grafisches Update bekommt) und den AceReader. Vom AceReader gibt es auch eine Mac App. Keyboard Layouts Die 3 Bekanntesten: 1870 Qwerty 1982 The Dvorak Keyboard 2006 Colemak keyboard layout Ich kann mir auch vorstellen mein eigens Layout zu entwerfen bzw. ein existierendes anzupassen. Warum Patrick wechselt: Um von seinem selbstgebauten 10-Fingersystem wegzukommen und endlich mal vernünftig Touch-typing zu erlernen hat sich Patrick einen Trick ausgedacht: Er wechselt einfach das Layout und beugt so einem Rückfall in alte Muster vor. Bei Colemak werden zwar nur 17 Tasten ausgetauscht - wobei CMD+Z/X/C/V unverändert bleibt im Gegensatz zu Dvorak - ab das reicht auch schon, um das eigene Gehirn auszutricksen. Wie sich aus der kleinen Liste oben entnehmen lässt ist Qwerty in die Jahre gekommen. Colemak ist da “ergonomischer” bzw. gesünder, das ist der Zweite Grund warum Patrick gewechselt ist. Er sieht es als Investition in die Zukunft, abgesehen vom potentiell vielleicht mal irgendwann über die Schreibgeschwindigkeit von 83 WPM zu kommen. Warum das nicht für jeden ist: Der Mensch ist ein Gewohnheitstier. Wenn man schon richtig 10-Finger kann mit Qwerty, dann lohnt es wahrscheinlich auch nicht mehr wirklich für die drei Jahre wo man noch lebt und atmet. Wichtiger als alle “Ergo”-Keyboards und Layouts zusammen: Die richtige Haltung einnehmen und nicht verkrampfen beim Schreiben… gerade wenn’s mal schnell gehen soll (oder wenn man ein neues Layout lernt). Die aus Fellbach geforderten wissenschaftlichen Belege reicht Patrick hiermit nach: Carpalx - keyboard layout optimizer. Noch mehr Information warum es gut und gesund sein kann das Gehirn samt Hände umzuprogrammieren findet ihr auch in eurem lokalen Internet. Unsere Picks Frohlocket! Dropshare 4 ist nun endlich erhältlich. War Timo vor nur 2 Jahren schon Gast bei uns, hat er nun den großen Wurf geschafft. Version 4 bringt eine aufgeräumtere Optik mit und verfeinert damit den Workflow. Hinzu kommen neue Dienste und irgendwann demnächst auch Google Drive, worauf sich Andreas sehr freut. Die Menubar App kostet euch 24,99€. Sven pickt derweil mal wieder Drafts und Patrick Spooks womit er fortan bequemer Hörbücher und Hörspiele auf Spotify findet als mit der Hörbücher-Playlist. In Spenderlaune? Wir haben Flattr und PayPal am Start und würden uns freuen.

