Podcasts about Frost

In this episode, Mary Sullivan, co-founder of Sweet but Fearless talks with Kristine Frost, Founder of Shattered Glass Advisory, about the honest truth behind reaching the C-suite and why political fluency is an essential leadership skill. Drawing from more than 25 years of leading people and culture in the automotive industry, Kristine shares her journey as one of the few women in executive leadership, the importance of being in the rooms where key decisions are made, and how women can avoid getting stuck in transactional leadership by developing an enterprise mindset that helps move an organization forward. Together, Mary and Kristine explore the shift from seeking external validation to finding fulfillment from within, while discussing the resilience, pragmatism, strategic thinking, and courage required to reach the next level of leadership. Whether you're aspiring to the C-suite, navigating a career transition, or redefining success on your own terms, this conversation offers honest insights and practical wisdom to help you move forward with confidence.   ABOUT: KRISTINE M. FROST LinkedIn – Kristine M. FrostWebsite – Shattered Glass Advisory ABOUT SWEET BUT FEARLESS: Website - Sweet but Fearless LinkedIn - Sweet but Fearless

In this episode, Mary & Frost discuss the pilot episode of Unconditional available on Apple TV.

Welcome to the Personal Development Trailblazers Podcast! In today's episode, we're talking about how to become the hero of your own journey and create a beautiful, fulfilling, and happy life. Carl Frost is the founder of The Living Life Beautifully Project. He helps leaders and growth-minded people lead themselves first  so they can show up with more clarity, steadiness, courage, and intention for the people and life in front of them.After more than 30 years of leading teams, building cultures, and developing people, Carl learned that the strongest leadership does not begin with a title. It begins with the person in the mirror. The hero in your story is not someone coming to rescue you. It is the steadier, more honest, more intentional version of you that has been there all along.As a Transformation Coach, Carl Frost helps people become the hero in their own story by guiding them toward greater alignment in their family life, work, and inner world. He empowers individuals to lead with intention, live with heart, and become the steadier, more honest, and more intentional version of themselves. Connect with Carl Here: www.tiktok.com/@claritywithcarlwww.instagram.com/claritywithcarlwww.youtube.com/@claritywithcarl?igsh=ZnllbnRoOgt6bmJvhttps://thelivinglifebeautifullyproject.comGrab the freebie here: Free / The Hero Code https://thelivinglifebeautifullyproject.com/#begin===================================If you enjoyed this episode, remember to hit the like button and subscribe. Then share this episode with your friends.Thanks for watching the Personal Development Trailblazers Podcast. This podcast is part of the Digital Trailblazer family of podcasts. To learn more about Digital Trailblazer and what we do to help entrepreneurs, go to DigitalTrailblazer.com.Are you a coach, consultant, expert, or online course creator? Then we'd love to invite you to our FREE Facebook Group where you can learn the best strategies to land more high-ticket clients and customers. QUICK LINKS: APPLY TO BE FEATURED: https://app.digitaltrailblazer.com/podcast-guest-applicationDIGITAL TRAILBLAZER: https://digitaltrailblazer.com/

On today's program, pastor and former religious liberty celebrity Saeed Abedini loses the custody battle over his 5-year-old daughter after being accused of abducting the child from her mother. We'll have details. And, embattled pastor Greg Locke tells his church that federal investigators stormed his home weeks ago, claiming they had received reports of financial mismanagement. We'll take a look. Plus, the donation of Green Mountain College campus in Vermont falls through — instead it's been sold to a Florida evangelist with plans to launch “Z University.” But first, a well-known Christian conservative businessman has pleaded guilty to federal wire fraud. Edwin Brant Frost IV could face up to 20 years in prison. Prosecutors are calling it a massive, multi-million-dollar Ponzi scheme. Frost owned a now-defunct Georgia company called First Liberty Building & Loan. Starting in 2014, he promised investors returns of 8% to 18% on short-term business loans. And investors trusted him — partly because of his Christian reputation.  The producer for today's program is Jeff McIntosh. We get editorial, database, and other technical support from Christina Darnell, Stephen DuBarry, Rod Pitzer, Heidi Allums, and Casey Sudduth. Writers who contributed to today's program include Kim Roberts, Bob Smietana, Jessica Eturralde, and Makella Knowles. Until next time, may God bless you.

Half of Saskatchewan is watching the canola fill pods. The other half is still sitting in water. 30% of the cropland in the province rated moisture surplus at the time of this conversation, and the ministry's own word is that flooding is the number one source of crop damage in Saskatchewan this year. Yellowing fields, drowned-out low spots, pulses going backwards. The decision framework for in-season nutrition changes when you're not sure which half of the province you're in. Greg Patterson has been doing tissue analysis at A&L Canada Laboratories for decades. Darren Fischer is a technical advisor with Crop-Aid Nutrition who was in the fields in real time during this conversation. This is what they said on July 13, 2026, with the season in exactly the condition it was in. What's Inside - Two seasons on the prairies at once: what each one means for your in-crop nutrition decisions right now - A farm-walk report from Darren Sander at Sander Farms near Sovereign, Saskatchewan -- his fungicide and foliar strategy mid-season - Why you should never apply a fungicide without pairing a foliar with it, and why that's even more true in a wet year - Potassium as the yield driver in both wet and dry conditions: for every pound of nitrogen the crop needs early, it needs three of potassium - How to read a tissue report: the fuel-gauge analogy, what dropping levels actually mean, and why a great crop should drive you crazy - The phloem connection: how potassium and boron work together to move photosynthates through the plant, and what happens when boron is low - The nitrate accumulation trap: when it looks like a nitrogen problem but it's actually a potassium and boron imbalance - Boron in Western Canada: why we're afraid of it, why that's costing yield, and what the research on microbial activity actually says - Foliar selection by condition and crop stage: which product when, and how to think about tank mixing with herbicides and fungicides - Handheld tissue testers vs. lab analysis: what the correlation data actually shows - The fastest way to get a tissue sample to the lab: paper bag, Purolator envelope, 24-hour turnaround - The economics: how to think about a $5-6 foliar pass when you're already sending the sprayer out for fungicide - Frost risk in a late year: why well-fertilized crops mature faster and reduce your window of exposure If you want more from Greg Patterson on soil biology and tissue analysis, the Engine of the Soil series is where he goes deep -- look for those episodes in the GTF Podcast back catalog. And if shallow rooting and soil health in a wet year is where your season is, that same series has the framework. Resources Mentioned A&L Canada Laboratories -- alcanada.com (plant monitoring program, tissue analysis, 24-hour turnaround) Crop-Aid Nutrition -- cropaidnutrition.com (foliar products, educational videos, crop tour program) Ag in Motion -- Crop-Aid Nutrition at Booth 381; A&L Canada Laboratories on site   Connect with Greg Patterson A&L Canada Laboratories -- alcanada.com Call the lab and ask for Greg, Beth, Mike, or Chris -- they take questions and find answers A&L technical reps in the field are trained directly by Greg Connect with Darren Fischer Crop-Aid Nutrition -- cropaidnutrition.com 1-866 number and email on the website -- ask for Darren Fischer by name Crop-Aid Nutrition on YouTube -- educational videos on foliar timing and application   Connect with Growing the Future Website: growingthefuture.ca YouTube: Growing the Future Instagram: @growingthefuturepodcast LinkedIn: Growing the Future Register for the Convergence Conference at convergence.ag and stay updated by subscribing to the Growing the Future Podcast at growingthefuturepodcast.ca. Register for the Convergence Conference at convergence.ag and stay updated by subscribing to the Growing the Future Podcast at growingthefuturepodcast.ca.