When Jim Collins wrote "Good To Great", he did talk a fair bit about the Hedgehog Principle. But what he stresses more on, is quite another concept called "Preserving the Core and Stimulating Progress". Why does this concept matter so much? And how do you combine the Hedgehog Principle with this concept? And where does the big, hairy, audacious goal fit in with everything? This episode shows you how to tie all the elements together in a neat little bundle. Time to escalate that route to greatness, don't you think? -------------- In this episode Sean talks about Part 1: Preserving the Core + Stimulating Progress Part 2: The BHAG Part 3: Your Action Plan To Greatness Right click here and ‘save as’ to download this episode to your computer.   Useful Resources 5000bc: How to get reliable answers to your complex marketing problems Why Happiness Eludes You: 3 Obstacles That We Need To Overcome Find out: Do We Really Need To Start With Why? -------------- Preserve the Core AND Stimulate Progress Recently a client called Rosa wrote to us with a request. “I would have preferred to read the series on Dartboard Pricing in ePub,” she said. She made it clear it was a request, not a demand. Which brings up a whole new set of problems for us at Psychotactics. Most business books are designed with text in mind and may contain a few graphics. Our books aren’t designed that way at all. They have dozens of cartoons and under every cartoon is a caption. In The Brain Audit alone there are almost 100 cartoons and corresponding captions. In a PDF, this layout is easy-peasy. Create the book in InDesign and export it as a PDF and it maintains its design integrity. Try to do the same thing for an ePub and it’s like stepping in poo. It’s a tedious, frustrating process to get all the graphics to align the way they should The easier way is to just make a quick excuse, apologies and move on. After all, it isn’t like 90% of our audience is asking for an ePub. It’s just a stray request, isn’t it? It’s simple to ignore the request and get on with the important task of doing whatever it is we do. But that’s where the problem lies, doesn’t it? We’ve ignored the concept of progress. Almost all of us today read on a tablet or our phones. I know I do, my wife does, even my mother in law who ranted and raved about computers—she now loves her iPad. And PDFs work on tablet devices and phones, but they’re super clunky. Sadly that’s not the only problem Jim Collins talks about two elements: preserving the core and stimulating progress. And he goes to great lengths to stress the AND in between both of them. So all of us have to stand back and ask ourselves: What’s our core? The core of Psychotactics has been the factor of “consumption”. Any one can create attraction and conversion. It’s super-hard to get clients to consume what they’ve bought from you. Books, courses, workshops—we spend hours, days and weeks trying to figure out how to achieve a skill. The cartoons, the captions in the book—they’re not just a design concept. They’re placed there as memory hooks; as a method of summary. They need to be exactly where they are in the books and courses. We could remove them and easily create an ePub like most ePubs, but that would fit in with our core. Collins says it has to be an AND. We have to preserve the core AND stimulate progress. This principle is clearly frustrating and pulls in opposite directions. When you’re starting out, you don’t have any legacy issues in place. You create a business the way you want to shape it. And the core and the progress moves along nicely. It’s when you “grow up” that you have to worry about how all the past has to fit in with the future. The longer you’ve been in business, the greater the past, and the more the past has to merge with an ever changing future. Take Nokia for instance You can almost hear the sound of the Nokia ring, can’t you? In the early 2000s, all of us would have at one point in time run into, or owned a Nokia. Nokia was no slouch in realm of being super-progresssive. They were into paper, then electricity and bounced from there to rubber, galoshes and finally were the most dominant phone manufacturer on the planet. In the early 1990’s they had a clear and accurate vision of the future. They saw the coming of the cell phone, dumped all their businesses and stuck with the cell phone. And then, just for good measure, they invented the first smart phone. That amazing device you take photos with, use to find your way around and yes, make phone calls—Nokia was on the ball way back in 1996. They even built a prototype of an Internet-enabled phone at the end of the 90’s. And then they got stuck in a loop They failed to see the link between their core—which was to make really simple phones—and the future. The future was software. The core of their legacy was hardware. They spent millions of dollars turning out failure after failure. They believed so much in their hardware that they just couldn’t figure out the software issues. And down they went, ring and all, finally selling their company to Microsoft. To go from good to great we have to ask ourselves What’s the core of our business. What do we stand for? What will we never change, never compromise on—and yet how will we step into the future when it presents itself to us. Most of us rarely have a problem with core values. Once we’ve spent enough time in our business, we know what we stand for, but what we fail to prepare ourselves for is the oncoming storm. We keep doing things the way we’ve always done. The worst three words we repeat over and over, when faced with change is: I know that, I know that, I know that. I thought I knew a lot about podcasts After all I’d rode the early wave of podcasts when Apple first introduced them. And then in 2008/09 we decided to pull the plug on the podcast. When clients—and one client in particular—kept asking me to create a podcast, I’d ignore the comment. As far as I was concerned, podcasts were a thing of the past. I wasn’t ready to listen and the years ticked away while we busied ourselves with the core of what we’d always done. Today, the “Three Month Vacation” podcast is one of the biggest joys in my day I love writing, I love presentations, but it’s the podcast that connects me to a medium I love. And in turn the podcast connects us to our clients in ways that not possible on paper, or through books. The podcast is the closest we come to an offline workshop. But I wasn’t interested in the “future”. As far as I was concerned, podcasts were the distant past. And today we know those thoughts, that strategy was wrong. We see the enormous number of clients who find the podcast, then sign up to the newsletter. At our offline workshops over 50% of the audience listens religiously to the podcast. The podcast fit in so nicely with our core. And was the medium of the future. Even so, it’s not possible to chase every rainbow Technology moves ahead at a blinding pace. You can’t play with every new phenomenon. Which is why we have to go back to the Hedgehog principle. What can you be the best in the world in? What are you deeply passionate about? What drives your economic engine? In the subset of podcasting, we achieve all three. And this is what you’ll have to do as well. Find your core AND stimulate progress, with your eye always on the passion. The passion is what drives your business today and will continue to do so in the future. If you don’t wake up crazy with happiness, then you’re not headed towards greatness. It’s the reason I moved on from cartooning back in the early 2000s. I wasn’t waking up happy as a lark—and so I had to find something else. Which, interestingly, takes us to our third element: The hairy, audacious goal—oh, it’s big too. That makes it the BHAG (pronounced: bee-hag). The BHAG Until the moment Greig Bebner set to work on his kitchen table with a glue gun and some kite material, the basic design of the modern umbrella hadn’t changed since 1928. They come in all sorts of colours, shapes and fancy gizmos, but the core elements of the umbrella are the same—and they don’t work. The moment a gust of wind comes along, you hear cursing, then more cursing and finally the umbrella being thrown on the pavement. So Greg set about on a big, hairy, audacious goal—a BHAG. He wanted an umbrella that would stand up to the crazy wind and rain on One Tree Hill. Now if you’ve ever visited Auckland, New Zealand, you’re likely to have your hair tossed around wildly on a windy One Tree Hill day. It’s certainly no place to open an umbrella. Then to push that BHAG even further, he tested the Blunt at Force 12 (117 km/h) which is the maximum setting of the test wind tunnel. The umbrella stood up to the punishment with ease. But why did the umbrella work so flawlessly? It starts with the BHAG. It’s almost a Star Trek kind of goal—to go where no man gone before. It’s not a namby-pamby set of goals. It’s one overarching factor that scares the heebie-jeebies out of you as a business owner. A windy day on One Tree Hill in the middle of a storm. That’s a good testing ground for an umbrella. Sometimes this goal is restricted to your product, sometimes it’s a lot bigger. Like Akio Morita, the co-founder and former chairman of Sony Corporation. He was working on a revolutionary product called the Walkman. Until the Walkman was introduced on July 1, 1979. Until the Walkman showed up, portable music players were non-existent. Even though the Walkman stuttered with disappointing sales in the first month, it went on to sell over 400 million units. But Morita’s goal wasn’t just to sell a ton of Walkmans His goal was a lot loftier. Before Sony introduced a ton of extremely sophisticated equipment, Japan was considered to be a backward country. It was associated with paper parasols and shoddy imitations. Akio Morita wanted to turn that perception around so that “Made in Japan” commanded respect and was associated with high quality. And he succeeded, with Sony at the forefront of his BHAG. In 2014, A Harris poll showed Sony was the No. 1 brand name among American consumers, ahead of American companies like General Electric and Coca-Cola. At Psychotactics, we have a BHAG too The goal is to get rid of information for information sake and replace it with skill, instead. We’re drowning in information, and yet every book, every course brings even more information to the table. But is that what we really want? Or do we want the skill instead. We want to write articles, create sales pages, be able to sell at higher prices. We want to learn to cook, draw, paint or acquire skills that make us look, feel and be smarter. A BHAG has to be hairy, audacious, and bigger than anyone thinks possible. Starbucks had a BHAG too It was to open up a new Starbucks cafe every single day of the year. But soon enough, Starbucks was running into trouble. Can you see why? It’s big, hairy and audacious to open up a Starbucks every single day, but does it inspire any passion? Does it feel like you’re somehow changing the world you live in, let alone the world around you? The BHAG wasn’t to make Sony the star, but instead to make Japan and Japanese products top-notch once again. Every business should have a BHAG. Something that sits there in the corner challenging you to become better—not necessarily bigger—than you are. To create a Ferris Wheel or an Eiffel Tower. To create artworks of enduring magnificence as Michelangelo, Leonardo da Vinci and Rembrandt did. And the way to create that BHAG is to scare yourself. To know that everyone says there are things you’re not supposed to achieve. That these things are impossible. And yet, you do it, because it’s the most inspiring thing to do! Combined with the Hedgehog principle, preserving the core and stimulating progress, you have a system in place that can take your business from good to great. And even as you embark on this journey, you know that you will forever be on the road to making things better, not necessarily bigger, but always better. Better—it’s a great place to be! Action Plan: What is the one thing you can do today? Check back tomorrow. Sean is still writing it.  

There are two options in life: greatness or mediocrity. But greatness seems so elusive, even so pompous. How do you call your work "great"? How do you even know or benchmark "greatness?". And can a small business achieve greatness or do you have to be a dominant player like Apple, Disney and Walmart. In this episode we get right to the root of greatness and how the book "Good to Great" by Jim Collins changed my life. But instead of the massive journey to greatness, this episode shows you a tiny path. A path most of us can manage with just a little bit of effort. A life of mediocrity is hardly worth living. Here's the pathway to greatness. ----------  Useful Resources / To access this audio + transcript: http://www.psychotactics.com/79 / / Email me at: sean@psychotactics.com / / Twitter/Facebook: seandsouza / / Magic? Yes, magic: http://www.psychotactics.com/magic ----------  Part 1: The Hedgehog Principle Part 2: Preserving the Core + Stimulating Progress Part 3: Big, Hairy Audacious Goal—The BHAG Right click here and ‘save as’ to download this episode to your computer.   Useful Resources 5000bc: How to get reliable answers to your complex marketing problems Why Happiness Eludes You: 3 Obstacles That We Need To Overcome Find out: Do We Really Need To Start With Why? ----------------- The  Transcript “This transcript hasn’t been checked for typos, so you may well find some. If you do, let us know and we’ll be sure to fix them.”   Around the autumn of 1890, Daniel Burnham was given a project. Burnham was an architect—an extremely well known architect—in Chicago. And he’d been given a job like no other. He was expected to turn a boggy square mile into what would be the spotlight of the world. He was put in charge of the World’s Columbian Exposition. He just had one tiny problem—the Eiffel Tower. On March 31, 1889, Paris had had it’s own Exposition. And it quickly surpassed the Washington Monument to become the then tallest man-made structure in the world. Burhnam had the unenviable job of surpassing the hoopla around the Eiffel Tower, but no one had a clue what to do. “Make no little plans”, he said to his team of engineers, but they could come up with little to rival the magnificence of the Eiffel Tower. Of course there were proposals: a tower garlanded with rails to distant cities, another tower from whose top guests would be pushed off in chairs (pretty much like today’s bungee jumping). And Eiffel himself proposed an idea for the Chicago exposition—a bigger tower than the one in Paris. How could the Chicago Exposition outshine the now most famous monument in the world—the Eiffel Tower? It seemed almost impossible to come up with something that would rival the French monument. An engineer called Ferris has the answer. The ideas were going nowhere and the Chicagoans were pulling their hair out, when a 33 year old engineer from Pittsburgh came up with an idea: how about a huge revolving steel wheel? He came up with sketches, added additional specifications and then shared the idea with Burnham. But Burnham was not impressed. The slender rods of the wheel were too fragile. It would be madness to carry people to a height taller than the Statue of Liberty in such a fragile wheel. But Burnham wasn’t just dealing with any ol’ engineer. He was dealing with George Washington Gale Ferris Jr—who would forever be associated with the Ferris wheel. Ferris was so convinced his idea would work that he spent $25,000 of his own money, hired more engineers and recruited investors. And consider that $25,000 would be worth over $650,000 in today’s money. Over a 100,000 parts went into the Ferris wheel. And an 89,320 pound axle had to be hoisted onto two towers 140 feet in the air. On June 21, 1893 when it was launched, it was a stunning success. As the exposition went through the next three week, more than 1.4 million paid 50 cents for a 20-minute ride. George Washington Gale Ferris had literally reinvented the wheel. The year we moved to New Zealand, I had to reinvent my own wheel. You see, I wasn’t in marketing. I had no plans of being in marketing. I was already an established cartoonist back in Mumbai, India and when I moved to New Zealand I pretty much expected to continue to draw cartoons. In fact I was so determined to take that cartoon career forward, that when we moved I had over 100 kilos worth of books shipped. These were no ordinary books. These were the books on graphic design and cartooning that I’d accumulated over the years. Plus, there were brochures. Before I left India, I had no idea what New Zealand held for me. So I printed business cards—as you do But also lavish four colour brochures, postcards and yes, stationery that I could use when I got to New Zealand. All of this material had to be shipped by air—not by sea—because I was in a big hurry to get going in this new country. Yet, almost a year later, I had to reinvent what I was doing—and it was all because of one book. That book, “Good to Great” has sold over 2.5 million hardcover copies. But more importantly, it was the catalyst in my own reinvention. In 2000 as I got on a plane back to India (I had to go back and tidy up things I’d left undone), I had loads of time to read the book and mull over the ideas. And as I’ve mentioned before in articles and podcasts, I realised that I would never reach my greatness in cartooning. To me, the pinnacle of cartooning was the comic strip, “Calvin and Hobbes” by Bill Watterson. If I couldn’t get up to those lofty heights, it wasn’t feeding my greatness appetite. And so I turned to something I was getting exceedingly good at doing—creating taglines for small businesses. Without realising it, I was wandering down the aisle of marketing. The book—and that 19 hour flight—it did it for me. It put me on my quest for what I’d consider my “greatness journey”. But just as it set the benchmarks, it also raised a ton of questions. Are there benchmarks to know that you’re moving from good to great? How do you know what you’re choosing will end up being great? With all the stories of greatness bouncing around Apple, Boeing, Disney and Walmart, how can a small business owner get to greatness, without becoming big and dominant? Big questions—and it’s best to keep the answers simple. Deep, yet simple. Let’s take a trip and explore the three core elements required to get your own Ferris wheel going—even when the odds seem stacked against you. The three elements we’ll cover are: The Hedgehog Principle Preserving the Core + Stimulating Progress Big, Hairy Audacious Goal—The BHAG.   Avis—the car rental company—was pretty much in the doldrums. Back in 1961, it was losing $3.2 million a year and there seemed to be no way to beat the domination of their biggest rival—Hertz. And the two companies had been at each others throats since the mid-1940s, when Air Force officer, Warren Avis created a niche out of thin air. As he travelled around, Warren Avis  realized that most car companies were downtown—not a very convenient place to get a car if you just flew into a city. Business travel was growing steadily and many executives would touch down, rent a car, drive to their meetings and drop the car back at the airport on the very same day. Hertz was not impressed They continued to run their rental car business downtown, as if Avis didn’t exist. Yet, over time, they found Avis gobbling up chunks of their business. It seemed logical to simply replicate what Avis had done. With this move, Hertz signalled the start of the rivalry that exists to this day. But then, along came 1962 and an creative agency called Doyle Dane Bernbach (DDB). The copywriter team of Paula Greene and Helmut Krone created an advertising campaign that would take Avis from losing $3.2 million to earning $1.2 million. What’s more, it would rock Hertz’ smugness to its very core. From 1963 to 1966, Hertz smug look turned to paralysis The market share percentage gap between the two car companies shrunk from 61-29 to 49-36. The “We’re only No.2. We try Harder” immediately captured the attention of the public. But why did this “We try harder” campaign really work? When we look at the Hedgehog Concept outlined in “Good to Great”, the answer is more than apparent. The Hedgehog principle consists of three pertinent questions: – What can you be the best in the world at? – What drives your economic engine? – What are you deeply passionate about? Avis could easily answer those questions—but only once it had the new ad campaign going It was the best in the world at “bending over backwards” to make car customers happy. After all it was only No.2, and couldn’t afford to rest on its laurels. This concept of “trying harder” got the entire company to indeed try harder. And yes, we all know how their bleeding balance sheet made a sharp U-turn into decent profitability. They got the “best in the world” covered, the “economic engine” was purring away. Only one thing remained—the passion. The “we try harder” might have been just a slogan, but it was a slogan that drove the passion—and if the slogan is right, it often does drive the passion! Avis ticked all the three boxes, and they were well on their way to scaring the heebie-jeebies out of Hertz. Notice how money—or the economic engine—isn’t really the focus of greatness? Money is important, that’s for sure. A company gasps and coughs it’s way into oblivion if it can’t fire up that economic engine. And yet, it’s more than clear that for most of us, at least, money is not the driving factor. All those website owners that show you how their income doubled and quintupled are still sitting on the same sofa; they’re still typing on that same yellowed keyboard. Yes, they may have doubled or quintupled the size of their house or boat, but when money becomes the only focus, there’s no time to enjoy the good stuff in life. Which is why the “best in the world” journey needs to start with what makes you deliriously happy. It’s the stuff that wakes you up and keeps you going, no matter what. Your work becomes your passion and the complete opposite of trying to outsource everything and doing as little as possible. Money helps enormously in getting you to your goal, but the passion and desire is what’s behind the wheel. And this is where confusion comes bouncing through the door When I quit my career in cartooning, I was doing very well indeed. I’d moved to New Zealand and despite being in a brand new market, the profit for the first year was $75,000. Picture me sitting at my computer, drawing cartoons, listening to music and then taking a nap and you get the idea. It wasn’t exactly like I was struggling to put food on the table. Still, the moment you decide you want to change things—the moment I decided I couldn’t beat “Calvin and Hobbes”, I was in trouble. I’m good at a lot of things. I whizz my way around Photoshop, I can cook exceedingly well, you’ve probably seen my food and travel photos on Facebook—and you’re getting an idea of the looming problem, aren’t you? The moment you can do more than one thing, you’re not sure where to go. The journey to greatness seems to run right into a pool of quicksand. So how do you get yourself out of this mess and back on track? I’d decided I didn’t want to do cartooning—at least at that point in time—and I wanted to take this leap into marketing. I didn’t know much about marketing, but that minor detail wasn’t keeping me up at night. Still, I was in a fog—after all marketing is this big, nameless, faceless profession and I hadn’t a clue what the journey to greatness was going to look like, or whether one existed at all. And that’s when I ran into a subset of marketing. A subset is what starts the journey to greatness My story was quite accidental—as yours may well be. I joined this networking group called BNI. We’d meet every Friday, enjoy breakfast and hand out referrals. And crucial as all this referral giving was to me at the time, one factor was even more pivotal to help me on my journey. BNI has this strange custom called “the dance”—as in “dancing with a partner”. In this so-called “dance”, you go across to visit another of the members. For instance, I might go and meet the real estate agent at her office. Or another week I might end up talking to the financial planner in the group. Being new and enjoying this extroverted behaviour, I binged on the “dance” I started meeting several members of the BNI group in relatively quick succession. They’d tell me what they did—often spending between 10-20 minutes explaining the details. Then I’d ponder over what they just said, and boil it down to a single line. In effect, I’d given them a tagline—a working tagline that would elicit curiosity and get their prospects interested. The first time I encapsulated their 20 minute speech into a single line, I wasn’t aware of what I was doing. Twenty or thirty tagline later, with everyone telling me how “great” I was at taglines, I decided to make that my entry point into marketing. I wasn’t going to be the best in the world at marketing—and no one can ever take such a title. But I could create a subset. And that’s because a subset is simpler than a well-laid out, world domination plan. Which means that you’re going to make a career out of teaching a program like InDesign, don’t take on every tool bar in the program. Just teach clients how to create an amazing e-book in under an hour. The Hedgehog Concept If you’re going to be the best in the world at WordPress sites, you’re headed for chaos. But take on a subset and you could be the designer that gets clients to their destination in just three steps. Even the all-time greats in the history of mankind—take Michelangelo for instance—he made the statue of David his subset. He was headed towards the magnificence of the Sistine Chapel in time, but to start on that journey of greatness, he had to take on carving just the statue of David. Once you deal with a subset, passion almost force-feeds you with energy Avis found its passion once it had the subset of “trying harder” instead of the grand scheme of “trying to do everything”. I found my subset quite by accident while taking on taglines. And the moment you streamline your idea into one tiny bit, you’ll get enormous control over that bit—and the passion faucet will