Today I'm reviewing The Flame in the Frost—a fantasy romance that blends Norse mythology, fae politics, and a deliciously slow-burn romance into a surprisingly immersive adventure.Set in a world of Seelie and Unseelie courts, wild fae, and ancient mythological influences, this story stood out for its rich worldbuilding, compelling character dynamics, and the way it slowly develops both its plot and romance. The relationship at the heart of the story unfolds naturally, making every moment of tension and attraction feel earned.While one popular romantasy trope didn't quite work for me, the strong characterization, unique mythology, and engaging fantasy elements more than made up for it. This was a book that completely exceeded my expectations and left me eager to see where the story goes next.

Greetings, Twenty-Siders! We visit both tribes of Goliaths in this episode. We realize that they’re not so different, but they are definitely stubborn. So, it’s off to prove our worth to the Griffin Riders. Enjoy the Adventure…

John Peart (1945–2013) was one of Australia's most respected abstract painters. Across a career spanning almost five decades, he developed a deeply personal visual language shaped by observation, intuition and a lifelong commitment to painting. From his early years in Brisbane to his long association with Watters Gallery and the artists' community at Wedderburn, Peart continually pushed his work in new directions while remaining true to the act of looking, questioning and making. His achievements included winning the Wynne Prize in 1997 and the Sulman Prize in 2000, and his work is held in every major Australian public collection.In this episode, Julie Nicholson and Gary Seller are joined by artists Euan Macleod and Joe Frost to celebrate Peart's life, work and enduring influence. Rather than a formal biography, this is a conversation between artists who knew him personally and whose own practices have been shaped by his generosity, intelligence and remarkable paintings.Together they discuss Peart's relentless curiosity, his openness to experimentation, his connection to landscape and abstraction, and the way his work balanced structure with freedom. They reflect on his role within the Wedderburn community, his years teaching at the National Art School, and the impact he had on generations of Australian painters. They also consider why his work continues to resonate and what today's artists can learn from his approach to painting as an ongoing process of discovery. About Euan MacleodEuan Macleod is one of Australia's leading contemporary painters. Born in Christchurch, New Zealand, he moved to Sydney in 1981 and has built an internationally recognised career exploring the relationship between the human figure and the landscape. Known for his expressive surfaces and psychologically charged paintings, Macleod has received numerous major awards and has taught painting at the National Art School. He knew John Peart for many years and contributed to the 2004 John Peart: Paintings 1964–2004 retrospective publication. About Joe FrostJoe Frost is a Sydney-based painter whose practice moves between observation and abstraction, drawing on memory, place and the experience of everyday life. Exhibiting since 1999, he has developed a distinctive body of work through an improvisational and layered approach to painting. Frost knew John Peart personally, has written extensively about his work, contributed essays to both the 2004 retrospective and the recently published John Peart monograph, and brings unique insight into Peart's practice and legacy. This episode is a thoughtful tribute to one of Australia's most significant painters and a rare opportunity to hear two artists reflect on the life, ideas and lasting influence of a friend, mentor and extraordinary painter. Hosted on Acast. See acast.com/privacy for more information.

In Rejoicing in Jesus Part 5, Roydon Frost unpacks Philippians 2:14–18, showing that Christian joy is deeply rooted in our identity as children of God. Because God welcomes us as we are but refuses to leave us unchanged, believers are called to live lives marked by gratitude instead of grumbling, growing holiness instead of compromise, and faithful witness in a dark world. The sermon emphasizes that our transformed identity naturally leads us to shine as lights by holding firmly to the gospel and reflecting Christ's love through our words and actions. This theme aligns with broader biblical reflections on identity in Christ, highlighting that understanding who God says we are empowers transformed living and faithful witness.

I went out to play disc golf yesterday, and I kept losing focus on the game. My mind wandered off down every side trail in the woods. This Monday's episode follows a few of those trails.We start with the poem you think you know. “The Road Not Taken” gets read as an anthem for bold nonconformists, but read the middle again: the two roads “equally lay in leaves no step had trodden black.” There was no road less traveled, not really. Frost isn't describing a choice. He's describing the story he already knows he'll tell about it, “with a sigh,” years from now. The difficulty is the choice. But underneath it is a harder thing: knowing where you're actually standing when you make it.From there we get lost on purpose. The way some languages orient by north and south instead of left and right, and how our ancestors located their very identity in place. Satoshi Kon's Perfect Blue and the terror of losing your self coordinates entirely. And the strange argument between Walt Whitman, who blessed the multitudes we contain, and Gurdjieff, who sat with a more accusatory tone toward those same sleepwalking multitudes.What I carried out of the woods were three questions: What are we actually, consciously choosing? Why do we spend so much energy distracting ourselves from ourselves? And why is it so hard to know who we are?And one small piece of permission, which is what we do here on Mondays. You don't have to travel both roads, catch every fleeting thought, or unify the crowd inside you into one tidy self. You only have to remember yourself among them. Be the quiet one who watches the parade without climbing aboard every float. That's the fixed point. That's what it means to locate yourself.Listen above. Then, if you want, reply and tell me your one fixed point, the thing you orient by when everything else is just trees.The Difficulty lands Mondays (the long walk), Thursdays, and Saturdays. If this located something in you, subscribe and forward it to one person who's feeling turned around. More at chadprevost.com. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit chadprevost.substack.com

In this episode, Mary & Frost discuss the pilot episode of Star City available on Apple TV.

In this week's episode, we share nine tips and tricks to help indie authors manage their files. Since I now have 174 novels, file management has become important! This coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store: JULYSKULL The coupon code is valid through July 27, 2026. So if you need a new ebook this summer, we've got you covered! TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 311 of The Pulp Writer Show. My name is Jonathan Moeller. Today is July 10th, 2026. Today we are discussing file management tips for indie authors. Before we get into that, we'll have Coupon of the Week and an update on my current writing, publishing, and audiobook projects. First up, let's do Coupon of the Week. This coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store. That coupon code is JULYSKULL. As always, the coupon code and the links to the appropriate pages in my Payhip store will be available in the show notes for this episode. This coupon code is valid through July the 27th, 2026. So if you need a new ebook for this summer, we have got you covered. Now let's have an update on my current writing, publishing, and audiobook projects. As I mentioned last week, Blade of Thieves is now out. You can get it at Amazon, Barnes & Noble, Kobo, Google Play, Apple Books, Smashwords, Bookshop.org, and my own Payhip store. It is selling well and people seem to be enjoying it, so thank you all for that. Now that Blade of Thieves is out, my next main project is Cloak of Frost, which will be the 15th book in the Cloak Mage urban fantasy series. As of this recording, I am 52,000 words into it. I'm thinking the rough draft will be about 100,000 words. So if all goes well, I hope to have the book out in August. My secondary project is Blade of Visions, the sequel to Blade of Thieves, and I am 4,000 words into that. Once Cloak of Frost is finished, Blade of Visions will become my new main project. In audiobook news, recording is done for Dragon-Mage, the sixth book in the Rivah series, and that will be excellently narrated by Leanne Woodward. I just have to proof/listen to that and then we can submit it to QA and then it should be showing up on the audiobook stories in a few weeks. Recording has started on Cloak of Worlds, which will be [recorded by] Hollis McCarthy, and Blade of Thieves, which will be [recorded by] Brad Wills. So look for more news and updates about that in the coming weeks. So that is where I'm at with current writing, publishing, and audiobook projects. 00:02:16 Main Topic of the Week: File Organization for Writers So let's move on to our main topic this week, file organization tips for writers. One of the inspirations for this episode was an episode of the sitcom Community, which is quite funny. In the episode, the college is making a movie based on a legal loophole because they have some archival footage of a suddenly popular actor. One of the characters, Jeff, becomes concerned that people aren't treating the movie as seriously as they would deserve. So he steals the laptop with the movie and sets out to edit it himself. However, Jeff doesn't know anything about editing a movie, so he watches a YouTube tutorial about how to edit videos. The first lesson is "Step 1: How to properly organize your files." Jeff rages that no, he just wants to learn how to edit movies. While realizing that proper file organization is vital in the age of digital video editing, maintaining a good file structure isn't quite as rigid for authors and writers as it would be for video editors. However, even though many people consider file structure to be old-fashioned or pointless in the age of Google Docs and AI, in my years working in IT, I found that people wasted many hours trying to find files unnecessarily. For example, I always flinch a little bit when I see someone whose desktop is just a wall of misplaced icons and thousands of documents stacked upon each other. I used to do tech support for someone who had the most amazing gift for the most unhelpful and un-useful file names, often with misspelled words. He would get very frustrated and angry that he couldn't find anything because he hadn't labeled files properly with good file names. Better file structures and file naming conventions would have saved them all that stress and time. It's not wise to have all your files stacked up on your desktop and hope for the best. As you grow as a writer, files suddenly become much more complicated than one single draft in a word processing file. There needs to be organization for audiobook files, cover art, marketing materials, research, and much more. Blade of Thieves was my 174th book. So if you think about it, that means I have 174 separate book files on my computer. Many of them have audiobooks. They all have cover art. The audiobooks have cover art, to say nothing of the hundreds of short stories I've written and all of that needs to be organized properly so I can find it when I need it to. So today we're going to talk about setting up and organizing file structures for your writing work. First of all, what do I mean by file structures? In traditional computing, files like Word documents and Excel spreadsheets are organized in folders. How you navigate through the folder structure on your computer or server to find the files is called a path. Much like with a real path on a hiking trail, you want the path to find a file in a folder to be as clear from junk and confusion as possible. Good file and folder naming is like setting up signs on that hiking trail to help you find the way. Setting up your folders and files correctly makes them easier to use, find, and share with others. So let's go through some tips on how to properly organize your writing files and save yourself much stress and hassle of trying to find things. #1: Make a plan before you begin. Instead of borrowing someone else's file structure, take some time to think about how you use your writing files every day. Do you have a lot of project files for each book like book research, cover ideas, mood boards, and so on? Do you do most of your writing collaboratively? Think about your working style, the amount of files you have, and what kind of files you have that need organizing. It helps to plan for flexibility and growth in the future as the amount of files you have grows. For example, if someone currently runs only ads on Amazon but wants to add other companies like Facebook or BookBub, it'd be messier to add files from those projects if everything in their advertising folder was all Amazon documents with no sub-folder for Amazon. Making an Amazon sub-folder right away in your advertising folder prevents confusion as you start to add other companies into your advertising strategy. What you design should be realistic and as simple to use as possible. Are you someone who makes grand and complicated plans, but then sees them fall by the wayside after a couple of weeks? Many people are. Good organization is something where it's easy to let the perfect be the enemy of the possible. If you design overly complicated file and folder structures and naming conventions that you can't remember without a 20-page guide, you're not very likely to keep up with it. It's better to make something simple that it's easy to remember. Carve out the time to do this with your full attention instead of trying to do it in bits and pieces on the fly. It may take anywhere from an hour to days, depending on how many writing files you have. At the very least, set up the initial folders in one chunk of time so the organization is in place before you start moving files around. #2: Clean up before you start organizing. Get rid of duplicate and obsolete files before starting to organize other files. It will save time and make the process easier. #3: File structure is supported by good naming. Versions and drafts should be numbered to find the most recent one. Be specific. "Second draft" or "Volume one" without a book title isn't helpful if there are multiple books with that name across multiple folders. If you are using dates, be sure to include day, month, and year because in 10 years, "March ads" is not going to make much sense without the context of a year. Be consistent in how you order month, date, and year in a file because being inconsistent with it could make for mixed up dates. #4: Version control. "Rough draft THIS ONE" is not a good name to indicate that this is the latest draft and never use "final" as part of a draft or project name until it's well and truly done. On both Windows, Mac, and Linux, you get 256 characters for file names and it's a good idea to use them to be as descriptive as possible in your file names. #5: Be consistent. Don't make a folder called "Fix These File Names Later" because guess what? That date won't come. In the meantime, you'll probably get annoyed trying to find one of those files that don't have a correct name. If you're struggling with remembering to use your folder and file names, either make yourself a one-page reminder guide or take it as a sign that you might have made your structure and naming conventions too complicated. Remember that simpler is always better. #6: Document it. As with so many areas of life, proper documentation will help you remember something in the future. Write out how your folders are going to be structured, what style and formatting you will use to name the folders and files, and give yourselves some examples to jog your memory. If you're sharing the files and folders with others, make sure to share documentation with them and go over the system with them. That will save much time later since you won't have to spend so much time explaining to people where to find things in your file structure. #7: Decluttering isn't just for your college t-shirts. Schedule a regular time monthly or quarterly to declutter and fix anything in your file structure that isn't working or isn't consistent or correct. Much like organizing a drawer of shirts, things will only stay in order if you keep up with putting in and taking things out using your system. #8: It should fix, not create problems. Your first attempt at file organization may not work once you've added more files or tried it out for a while. Reflect on what is causing problems, what you would like your system to be able to do, and what you dislike about your current system. Train others who will use it. For example, differences in month/[day]/year naming conventions between countries can lead to incorrect dates if it isn't clear what date style is being used. Abbreviations should be standard to prevent confusion. For example, United States state abbreviations could follow the US Postal Service Conventions instead of writing your own abbreviations. MN would be Minnesota instead of M-I-N-N or M-I-N-N-E-S. (Though this can cause a confusion if you're not accustomed to them since, for example, in the postal codes, people often get Missouri and Minnesota mixed up.) Tip #9: Sharing isn't always caring. You can set up password protection on folders and files you don't want to share with others, especially if you're in a shared storage space. Read-only access is a way to share documents with others without worrying about them changing the files. For example, I have read-only access set for my book files so that someone working on my series bibles can download them without editing or changing the files themselves. So instead of having to make extra folders and files that are safe for someone to use without changing, I just set read-only access to those files [for that user]. Now let's take a look at some pros and cons of some typical structures. I'm going to provide examples of three possible folder structures you could use for writing and give you some of the pros and cons for each. #1: Organizing by date. In this system, the year is the first file and more specific files like quarters and months are sub-folders. This system might work best if you write based on challenges or projects such as National Novel Writing Month where each year is its own project. If you're taking writing courses, organizing by date and then by semester or course also would make sense for many people. For many writers, however, this could be a difficult way to organize because then you have to remember what year each book was written and many books are written across several years or months. If you're sharing the files with others, then you have to give them information on the history of each book project so they know which folder dates to look at, which creates extra work and most likely confusion. Like for example, off the top of my head, I could tell you that Ghost in the Forge is the sixth book in the Ghost series. However, I couldn't remember what year or month it was written in. I think it would be 2012, maybe February of 2012, but I would not be able to confirm that without looking it up, which would mean trying to find the file for Ghost in the Forge if I needed it would be a bit of a challenge. #2: Organizing by book. In this system, each book has its own folder and then other aspects like drafts, marketing materials, research, and covers are subfolders. If you don't have a large volume of books and don't have many writing adjacent activity files like research and advertising and don't share files with others, often this is a pretty straightforward way to organize your writing files. #3: Organizing by project type. In this system, the type of project is the main subfolder and sub-folders such as the books, marketing materials, covers, and series bibles would be in folders instead of being organized by individual books. For example, there would be a folder for marketing images. Instagram would be a sub-folder, and then there would be sub-folders in that folder for specific images and ads or individual books. If you have a lot of marketing images, that can be easier than trying to remember what image was for a certain book. This file organization system is more complex than just organizing by book and could be hard to keep up without some dedication. It might be unnecessarily complex for someone who only has a handful of books and only a small amount of files. As your writing adjacent activities like marketing and social media grow, it can be easier to organize this way than just by individual books. It's also much easier to share folders in a granular way using this method. For example, if you hire an assistant to help with social media posts, you can give them access to the social media marketing folders without having to give them access to the folders that have the book files and drafts in them. Now, what do I do for my own file organization system? Now, my system has partly been thought out and partly developed organically over the 15 years I've been doing this. And I found for me, since I've written so many books and series, that the best organizational principle is to run by series. My rough drafts are not super organized because once I am done with the book, I tend not to look back at the rough draft files. So usually my rough drafts are sitting in individual folders for the series like Frostborn, Dragontiarna, Blades of Ruin, and so forth. I am much more organized in the final drafts. Each individual series has its own folder and within the series, each individual book has its own folder as well. To help with keeping things in order, I usually number the folders. So for example, in Blades of Ruin, the first folder within it would be 01 Blade of Flames, then 02 Blade of Shadows, 03 Blade of Storms, and so forth. Within the individual book folders, I have the final files in ePub and PDF form for the books along with the cover images for both ebook, audiobook, and paperback. However, as I mentioned earlier in the podcast, I don't have just the book files. I also have audiobook files, advertising files, and a very large photo library from a combination of stock photos, 3D renders, and photographs I have specifically taken over the years for the purpose of using for ebook covers and advertising materials. For advertising images and materials, like I said, I found the best organizing principle for me is by series. So I generally tend to just organize them by series. So Frostborn, Sevenfold Sword, Dragontiarna, and the Andomhaim books generally have just one folder of advertising images since I can use the advertising image for both Frostborn: the Gray Knight and Sevenfold Sword: Champion. For my audiobooks, I keep those on a separate drive because they eat up a lot of space. But then I just have them organized out by book and series, which is pretty easy when I need to find something. For my stock photos, I do have those pretty well organized and again, in a separate drive, which I back up separately. I divide out the images by type. So I have a folder for castles, a folder for medieval or ancient cities, a folder for modern cities, a folder for fireballs and so forth. And so if I'm making a book cover image and I think, hmm, I want a sword, I can go into the swords folder and look at appropriate pictures of swords until I find one that would work for the project. How this [has] changed over time is I've had to become a bit more organized with the files because I started using Vellum, which generates a separate file of its own. So then I had to make sure that those were organized into proper files. I used to keep all my stock photos in just one big folder that quickly became unmanageable. So I once took two days to properly organize these stock photos. Just keeping all the rough drafts in one big folder for the series has worked pretty well for me because once I am done with the rough draft and have turned into the final draft, I just ignore the rough draft file and any changes that need to be made are obviously made to the final draft file. I also used to keep all the cover images in one folder for some reason and that was a bad idea. So then I started keeping the specific cover image in the folder with the specific book and that has worked out well. Would this be something I would recommend to someone just starting out? I think so. You can obviously get more complicated with this and my file structure is pretty simple overall, but it works for me. I can find anything I need to pretty quickly. In fact, my folder structure is deep enough I find sometimes that I get halfway down the folder structure and forget what I am looking for before I find it, which is a separate problem from folder organization. But I've stuck to this pretty consistently over the last 15 years and it's worked well for me. So I think I could recommend this to someone starting out. I'd have a folder for your rough drafts and then a folder with separate folders within it for your final drafts. Conclusion File organization is not glamorous, but as any records manager at a US government agency can tell you, it is extremely important for finding, organizing, and preserving what you create. Searching for files is not a writing adjacent activity that you want to take up your time and you definitely don't want the stress of losing something that you worked on for a long time by naming and storing it incorrectly. Finally, I want to close out with a reminder that however you set up your writing files and organizing them, they absolutely need to be backed up on a regular basis. I would recommend using a combination of cloud and local backups since they reinforce each other. If heaven forbid your house explodes and you lose your local backups, you still have your cloud backups. And if your cloud provider goes down or gets hacked or something, you still have your local backups. So no matter how you organize your files or how well organized they are, you definitely want to back them up on a very regular basis. 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 of the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and we'll see you all next week.  