begin to flow. You’ll read more about the subset, practice it longer and harder and it will take over your life. Which effectively means you’re done with two elements of the Hedgehog principle all at once. You have your passion—thanks to your subset—and it’s put you well and truly on the road to personal and professional greatness. That leaves just the looming question. Will it drive your economic engine? Will it pay the bills? And how soon? I didn’t know the answer to that question of the economic engine In fact, I did something very silly in my quest for “being the best in the world”. I quit cartooning—yup, just like that. One fine day, I decided I wasn’t going to do any cartoons. And then something extremely strange happened. No one called me for a cartoon project any more. Right until that moment I’d been filling that balance sheet with a decent profit, and suddenly I didn’t get a single call or e-mail for another cartoon project. Be aware that I was drawing stuff for ad agencies, magazine covers, local councils and private clients. And yet, it stopped almost as if I had taken a full page ad in the newspaper that said, “Sean D’Souza doesn’t want to draw cartoons any more. Stop bugging him.” My dream had come true, but I didn’t have a buffer. The buffer isn’t just money It’s also the buffer of knowledge and of confidence. Remember, I wasn’t a marketing guy, I was a cartoonist. That thought stays in your head and seriously undermines your confidence. Getting to the library, stacking up 30 books at a time was top priority. We’re talking about economic engines here, and knowledge plays a big role in how you get paid. Having the skills to run a business is what allows you to make that engine vroom. I had to teach myself how to write great articles, how to create compelling copy—and yes, how to speak. That buffer was important for my economic engine, but money played its role too. I jumped right into marketing and out of a business I’d spend a chunk of time beefing up on the learning and the skills. But I hadn’t considered the factor that everything takes time to turnaround. It was a rash move, and luckily Renuka had a decent job. That paid the bills, the mortgage and let me fumble forward toward this “greatest in the world” dream. Um, Renuka also quit her job and joined Psychotactics a few months later, but that buffer was all we needed. We were now on a trajectory to align ourselves with the Hedgehog Principle. Like Michelangelo, we had to carve one David at a time. Like Avis, we had to “try harder” one car at a time. We were passionate about what we did. And the clients started to trickle in. But the Hedgehog principle itself, isn’t enough Jim Collins stresses a second more important factor. In fact, he considers this second factor to be the most important of all the material he’s written over the years. It’s called: Preserving the core AND stimulating progress. Let’s find out just what this means for you and your small business. Preserve the Core AND Stimulate Progress Recently a client called Rosa wrote to us with a request. “I would have preferred to read the series on Dartboard Pricing in ePub,” she said. She made it clear it was a request, not a demand. Which brings up a whole new set of problems for us at Psychotactics. Most business books are designed with text in mind and may contain a few graphics. Our books aren’t designed that way at all. They have dozens of cartoons and under every cartoon is a caption. In The Brain Audit alone there are almost 100 cartoons and corresponding captions. In a PDF, this layout is easy-peasy. Create the book in InDesign and export it as a PDF and it maintains its design integrity. Try to do the same thing for an ePub and it’s like stepping in poo. It’s a tedious, frustrating process to get all the graphics to align the way they should The easier way is to just make a quick excuse, apologies and move on. After all, it isn’t like 90% of our audience is asking for an ePub. It’s just a stray request, isn’t it? It’s simple to ignore the request and get on with the important task of doing whatever it is we do. But that’s where the problem lies, doesn’t it? We’ve ignored the concept of progress. Almost all of us today read on a tablet or our phones. I know I do, my wife does, even my mother in law who ranted and raved about computers—she now loves her iPad. And PDFs work on tablet devices and phones, but they’re super clunky. Sadly that’s not the only problem Jim Collins talks about two elements: preserving the core and stimulating progress. And he goes to great lengths to stress the AND in between both of them. So all of us have to stand back and ask ourselves: What’s our core? The core of Psychotactics has been the factor of “consumption”. Any one can create attraction and conversion. It’s super-hard to get clients to consume what they’ve bought from you. Books, courses, workshops—we spend hours, days and weeks trying to figure out how to achieve a skill. The cartoons, the captions in the book—they’re not just a design concept. They’re placed there as memory hooks; as a method of summary. They need to be exactly where they are in the books and courses. We could remove them and easily create an ePub like most ePubs, but that would fit in with our core. Collins says it has to be an AND. We have to preserve the core AND stimulate progress. This principle is clearly frustrating and pulls in opposite directions. When you’re starting out, you don’t have any legacy issues in place. You create a business the way you want to shape it. And the core and the progress moves along nicely. It’s when you “grow up” that you have to worry about how all the past has to fit in with the future. The longer you’ve been in business, the greater the past, and the more the past has to merge with an ever changing future. Take Nokia for instance You can almost hear the sound of the Nokia ring, can’t you? In the early 2000s, all of us would have at one point in time run into, or owned a Nokia. Nokia was no slouch in realm of being super-progresssive. They were into paper, then electricity and bounced from there to rubber, galoshes and finally were the most dominant phone manufacturer on the planet. In the early 1990’s they had a clear and accurate vision of the future. They saw the coming of the cell phone, dumped all their businesses and stuck with the cell phone. And then, just for good measure, they invented the first smart phone. That amazing device you take photos with, use to find your way around and yes, make phone calls—Nokia was on the ball way back in 1996. They even built a prototype of an Internet-enabled phone at the end of the 90’s. And then they got stuck in a loop They failed to see the link between their core—which was to make really simple phones—and the future. The future was software. The core of their legacy was hardware. They spent millions of dollars turning out failure after failure. They believed so much in their hardware that they just couldn’t figure out the software issues. And down they went, ring and all, finally selling their company to Microsoft. To go from good to great we have to ask ourselves What’s the core of our business. What do we stand for? What will we never change, never compromise on—and yet how will we step into the future when it presents itself to us. Most of us rarely have a problem with core values. Once we’ve spent enough time in our business, we know what we stand for, but what we fail to prepare ourselves for is the oncoming storm. We keep doing things the way we’ve always done. The worst three words we repeat over and over, when faced with change is: I know that, I know that, I know that. I thought I knew a lot about podcasts After all I’d rode the early wave of podcasts when Apple first introduced them. And then in 2008/09 we decided to pull the plug on the podcast. When clients—and one client in particular—kept asking me to create a podcast, I’d ignore the comment. As far as I was concerned, podcasts were a thing of the past. I wasn’t ready to listen and the years ticked away while we busied ourselves with the core of what we’d always done. Today, the “Three Month Vacation” podcast is one of the biggest joys in my day I love writing, I love presentations, but it’s the podcast that connects me to a medium I love. And in turn the podcast connects us to our clients in ways that not possible on paper, or through books. The podcast is the closest we come to an offline workshop. But I wasn’t interested in the “future”. As far as I was concerned, podcasts were the distant past. And today we know those thoughts, that strategy was wrong. We see the enormous number of clients who find the podcast, then sign up to the newsletter. At our offline workshops over 50% of the audience listens religiously to the podcast. The podcast fit in so nicely with our core. And was the medium of the future. Even so, it’s not possible to chase every rainbow Technology moves ahead at a blinding pace. You can’t play with every new phenomenon. Which is why we have to go back to the Hedgehog principle. What can you be the best in the world in? What are you deeply passionate about? What drives your economic engine? In the subset of podcasting, we achieve all three. And this is what you’ll have to do as well. Find your core AND stimulate progress, with your eye always on the passion. The passion is what drives your business today and will continue to do so in the future. If you don’t wake up crazy with happiness, then you’re not headed towards greatness. It’s the reason I moved on from cartooning back in the early 2000s. I wasn’t waking up happy as a lark—and so I had to find something else. Which, interestingly, takes us to our third element: The hairy, audacious goal—oh, it’s big too. That makes it the BHAG (pronounced: bee-hag). The BHAG Until the moment Greig Bebner set to work on his kitchen table with a glue gun and some kite material, the basic design of the modern umbrella hadn’t changed since 1928. They come in all sorts of colours, shapes and fancy gizmos, but the core elements of the umbrella are the same—and they don’t work. The moment a gust of wind comes along, you hear cursing, then more cursing and finally the umbrella being thrown on the pavement. So Greg set about on a big, hairy, audacious goal—a BHAG. He wanted an umbrella that would stand up to the crazy wind and rain on One Tree Hill. Now if you’ve ever visited Auckland, New Zealand, you’re likely to have your hair tossed around wildly on a windy One Tree Hill day. It’s certainly no place to open an umbrella. Then to push that BHAG even further, he tested the Blunt at Force 12 (117 km/h) which is the maximum setting of the test wind tunnel. The umbrella stood up to the punishment with ease. But why did the umbrella work so flawlessly? It starts with the BHAG. It’s almost a Star Trek kind of goal—to go where no man gone before. It’s not a namby-pamby set of goals. It’s one overarching factor that scares the heebie-jeebies out of you as a business owner. A windy day on One Tree Hill in the middle of a storm. That’s a good testing ground for an umbrella. Sometimes this goal is restricted to your product, sometimes it’s a lot bigger. Like Akio Morita, the co-founder and former chairman of Sony Corporation. He was working on a revolutionary product called the Walkman. Until the Walkman was introduced on July 1, 1979. Until the Walkman showed up, portable music players were non-existent. Even though the Walkman stuttered with disappointing sales in the first month, it went on to sell over 400 million units. But Morita’s goal wasn’t just to sell a ton of Walkmans His goal was a lot loftier. Before Sony introduced a ton of extremely sophisticated equipment, Japan was considered to be a backward country. It was associated with paper parasols and shoddy imitations. Akio Morita wanted to turn that perception around so that “Made in Japan” commanded respect and was associated with high quality. And he succeeded, with Sony at the forefront of his BHAG. In 2014, A Harris poll showed Sony was the No. 1 brand name among American consumers, ahead of American companies like General Electric and Coca-Cola. At Psychotactics, we have a BHAG too The goal is to get rid of information for information sake and replace it with skill, instead. We’re drowning in information, and yet every book, every course brings even more information to the table. But is that what we really want? Or do we want the skill instead. We want to write articles, create sales pages, be able to sell at higher prices. We want to learn to cook, draw, paint or acquire skills that make us look, feel and be smarter. A BHAG has to be hairy, audacious, and bigger than anyone thinks possible. Starbucks had a BHAG too It was to open up a new Starbucks cafe every single day of the year. But soon enough, Starbucks was running into trouble. Can you see why? It’s big, hairy and audacious to open up a Starbucks every single day, but does it inspire any passion? Does it feel like you’re somehow changing the world you live in, let alone the world around you? The BHAG wasn’t to make Sony the star, but instead to make Japan and Japanese products top-notch once again. Every business should have a BHAG. Something that sits there in the corner challenging you to become better—not necessarily bigger—than you are. To create a Ferris Wheel or an Eiffel Tower. To create artworks of enduring magnificence as Michelangelo, Leonardo da Vinci and Rembrandt did. And the way to create that BHAG is to scare yourself. To know that everyone says there are things you’re not supposed to achieve. That these things are impossible. And yet, you do it, because it’s the most inspiring thing to do! Combined with the Hedgehog principle, preserving the core and stimulating progress, you have a system in place that can take your business from good to great. And even as you embark on this journey, you know that you will forever be on the road to making things better, not necessarily bigger, but always better. Better—it’s a great place to be! The action plan and summary coming in the next episode. Click here to listen to part 2:  Good to Great: How To Escalate The Path To Greatness http://www.psychotactics.com/path-to-greatness/