All content from the Sons of UCF is brought to you by the law office of Werner, Hoffman, Greig & Garcia. With a combined 70+ years of legal experience, WHG specializes in personal injury, workers' comp, veteran disability, and SSI/SSDI cases. For more information, visit wernerhoffman.com or call 1-800-320-HELP. At Big 12 Media Days, UCF Knights head coach Scott Frost spoke one-on-one with the Sons of UCF in an exclusive interview. Frost shared insights on his expectations for his second season, how this team will be different than the one that took the field in 2025, new QB Alonza Barnett, and how he feels about the comparisons to 2017. Learn more about your ad choices. Visit podcastchoices.com/adchoices

https://www.sharlafrost.com/ In this episode of The Attorney Post, veteran attorney Sharla Frost reflects on a legal career spanning more than four decades and explains why she chose to transition from full-time trial work into settlement consulting, mediation, expert witness services, and professional coaching. Known for handling complex litigation and serving as first-chair trial counsel, Frost now helps corporate clients and Fortune-level companies resolve disputes before they reach trial. Her extensive courtroom experience allows her to evaluate legal risks, negotiate effectively, and guide clients toward practical settlements. Frost explained that leaving trial practice was a lifestyle decision rather than a professional necessity. After years of demanding travel schedules and unpredictable court calendars, she sought greater balance while continuing to use the advocacy skills she had developed throughout her career. Looking back, she says she has no regrets about making the transition. A significant portion of the conversation focuses on business development, an area Frost addresses in her book Power at the Table. She believes many attorneys underestimate the importance of consistently building relationships and developing a strong professional network. Rather than relying solely on legal skills, Frost recommends scheduling weekly business development activities and establishing credibility before actively marketing legal services. The episode also explores valuable lessons learned from setbacks. Frost recalls how a major client's bankruptcy negatively affected her firm early in her career, teaching her the importance of diversifying clients and revenue sources. Instead of viewing failure as defeat, she considers it an opportunity to improve and strengthen future decision-making. Outside the courtroom, Frost has become a successful children's author through her Frogville Quest series. With seven published books and another on the way, she hopes to inspire young readers while continuing her broader mission of education and mentorship. Throughout the discussion, Frost reinforces that successful legal careers evolve over time. Whether practicing law, building a business, mentoring attorneys, or writing books, she believes professionals should continually seek opportunities for growth and meaningful impact. Sponsors: RankWith.NewsThe Attorney PostNational ERCAndropology