At the very tail end of August, Voice Dream Reader, the wildly popular book reading app, launched on Android. This opens up a huge potential market, ranging from students who want to read college coursework on-the-go, to professionals who drive a lot and need an easy way of reading materials with high-quality voices. Because of the excellent price range of Android devices, you can now own a book reader for under $100. We've interview Winston Chen who developed the iOS application, which has now grown into a comprehensive app. Getting this to work on Android from scratch was a unique challenge, as it requires a great effort and collaboration between features and platforms. Michael Scott developed the Android version of Voice Dream Reader, and it has many of the same functionality as found on iOS: Bookmarks, various high quality voices from Acapela (at the moment, Ivona is expected in a future update), along with bookmarking support, DRM-free Epubs, bookshelf views, Bookshare, Dropbox,One drive integration, visual adjustment of the document's contents, highlighting, built-in web browser... Just what does it take to develop an Android app anyway? How difficult was it to have all of these features migrate over from the iOS world? What are some future plans for the app? Ultimately, what goals might the team have in mind for its purpose? We sit down with both Michael and Winston to talk about the development and story of Voice Dream reader.

At the very tail end of August, Voice Dream Reader, the wildly popular book reading app, launched on Android. This opens up a huge potential market, ranging from students who want to read college coursework on-the-go, to professionals who drive a lot and need an easy way of reading materials with high-quality voices. Because of the excellent price range of Android devices, you can now own a book reader for under $100. We've interview Winston Chen who developed the iOS application, which has now grown into a comprehensive app. Getting this to work on Android from scratch was a unique challenge, as it requires a great effort and collaboration between features and platforms. Michael Scott developed the Android version of Voice Dream Reader, and it has many of the same functionality as found on iOS: Bookmarks, various high quality voices from Acapela (at the moment, Ivona is expected in a future update), along with bookmarking support, DRM-free Epubs, bookshelf views, Bookshare, Dropbox,One drive integration, visual adjustment of the document's contents, highlighting, built-in web browser... Just what does it take to develop an Android app anyway? How difficult was it to have all of these features migrate over from the iOS world? What are some future plans for the app? Ultimately, what goals might the team have in mind for its purpose? We sit down with both Michael and Winston to talk about the development and story of Voice Dream reader.

At the very tail end of August, Voice Dream Reader, the wildly popular book reading app, launched on Android. This opens up a huge potential market, ranging from students who want to read college coursework on-the-go, to professionals who drive a lot and need an easy way of reading materials with high-quality voices. Because of the excellent price range of Android devices, you can now own a book reader for under $100. We've interview Winston Chen who developed the iOS application, which has now grown into a comprehensive app. Getting this to work on Android from scratch was a unique challenge, as it requires a great effort and collaboration between features and platforms. Michael Scott developed the Android version of Voice Dream Reader, and it has many of the same functionality as found on iOS: Bookmarks, various high quality voices from Acapela (at the moment, Ivona is expected in a future update), along with bookmarking support, DRM-free Epubs, bookshelf views, Bookshare, Dropbox,One drive integration, visual adjustment of the document's contents, highlighting, built-in web browser... Just what does it take to develop an Android app anyway? How difficult was it to have all of these features migrate over from the iOS world? What are some future plans for the app? Ultimately, what goals might the team have in mind for its purpose? We sit down with both Michael and Winston to talk about the development and story of Voice Dream reader.

KWL US Manager Christine Munroe interviews Carla King, a travel writer and self-publishing expert. Tune in to hear them discuss: What self-publishing was like when Carla started out in 1995. Self-Publishing Boot Camp, the program of books and workshops that Carla co-founded and continues to manage. Balancing writing travel books and how-to guides. Tips for effective social media presence. Highlights from Carla's latest book, The Self-Publishing Boot Camp Guide for Authors. After the show, KWL Author Care Coordinator Vanessa Ghosh offers tips for creating reflowable ePubs.

Boston Comic Con announces new guests for 2014 John Rhys Davies at RICC Dead of Winter by Rob Smales is out: You can find it on Amazon and PDFs, Epubs and the like can be purchased through Ganxy Hell Really Did Freeze Over Disney Princess Lingerie Disney appoints a group to determine a new, official Star […]

DROPBOX - pdf to epubsEn esta clase se muestra como se convierte un PDF a ePub y como se envía al Dropbox

DROPBOX – IPAD epubsEn esta clase se muestra como enviar un ePub a dropbox y una vez ahí compartirlo para leerlo en grupo y reenviar las anotaciones del estudio al profesor o un amigo en el iPad.

Temas del día: Windows Phone, ocupa el tercer lugar dentro del mercado; Movistar Argentina lanzó un servicio de autogestión móvil para sus clientes; La App Store de Apple y sus 50.000 millones de descargas; #EnVivo – Google I/O 2013 – Stream de video – Segundo día – jueves 16; Hoy cambian los directivos de Intel; Diadeinternet – Cámaras TIC de Argentina, organizan actividades online; Samsung solucionara el problema de almacenamiento en el Galaxy S4; BlackBerry aclara: BBM no estará disponible para tablets de momento; Jolla presentará el primer smartphone basado en Sailfish OS el 20 de mayo; Respaldo de fotos y video de alta resolución para Windows Phone 8 disponible a nivel mundial; Larry Page y la polémica que despertó contra Microsoft en Google I/O 2013 #IO13; No habrá HTC One con Android puro; Desde hoy mismo puedes subir tus propios PDFs y EPUBs a Google Play Books; ZTE Grand X2, Android y procesador Intel; Pinterest actualiza su app para iOS y Android con notificaciones y búsquedas mejoradas; Estuvimos en la presentación del LG Optimus G, entrevista a Enrique Marchisio, Sales Director Argentina. Seguime desde twitter @arielmcorg www.twitter.com/arielmcorg

Ab sofort können Sie das beigefügte interaktive Programm zum CAS Digitale Kommunikation mit bewegten Bildern der FHNW Abteilung Wirtschaft in Olten auf ihr iPad laden. Die Broschüre ist eine der ersten in dieser Form und zeigt direkt die Möglichkeiten von interaktiven ePub Anwendungen für Marketing und Kommunikation. Das interaktive ePub wurde vom Kursleiter und Dozenten Dr. Matthias Haeberlin eigens für diesen Kurs erstellt. Die Teilnehmenden des CAS werden direkt im Kurs lernen wie entsprechende interaktive ePubs selber geplant und umgesetzt werden.