In this episode of the HVAC Know It All Podcast, host Gary McCreadie is joined by Julian Finbow, RSE,  Service Tech Support at Swegon North America, and Principal at Finbow Inc., to discuss refrigeration defrost methods and why they are essential for system performance. Julian explains how frost forms on evaporator coils, the difference between normal frost and ice buildup, and why proper defrost timing is important. The conversation covers common defrost methods such as hot gas, electric, off cycle, and off time defrost, along with how humidity, door openings, and evaporator placement affect frost buildup. Gary and Julian also explore hot gas defrost, its benefits, its challenges, and why proper system design and operation are critical for reliable refrigeration performance. In this conversation, Julian explains why defrost is needed in refrigeration systems and how frost forms on evaporator coils when they operate below freezing temperatures. He discusses the difference between normal frost, hoar frost, and ice buildup, and why proper defrost timing is important for good system performance. Julian and Gary explore topics such as off cycle, off time, electric, cool gas, and hot gas defrost, along with how humidity, door openings, and evaporator placement affect frost buildup. They also discuss how hot gas defrost works, its benefits and challenges, and why proper system design and defrost settings help keep refrigeration systems running efficiently. Expect to Learn: Why defrost is needed in refrigeration systems and how frost forms on evaporator coils. The difference between hoar frost, normal frost, and ice buildup, and why it matters. How off cycle, off time, electric, cool gas, and hot gas defrost methods work. How humidity, door openings, and evaporator placement affect frost buildup and defrost needs. The benefits and challenges of hot gas defrost, and why proper defrost timing improves system performance.   Episode Highlights:  [00:00] - Sponsor Ad: Factory Direct Filters [00:42] - Intro to Julian Finbow, RSE in Part 1 [02:37] - Recap of Ammonia Plant Tour & Social Media Success [04:12] - Julian's Background & Expertise [05:48] - Defining Defrost in Refrigeration vs. Heat Pumps [08:02] - Normal Frost vs. Problematic Ice on Coils [10:55] - Standard Defrost Cycles: 4 Times a Day [16:10] - Defrost on Walk-in Coolers & Mitigation Strategies [18:26] - 5 Main Types of Defrost Explained [21:33] - How Hot Gas Defrost Works (Pros & Cons)   This Episode is Kindly Sponsored by: Cintas: https://www.cintas.com/hvacknowitall Cool Air Products: https://www.coolairproducts.net/ Factory Direct Filters: https://www.factorydirectfilters.com/ SupplyHouse: https://www.supplyhouse.com/tm Use promo code HKIA5 to get 5% off your first order at Supplyhouse!   Follow the Guest Julian Finbow, RSE on: LinkedIn Profile: https://www.linkedin.com/in/julian-finbow-rse-1048038b/ LinkedIn - Swegon North America: https://www.linkedin.com/company/swegon-north-america/ LinkedIn - Finbow Inc.: https://www.linkedin.com/company/finbow-inc/ Website - Swegon North America: http://www.swegonnorthamerica.com/ Follow the Host on: LinkedIn: https://www.linkedin.com/in/gary-mccreadie-38217a77/ Website: https://www.hvacknowitall.com Facebook: https://www.facebook.com/people/HVAC-Know-It-All-2/61569643061429/  Instagram: https://www.instagram.com/hvacknowitall1/    Follow the Podcast on: YouTube: https://www.youtube.com/@HVACKnowItAll Spotify: https://open.spotify.com/show/6LCBJGw0EHG03rdWHxUMce Apple Podcast: https://podcasts.apple.com/us/podcast/hvac-know-it-all-podcast/id1359253455 

In this episode, Mary & Frost discuss the pilot episode of Cape Fear available on Apple TV.