Listen in your browser: InDesignSecrets-186.mp3 (17.4 MB, 32:37 minutes) See the Show Notes for links mentioned in this episode. The transcript of this podcast will be posted soon. News: Upcoming speaking gigs, InDesign User Group web site, Scripts for Indexes in EPUBs, Our mascot Zoey (picture below!) New Year's InDesign Resolutions (and non-InDesign related) About the Primary Text Frame "Negative Number" Quizzler Answer and Winner Obscure InDesign Feature of the Week: Relink File Extension News and special offers from our sponsors: >> Rorohiko’s TextExporter 3.1 plug-in makes exporting text out of InDesign CS2-CS6 so simple! You can export all the stories in an ID file into one single RTF, plain text, or ID tagged text file, and you control how it orders the text as it extracts and concatenates it.  The RTF Export option now supports nested styles, which InDesign's own RTF Export does not! Special for InDesignSecrets listeners: Use the coupon code INDESIGNSECRETS186 in the Rorohiko.com store to get 25% off the TextExporter plug-in. -- INDESIGN "PRODUCTION NIGHTMARES FROM THE TRENCHES" STORIES: We want to hear your stories! Send us a short (less than 3 minutes) "InDesign doc/client/user/coworker Horror Story" that we can play on the air (you'll be anonymous) in an upcoming episode: leave us a voice message at +1-801-459-4477 to record it, or send in your own voice recording. Please follow-up with an e-mail, which we will keep private, including any additional information that you'd like us to know. You'll get a nifty gifty from us if we play it in a podcast! -- Links mentioned in this podcast: > David's speaking at Macworld where he'll be talking about his new book, Spectrums: Our Mind-Boggling Universe from Infinitesimal to Infinity > Anne-Marie is presenting a workshop at O'Reilly's TOCCON, Feb 12–14 in NYC, titled, "Beautiful Typography in EPUBs" > David and Anne-Marie will be presenting InDesign seminars and labs at Adobe MAX, May 4–8, 2013 (right after PEPCON!) > Adobe's InDesign User Group web site is still down, as of this podcast > Indicies or Indexes? Actually, both are correct > EPUB Indexes: Overview from EPUBSecrets.com, Ben Milander's Index for EPUB script, DTPTool's CrossReferencesPRO > Devon ThinkPro vs Evernote > Anne-Marie's lynda.com video tutorial, Social Media Marketing with Facebook & Twitter > Three great blog posts on InDesign's Primary Text Frame: here, here, and here > Our Quizzler winner is from Khartoum, Sudan We'll miss you Zoey! Good girl.

Listen in your browser: InDesignSecrets-177.mp3 (16.5 MB, 30:32 minutes) See the Show Notes for links mentioned in this episode. Interview: Brooks Jensen, LensWork magazine Using InDesign to create the print and enhanced PDF publications Nuances of color and duotones with fine-art photography and the printing process Moving to an InCopy workflow over a holiday weekend (!) Optimizing rich-media PDF eBooks for iPad and Android tablets Golden Oldie post: Select Text All the Way to the End Obscure InDesign Feature of the Week: Clip Contents to Cell News and special offers from our sponsors: >> lynda.com is an online learning company that helps anyone learn software, creative, and business skills to achieve their personal and professional goals. With a lynda.com subscription, members receive unlimited access to a vast library of high quality, current, and engaging video tutorials. Many InDesignSecrets.com contributors have authored titles at lynda.com, including Anne-Marie and David, covering InDesign basics (of course) and beyond, such as EPUBs, interactive PDFs, DPS, GREP, and InCopy workflows. Get a one-week free trial to the entire lynda.com online training library. And don't forget to check out our InDesign Secrets video title on lynda.com, with two new free videos every month! -- Links mentioned in this podcast: > Brooks Jensen's magazine is LensWork, and yes, he does have a podcast! (click each thumbnail to see a larger size) > More about Ansel Adams (duotones/tritones) and Alfred Stieglitz (Camera Work magazine) > LensWork uses an InCopy workflow for its print and PDF editions > Brooks moved to InCopy after watching Anne-Marie's lynda.com video tutorial about it > Golden Oldie post: Select Text All the Way to the End

New bug fixes from Adobe; Cool Keyboard Shortcuts; CS6 Features for EPUBs; Obscurity of the Week: Insert Number Placeholder ----- Listen in your browser: InDesignSecrets-176.mp3(18.1 MB, 34:25 minutes) See the Show Notes for links mentioned in this episode. InDesign News: Fix for InDesign Crashing on 2012 Macs Fix for InDesign CS6 "Revert to Trial Mode" bug Some useful new ideas for Cool Keyboard Shortcuts New features in InDesign CS6 for EPUB publishers Obscure InDesign Feature of the Week: Insert Number Placeholder News and special offers from our sponsors: >> Real World InDesign CS6: Get this book! You'll find everything you need to successfully master InDesign’s advanced page-layout tools; manage color; build XML templates; and run your own custom InDesign scripts. You’ll also find complete coverage of all of InDesign’s new features. This is the reference book of all books on InDesign, written by Olav Martin Kvern, David Blatner, and Bob Bringhurst; published by Peachpit Press in print, EPUB, and Kindle editions. -- Links mentioned in this podcast: > David's blog post on the release of Real World InDesign CS6 > Steve Werner's post about the 2012 Macs bug for InDesign CS6 and Adobe's fix > When CS6 Reverts to Trial Mode (post) and Adobe's fix > Interesting InDesignSecrets forum thread on cool keyboard shortcuts from users > New EPUB Features in InDesign CS6 , recording of the Adobe CSPro webinar by Anne-Marie > More info on using Insert Number Placeholder in this blog post