In this week's episode, we take a look at 5 lessons indie authors can learn from tradpub. This coupon code will get you 50% off the audiobook of Dragonskull: Crown of the Gods, Book #9 in the Dragonskull series, (as excellently narrated by Brad Wills) at my Payhip store: JULYCROWN The coupon code is valid through July 20, 2026. So if you need a new audiobook this summer, we've got you covered! TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 310 of The Pulp Writer Show. My name is Jonathan Moeller. Today is July 2nd, 2026 and today we are discussing five lessons indie authors can learn from traditional publishing. Given how negative I've been about traditional publishing over the years, that may be a bit of a surprise, but we will find out more later. We will also have a Coupon of the Week and a progress update at 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 50% off the audiobook of Dragonskull: Crown of the Gods, Book #9 of my Dragonskull series (as excellently narrated by Brad Wills) at my Payhip store. That coupon code is JULYCROWN. As always, you can get the coupon code and the links to my Payhip store in the show notes for this episode. This coupon code will be valid through July 20th, 2026, so if you need a new audiobook for your summer travels, we have got you covered. And now for an update on my current writing, publishing, and audiobook projects. I'm pleased to report that Blade of Thieves is now done and published. Once this episode goes out, you should be able to get it at Amazon, Barnes & Noble, Kobo, Google Play, Apple Books, Smashwords, bookshop.org, and my own Payhip store. It's starting off strong, so thank you to everyone who is reading and enjoying it. Thank you for everyone being patient while I got to it. Now that Blade of Thieves is finished, my next main project will be Cloak of Frost, the 15th book in the Cloak Mage urban fantasy novel series. I'm currently 24,000 words into that. I think the rough draft will be about 100,000 words. If all goes well, I hope to have that out in August. My new secondary project is now Blade of Visions, which of course will be the direct sequel to Blade of Thieves. As of this recording, I am 1,000 words into it. In audiobook news, Leanne Woodward has started recording Dragon-Mage and Hollis McCarthy is currently recording Cloak of Worlds, which was the 13th book in the Cloak Mage series. In a few days after this, Brad Wills is going to start recording on Blade of Thieves. So we should have a bunch of new audiobooks coming up for you to listen to before too much longer, if all goes well. So that is where I'm at with my current writing, publishing, and audiobook projects. 00:02:23 Main Topic of the Week: 5 Things Indie Authors Can Learn From TradPub Now onto our main topic this week, five lessons indie authors can learn from TradPub. Given how critical I have been and continue to be of traditional publishing on this blog and my podcast, this might come as a bit of a surprise and this should be in no way an endorsement for anyone to pursue traditional publishing. My blunt opinion is that if you are a new author starting out, you are much, much, much, much, much, much, much, much, much, much better served going indie instead of traditionally publishing. You will retain ownership over your IP. You will potentially be able to make more money and you won't have to deal with the various problems endemic in traditional publishing. Occasionally I see on social media a newish author trying to get an agent or being excited that an agent responded to their query letter or whatever. I don't do this because arguing with strangers on the internet is a waste of time, but I want to tell them, "Don't do this. Go indie. You'll be much happier in the long run and you won't have to worry about your agents stealing all your money," of which there have been documented cases that have happened. Now with all those caveats aside, traditional publishing has lasted for a long time. There is a reason that traditional publishing has survived so many changes and continues in many different forms to this day. And while I wouldn't recommend that you pursue traditional publishing, there are things you can learn from it to enhance your career as an indie author. So today I'm going to talk about five things you can learn from TradPub as an indie author. #1: Your book doesn't exist in a vacuum. Many authors are resistant to their book being put into categories or being paired with similar books. I've frequently noticed that aspiring and first time authors are particularly resistant to the either idea of their book best fitting into a single category or being similar to another authors. It doesn't mean that your book isn't creative or unique, it's accepting the reality of bookselling. Even in the modern indie era, books are still very much classified by a limited number of categories on book sites and ads are built on comparing your books to other authors. Focus on the category that best represents your book if it spans genres and focus extra effort on finding similar authors to help potential readers understand what type of book you are offering. For example, I had this problem with Cloak Games and Cloak Mage for a couple of years because the series is primarily an urban fantasy, but it's also set 300 years in the future. There are increasing science fiction elements in the series. The protagonist has visited several different planets and so forth, so trying to cram that all into an ad description or an ad targeting is a difficult proposition. I had better success when I started describing the series as the Dresden Files crossed with the Shadowrun RPG, which readers of it will say probably captures it quite well and then in the marketing, I always focus on the urban fantasy elements. I don't even mention the sci-fi elements because I think that's a fair representation of the book is that it's 80% urban fantasy with some sci-fi stuff in the background. So that is an example from my own books that I've done where I have emphasized the urban fantasy and contemporary fantasy aspect of Cloak Mage in the advertising and then just didn't mention the rest of the stuff in the other advertising. Traditional publishers even create the feeling of similarity with their own books by using the same artists and styles for their book covers. There was a post going around last year showing all the romance books with blue covers, cartoon figures facing each other while outside, and swooping white font. Book genres have conventions and trends in their covers. Instead of fighting that, you might want to take a time to look at the best sellers in your category to take note of what's working for other authors in your category. A book cover doesn't have to match everything about your book. It just has to give people a quick impression of what the book is about so it makes sense and doesn't confuse people and gives them something that is least in line with genre expectations. My rule of thumb for book covers is always that it should, in a space of two seconds of looking at a book cover, it should tell you the title of the book, the author of the book, and the genre of the book and it should do this all in an aesthetically pleasing and attractive matter. Those are essentially the four rules for a successful book cover, that you look at it and you can within two seconds know the title, the author, the genre, and it's presented in aesthetically pleasing and attractive manner. So to get a good book cover for your category, it would be a good idea to look at the other books in your category and see if you can find a design that while it doesn't copy the other designs, nonetheless follows some of the same design rules. #2: Timing matters. Traditional publishing is largely based on three seasons: spring, summer, and fall. By building the release schedule this way, it offers reliability for booksellers and libraries and each season has a general theme that makes it easier to market new releases. For example, fall has a lot of prestige literary fiction titles while summer might focus more on beach reads and SATs study guides. Indie publishing isn't beholden to this type of thinking about scheduling book releases, but it's smart to learn from what has worked for traditional publishing over the last couple centuries. Book sales in the US are generally a little softer in January and the summer and peak around the winter gift giving season. Thrillers often get published in September and October so they can get the "spooky season" boost from people looking for Halloween adjacent reads. It makes sense to look at the rhythm of what has been working for bookselling in your genre and see if there's a time that is especially advantageous for you to put out your book where you're just starting out and don't have very much in the way of your own sales data yet. For myself, I found what indie authors really need to watch out for is holidays. Publishing a book the day before Christmas or the day after Christmas is not a good idea. One of the reasons I didn't rush to get Blade of Thieves out the last week of June is because a lot of people will be taking the last week of June off because it leads right into the 4th of July holiday, which is why Blade of Thieves came out after 4th of July. I'd say the weakest times in my experience for indie authors are generally on November, December (because of the late Christmas), and then August and September also tend to be fairly weak because that is back to school time, which is very often very expensive and a financial strain for many people, in addition to their time and energy being focused on things other than recreational reading. Also, I've been doing this long enough to say this with some authority is that presidential election years, especially in the run up to the election are always pretty weak times in 2012, 2016, 2020, and 2024, especially 2024. I did notice a dip in sales as we approached the election and the general intensity of the campaigning and the ads and everything picked up. I've come to realize that a significant portion of the reading public, especially in the United States, also overlaps with the very politically involved public. I mean, it's not a perfect Venn Diagram, but there is significant overlap. So as the election season heats up, you can expect to see a drop in sales. I honestly wonder if traditional publishing has that as well. I would look into that at some point. So I'd say for an indie author, be mindful of holidays and don't be alarmed if you see a sales dip before and during the holidays and it might be a good idea if you have a big release to wait until after the holiday to push it. Tip #3: If it's a product, make it a good one. Another thing that many authors reject is the notion that their book is a product to be sold and not just a piece of art. Publishing isn't shy about thinking of their books as products with units just like a can of beans on a shelf and when you're shipping hundreds of thousands of books across the world, the general process isn't all that different (with the possible exception that books are generally quite heavy). When you remove some of that emotional attachment to a book and think of it as a product, it becomes a little easier to work with. And what do I mean by that? It's much easier to tear a book apart in editing, change the cover, fix the blurb, and make ads by thinking of the book as a product that exists next to similar products instead of a special and unique masterpiece. If your book is a product, then make it a good one. Take the time to improve it and look at it from an outsider's perspective. Seek feedback, just like TradPub does through the use of advanced reader copies. Tip #4: Deadlines work. One thing traditionally published authors usually have that indie authors do not is a deadline. The TradPub book is set to be released on a specific date and missing the deadline is a pretty efficient way to get your publisher upset with you as a TradPub writer since that release date has likely been publicized and changing release dates could impact how your book sells against other books. The problem with not having a set deadline for finishing a book is that many indie authors fall prey to waiting for inspiration or letting themselves get into the habit of undisciplined work time. They let, as I often say, the perfect to be the enemy of the possible, or just as importantly, the finished. Some people need an external deadline and pressure from other people in order to work for any meaningful amount of time. It's best to know yourself and if you're the kind of person who needs some structure to work well, to find a way to put that structure and those deadlines into your work as a writer. You can try making deadlines and sharing them with someone else in a form of accountability buddy or making a set of rewards based on making your own deadlines. Plotting out your release schedule at the beginning of another year is a way of doing this. Tip #5: Paper books still matter. A surprising area of opportunity for TradPub has been print books. For some categories like children's books or cookbooks, ebooks have never been the driving force and the demand for physical copies over ebooks has remained fairly consistent. Some of the trend of readers wanting more print books started in the COVID era when people were spending entire days on Zoom meetings and staring at computer screens for work or school and needed a break from their screens in their leisure time. Bookstagram and BookTok have also driven this print trend. These influencers typically use physical books in their photos and videos and they are often arranged in various athletically pleasing ways. Publishers responded with a slew of special and exclusive print editions for this market and existing fans of the series. They often have sprayed edges or color illustrations and are so prized by collectors that some have the [sprayed edges] on the books facing out in their bookshelves or books on stands to display certain interior illustrations. Traditional publishing did not give up on print and neither should you as an indie author. Most of your income as an indie author is probably going to come from some form of ebooks, but print should not be overlooked. Some categories do better than others in the print format, but many readers will want the print version of a favorite book they have already read as an ebook or just prefer print as their preferred reading format. Fortunately, the days of having to buy a large amount of print books and keep them in your garage has passed for indie authors. Many companies, including Amazon, Ingram Spark, and Draft2Digital offer print on demand services for indie authors so you don't have to spend a large sum of money printing your own books. It's worth investigating how the print on demand format might work for you as an indie author. One thing I should also mention is that if you write nonfiction, it's also a very good idea to have a print edition because for certain kinds of nonfiction books, the reader will keep the nonfiction book and reference it again and again and keep it for years as opposed to a fiction book where the reader might read it once and be done with it and if it's not their favorite book, they might not need a print edition. My Linux Command Line Beginner's Guide is also available in print and is my overall bestselling print book because it's essentially a tutorial for learning the basics of the Linux command line and it makes sense therefore that people would want the physical copy as a quick reference when doing things in the Linux command line. In conclusion, there's no point in throwing out the centuries of experience that traditional publishers have in selling books. Although the publishing industry continues to change (and although I still think you're better off self-publishing than pursuing a TradPub deal), it's wise to look at things that are working there and adapt them to suit your needs (although once again, I still think you're better off self-publishing). 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 at 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.

The Grant-A-Thon Has Arrived! Join Ryan Frost (Reel Nerds Podcast) & I as we get CARY-d away in  unveiling our Top Ten Cary Grant Performances in Grant-A- Thon! Will someone like Only Angels Have Wings more than Bringing Up Baby? Will Mr. Lucky make the cut? And who lives the Hitchcock collabs more? Tune in to find out all that and more! Plus: A Sneak Peak At Our Next Top Ten Special!     Listen to Ryan each and every week on REEL NERDS PODCAST Website: https://reelnerdspodcast.com/ Apple Podcasts: https://podcasts.apple.com/us/podcast/reel-nerds-podcast/id442184939 Spotify: https://open.spotify.com/show/2NMZkh3WRDuIgIGuFRraEV and Follow the Reel Nerds on Social Twitter: https://twitter.com/reelnerds Facebook: https://www.facebook.com/ReelNerdsPodcast/ Instagram: https://www.instagram.com/reelnerds/?hl=en  

Threshold signatures are coming to Bitcoin, but getting them right is harder than it looks. Nadav Kohen of Chaincode Labs walks through his work proving nested MuSig is secure, the road toward FROST-style thresholds, and his upcoming scheme codenamed "Iceberg." He breaks down the famous Alice, Bob, and Carol 2-of-3 example and shows why the obvious approach actually leaks secrets. Grab your copy THE 2036 ISSUE

Hello! And welcome to The Dana Gould Hour podcast. Fasten your fun belts, we are blasting off, yet again.   We are joined today by legends. You heard me. Mark Frost is a legendary writer, first in television. He started out on The Six Million Dollar Man, moved on to Hill Street Blues, co-created Twin Peaks with David Lynch. In motion pictures, he wrote and directed the film Storyville, he wrote the 2005 The Fantastic Fourand its sequel Rise Of The Silver Surfer and he has a new book out entitled Yankee Sphinx, which tells the story of FDR from just before America's involvement in World War II up through his death. It's told through the eyes of FDR's Great Uncle, Will Hasset, who worked as FDR's speech writer and press attaché, one might say. We cover a lot of topics and a lot of ground and I am super happy that Mr. Frost sat down and gave me his time.   Gary Rhodes is a writer and film historian who has written, among many other titles, a multi-volume set on the strange life and career of Bela Lugosi. He's written about Ed Wood, he wrote the book Horror At The Drive In, Essays In Popular Americana and he has an excellent new book out entitled Weirdumentary: Ancient Aliens, Fallacious Prophecies and Mysterious Monsters from 1970's Documentaries. Before streaming, before cable, before the History Channel and Ancient Aliens, these topics were explored in documentaries at your local Cineplex. Many were produced by the late great, Sunn Classic Pictures. UFOs, Elvis, Bigfoot, they're all here, in the pages of Weirdumentary, and we're a-gonna talk about it.   And now, it's on, to our filthy business.

Patricia Frost, Chief People and Places Officer at Seagate, joined us on The Modern People Leader. We talked about her military-to-CPO journey, how Seagate built Talent Link to unlock internal mobility, and what it looks like to democratize AI across a global workforce.----  Sponsor Links:

In this episode, Mary & Frost discuss the pilot episode of Spider-Noir available on Prime Video.