New lynda.com InDesign videos; Creative Cloud; Acrobat forms tools in InDesign CS6; Obscurity of the Week: World-Ready Composer Listen in your browser: InDesignSecrets-172.mp3(18.5 MB, 33:21 minutes) See the Show Notes for links mentioned in this episode. Yikes! We recorded this on May 9 (pre-PePcon), but didn't get a chance to publish it until today, a week later (post-PePcon). Apologies for time-shifted content! News News in PEPCONland, Adobeland, and Lyndaland Join us in New York City, June 13-14, for InDesignSecretsLive! in NYC InDesign CS6's PDF Forms Features in depth Obscure InDesign Feature of the Week: World-Ready Paragraph Composer News and special offers from our sponsors: >> PrintUI.com / In-Tools.com: Get free setup on an InDesignServer solution from PrintUI.com! Or, if you're more into EPUB, contact Harbs to learn more about a cool soon-to-come tool that provides EPUB preview and editing CSS files inside InDesign! >> Mediatrad, a great new tool for translators and InDesign users who need document language translation. It's free for non-commercial purposes. You can create a free trial 30-day account and translate up to 100 pages. Entering the special code: "indesignsecrets.com" gives you 100 additional pages! >> Rorohiko has a new script that helps InDesign users create fixed-layout EPUBs from InDesign files! Check out the free CSSGeometry.jsx script to quickly get the CSS markup for all your absolutely-positioned text frames, ready for copying and pasting into your CSS document. While you're there, be sure to check out all of their other neat InDesign scripts and plug-ins Kris and his crew at Rorohiko offer that are designed to "slash the time it takes!" -- Links mentioned in this podcast: > Adobe Creative Cloud was released > Adobe's redesigned online InDesign Help site > New lynda.com videos: InDesign CS6 New Features and InDesign CS6 Essential Training > David's rant/post about the split in PDF Export methods in InDesign > Another post about single page vs. spread Interactive PDF export > Harb's plug-in for World Ready typesetting, "WorldTools Pro" > Adobe blog post about the surprise indicpreferences.js script in InDesign CS6

Notre invité Samuel Petit, entrepreneur dans le monde numérique, nous emmène dans l'univers féerique des ePubs, Apps et eBooks qui sont l'un des futurs de l'édition. En compagnie de Docteur Non, de Post Carbone et de Lord Ton Père, nous nous aventurons sur les territoires des tablettes et autres eReader.

Notre invité Samuel Petit, entrepreneur dans le monde numérique, nous emmène dans l'univers féerique des ePubs, Apps et eBooks qui sont l'un des futurs de l'édition. En compagnie de Docteur Non, de Post Carbone et de Lord Ton Père, nous nous aventurons sur les territoires des tablettes et autres eReader.

In this episode I'll show you the new features in Adobe InDesign CS 5.5 for publishing ePUBs with Video to the iPad and other devices that support ePUB standard 3.0. 

2011 PeP Conference; InDesign to EPUB; Acrobat X and InDesign; Quizzler winners (and a new Quizzler); Obscurity of the Week: Output Condition Name, Output Condition Indentifier, Registry Name ----- Details below, or go to http://indesignsecrets.com/indesignsecrets-podcast-138.php for Show Notes, links, and to leave a comment! ----- Listen in your browser: InDesignSecrets-138.mp3 (19.9 MB, 36:48 minutes) See the Show Notes for links mentioned in this episode. The transcript of this podcast will be posted soon. 2011 Print & ePublishing Conference announcement! InDesign to EPUB: Recap and tips from Liz Castro's webinar Acrobat X and InDesign InDesignSecrets newsletter Quizzler winners ("How many InDesign users to change a lightbulb?") Obscure InDesign Feature of the Week: Output Condition Name, Output Condition Identifier, Registry Name New Quizzler! Listen to the episode to learn how to win -- News and special offers from our sponsors:   >> Recosoft is the developer of PDF2ID, the miraculous solution for converting PDF file to editable InDesign files. Install the software and you’ll be able to open (not just Place) PDFs in InDesign. Styles, tables, layers, threaded text, it all gets reconstituted. It’s amazing! The latest version, PDF2ID 3.0, is compatible with InDesign CS3, CS4, and CS5 on Macintosh and Windows platforms.   >> MathMagic, the ultimate equation editor from Info Logic, Inc., is a WYSIWYG equation editor/plug-in that lets you create inline, editable EPS equations from within InDesign (if you use the MathMagic Pro edition). It even converts equations set by Word’s Equation Editor, LaTex, MathML and MathType, to MathMagic-style equations. For InDesignSecrets listeners, they’re offering a time-limited discount of 25% off any MathMagic Pro product that’s $199US or more, until Dec. 30, 2010 (extended deadline!). Here are the details of the offer, or just remember to use the coupon code INDS at the MathMagic order page to get your discount. -- To enter this episode's Quizzler: Send an email to info@indesignsecrets.com with the word QUIZZLER in the subject line and your best answer in the body of the message. You have until Friday, Dec. 10, at midnight CST to send in your answer, one per user! We will choose the most correct answer, or in the case of a tie, we will randomly choose from the correct answer(s). Winner will be announced in the first podcast after Dec. 10. 2011! -- Links mentioned in this podcast: > Liz Castro's webinars: InDesign to EPUB and Advanced EPUB Formatting > ePubChecker utility > Springy utility (for editing EPUBs and ZIPs without extracting files) OS X only > Acrobat X info and Anne-Marie's Acrobat X Essentials video lessons on Lynda.com > Download Reader X (free), available for Mac and Windows! > Don XX, the most interesting guy in the world > ICC registry profiles > Rimshot app (sound effects)

Colin Fleming interview; Conference/Seminar news; Members drawing winner; Obscurity of the Week: Shared Hyperlink Destination ----- Details below, or go to http://indesignsecrets.com/indesignsecrets-podcast-118.php for Show Notes, links, coupon codes, and to leave a comment! ----- Listen in your browser: InDesignSecrets-118.mp3 (14 MB, 26:35 minutes) [media id=39 width=* height=20] The transcript of this podcast will be posted soon. Interview with Colin Fleming, Senior Solutions Engineer from Adobe How he became an expert on ePub ePubs on Kindles, iPads and Sony eBooks Videos and whitepapers on ePubs that Colin recommends Update on our Print & ePublishing Conference Early bird registration saves $200! Pre-conference all-day tutorials from Mordy Golding, James Fritz, and Michael Ninness New cities/speakers for our InDesignSecrets Live Seminar tour A lucky InDesignSecrets member gets a TruMatch swatch book as this episode's random winner Obscure InDesign Feature of the Week: Shared Hyperlink Destination News and special offers from our sponsors: >> Rorohiko sells a neat plug-in called SudokuGenerator, (and offers a free, more limited version called SudokuGeneratorLite) that lets you create those mind-bending number puzzles for fun and profit. Normally $49, you can get $10 off by entering INDESIGNSECRETS118 in the coupon code area of Rorohiko's shopping cart. -- Links mentioned in this podcast: > Colin's Adobe MAX presentation, "Creating an eBook for Distribution on Sony Reader Digital Book, Amazon Kindle, and Apple iPhone" > Colin's three AdobeTV movies, Using InDesign to Create Digital Books: Part 1, Part 2, and Part 3 > New Adobe whitepapers on Producing ePub eBooks from InDesign > InDesignSecretsLive.com for seminar and conference info & registration links > Make sure you're in our Members database (free) for upcoming prize drawings! > Katey's DocumentGeek.blogspot.com blog