In this week's episode, we offer 7 tips indie authors can use to help their audiobooks turn a profit on production costs. This coupon code will get you 25% off the ebooks in the Ghost Night series at my Payhip store: JUNENIGHT The coupon code is valid through July 13, 2026. So if you need a new ebook this summer, we've got you covered! TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 309 of The Pulp Writer Show. My name is Jonathan Moeller. Today is June 26th, 2026 and today we are sharing seven tips for audiobook profitability for indie authors. Before we get to that, we will have Coupon of the Week and an update on my current writing, publishing, and audiobook projects. First up is Coupon of the Week and this week's coupon code will get you 25% off the ebooks in the Ghost Night series at my Payhip store. That code is JUNENIGHT. And as always, the coupon code and the links to my Payhip store will be available in the show notes for this episode. This coupon code will be valid through July the 13th, 2026. So if you need a new ebook series to read this summer, we have got you covered. Now let's have an update on my current writing, publishing, and audiobook projects. I am pleased to report I am on the second editing pass of Blade of Thieves. I am about 13% of the way through that. And so if all goes well, I think the book will be out after the 4th of July weekend/second week in July, if all goes well. I have a few real life things to do that might slow that down, but I am very, very keen to finally have this book out after the 4th of July weekend. After Blade of Thieves is published, my next project will be Cloak of Frost, the 15th book in the Cloak Mage series. I am 17,000 words into that and I am hoping that will be out in August, if all goes well. I have no audiobooks currently in production, but that will change next month because Brad Wills will be recording Blade of Thieves once it's done. Hollis McCarthy will be recording Cloak of Worlds and Leanne Woodward will be recording Dragon-Mage. So we'll go from having no audiobooks being worked on to a bunch being worked on all at once. Funny how things tend to bunch up like that. So that is where I'm at with my current writing and publishing and audiobook projects. 00:01:59 The Economics of Audiobook Production for Indie Authors [All money amounts mentioned are in USD.] Now today I want to talk about a very advanced level indie author topic, namely audiobook production and the economics of it. Recently there's been some controversy because ACX (which is Amazon's audiobook production platform) has been changing its royalty model and rolling out what they call synthetic voice, which is basically an AI generated voice. Some writers have been using it because it's a lot cheaper than a good human narrator, but the flip side is that not many people like listening to it and won't pay money for it. Admittedly, synthetic voice is not fundamentally a new technology. Text to speech has been around forever. Macs have had it since I believe 1984, back when 120 kilobytes of RAM was a lot. As a brief digression, I wish the term AI hadn't been bandied about so liberally. Before the public backlash began against generative AI and data centers, the term AI was trendy, so it got slapped on a lot of things that are actually wildly different than generative AI. I saw a post where someone was complaining about the locations in Starfield being AI generated, when in fact they're procedurally generated, which is something totally different. Anyway, synthetic voice is just a more advanced version of the text to speech technology that's been around since the early 1980s. The fear is that AI generated audiobooks will swamp the market and dominate most of ACX's payment model. Now, while that is a valid fear, I strongly suspect that it is not going to work out that way, given the hostility I have observed towards synthetic voices, especially in fiction. I think what'll happen is authors who use synthetic voice will save a lot of money by not paying a narrator, but then they won't actually make any money because no one will want to buy these machine voiced audiobooks. I have some basis for that because in the early 2020s, I experimented with making synthetic voice versions of my Silent Order science fiction series and putting them on YouTube. The overwhelming response was that people liked the story but hated the computer generated voice. It might be different for nonfiction. A romance novel with a synthetic voice would obviously be quite flat, but that wouldn't matter as much for a primer on tax law or agriculture or something similar. So there's a lot of uncertainty on whether or not audiobooks can still be profitable for indie authors. However, I suggest this is nothing new. Audiobooks have always been indie publishing on hard mode, partly because they're expensive to produce and partly because they're harder to sell than ebooks and sometimes even paperbacks. That said, I'm on my eighth year of self-publishing audiobooks and some of them have made back their production costs and turned a profit. So I thought it would share seven tips on how to have profitable self-published audiobooks. #1: Think long term. If you want your audiobooks to be profitable, you need to think in the long term. ACX has this program called Royalty Share where rather than pay a narrator, you and the narrator split the royalties on the audiobook for the next seven years and after those seven years are passed, you get all these subsequent royalties. I've never taken this option, but I cite it here because I think seven years is not an unreasonable amount of time for an audiobook to earn back its production cost. People always blanch a bit when I say that, but I've been doing self-published audiobooks for eight years now, so let's see how some of them have done. The Frostborn audiobooks, 100% of them have earned back their production cost. Of the 24 Ghosts books in audio, about the first 10 have earned back their production cost. For Cloak Mage, of the 12 Cloak Mage books currently in audio, about the first three and a half have earned back their production cost. For Dragonskull, of the nine Dragonskull books, the first three and a half have earned back their production cost. For Malison, of the four Malison books, they have 100% earned back their production cost. It helps that they're short. For The Shield War, of the six Shield War books, the first one has earned back its production costs, but I only started the series in 2023. The Linux Command Line Beginner's Guide (my one nonfiction book) has totally earned back its production cost. So I don't think seven years is an unreasonable length of time to earn back the production cost for an audiobook. That means you have to think long term, almost like a small business owner buying a new piece of equipment. Depending on the business, the owner might budget for the equipment making back what he paid for it in four or five years, or if he has to take out a loan to buy the equipment, he'll calculate how long it'll take to pay back that loan. Like for example, I just had to pay a lot of money to have these struts in my car fixed and I expect the garage owner carefully considered how much he would spend on his vehicle hoist since I believe a new vehicle hoist and installation typically costs between $7,000 and $12,000 and how long it would take him to make back that money. All successful small business owners have to think like this. Now this mindset is a bit tricky for indie authors because we often have a strong tendency to think in the short term, especially new indie authors who want their books to make a ton of money right now. But as I said above, audiobooks are self-publishing on hard mode, so you need to decide whether it is worth the investment and if you're comfortable waiting a few years to earn back the production cost over time. The reality is that if you are paying a professional narrator to create an audiobook, you're paying $200 per finished hour or above, which is a small business expense. So for that kind of money, you need to think about the audiobook like a small business owner. #2: Deductions First off, I am not a lawyer and this is not legal advice and I am not an accountant and this is not investment/financial advice. If you want financial/investment advice, you should talk to an accountant or financial planner properly certified with the tax laws of your state, province, and nation. If you want legal advice, you should talk to a lawyer licensed to practice in your jurisdiction. The way my writing business is set up, I can take the production cost of audiobooks as a deduction against my taxes. This initially was one of the reasons I got into self-published audiobooks in the first place way back in 2018. I realized that if I was going to have to pay the money in taxes anyway, I might as well spend some of it on audio production instead, since that way I'll at least get a revenue generating asset out of it. Other small businesses will sometimes do this when they approach the end of their fiscal year and realize they have more tax liability than expected, so it's probably time to invest in some new equipment or upgrades that they would need anyway. Like maybe the garage owner we mentioned earlier has a really good year so he decides it's a good time to spend that $12,000 on a new vehicle hoist so he doesn't have quite so high a tax bill at the end of the year. I once had someone tell me rather self-righteously that this was a tax dodge and therefore immoral, but that's ridiculous. [Transcriptionist's side note: I wish I had that person's level of unearned confidence. I'd use it for cliff diving or starting a library just for puppies and the weirdest, clumsiest orange cats. Literally anything else.] No less of an authority than Jesus Christ himself said that to render under Caesar what is Caesar. If Caesar says that audiobook book production is a deductible business expense, it is a deductible business expense. Business deductions are the government's way of saying, "spend this income on something that benefits the national economy or will take it as taxes." To a more immediate point, the IRS itself says you have the legal obligation to pay exactly the amount of taxes you owe, but there are also legal ways such as business deductions to reduce the amount of taxes you owe. Besides, no matter what you do, the government gets its cut anyway. At the end of the year, I have to file 1099s for the narrators because their payments are taxable income and every time one of the audiobooks sells, the government gets sales tax, the stores owe taxes on that income, and I owe taxes on the payment from the store. Uncle Sam has a lot of practice at getting his cut and he's very good at it. So depending on your business structure and the local tax laws where you live, audiobook production might be a deductible expense, which is very helpful on the financial side of it. #3: Promote the ebook. The easiest way I found to sell an audiobook is to have the audiobook of an ebook that sells well. Admittedly, this is a bit of a chicken and egg problem, isn't it? However, that can help you choose which titles to make into audiobooks. Like I mentioned above that Frostborn has paid back 100% of its production costs, and that's because it's my most popular series. It was easy for the audiobooks to sell well because the ebooks were selling well. By contrast, an ebook that sells more slowly will have a harder time selling audiobooks. One of the reasons I experimented with using synthetic voice on YouTube with the Silent Order series earlier in the 2020s was because I knew I would never make Silent Order into actual audiobooks because the series didn't sell well enough to merit it. So if you want your audiobook to sell, the easiest way to do it is to promote the ebook. If the ebook sells well enough, it will likely generate some audiobook sales as well. This can also help you determine whether or not you should even produce an audiobook of a particular ebook. If the ebook does not have strong sales, it is probably not a good idea to make an audiobook out of it. #4: Diversify We started out by talking about ACX, but ACX is not the only game in town. The other big audiobook distribution platform is INaudio, which is owned by Spotify. It was previously known as Findaway Voices, but then Spotify bought it and changed the name to INaudio. ACX will get your audiobook into Audible, Amazon, and Apple. INaudio will get your audiobook into every other platform: Google Play, Kobo, Storytel, Chirp, the library distributors, and a bunch of others. So if your audiobook is not exclusive to ACX, it's a good idea to use INaudio as well. That said, Google Play and Kobo now have direct upload for audiobooks and if your audiobook is not exclusive to ACX, it's a good idea to use the direct upload for Google Play and Kobo instead of relying on INaudio. There are a few significant advantages to this. First, you make a little bit more money since INaudio is not taking its distribution fee and the cumulative effect of that over time can be significant. Second, your audiobook will be eligible for Kobo Plus, which can generate extra revenue. I've had some of my best months on Kobo in 2026 thanks to Kobo Plus. Third and perhaps most importantly, you won't be completely dependent on INaudio because INaudio is frequently quite glitchy and in my frank and unbiased opinion, has gone downhill noticeably in quality since Spotify took over. Every single problem I've ever had with INaudio has come after Spotify bought Findaway and turned it into INaudio. I'm afraid that Spotify, like many other publicly traded corporations in the US, has the chronic problem of an upper management class who are buzzword prone MBA drones with an unhealthy enthusiasm for generative AI and indulging in self-destructive cost cutting and layoffs right before it's time to file quarterly reports. Very frequently, the QA process on INaudio will go berserk and declare that a book is AI generated and ineligible for distribution even when it's not. So direct upload to Google Play and Kobo avoids that problem. Because of these problems, another distributor called Author's Republic has been growing, but I haven't tried that out yet. Despite these problems, INaudio also gets you access to Chirp, which is our next bullet point. #5: Chirp Deals I said earlier that the best way to promote your audiobook is ebook promotion, but the one exception to that is Chirp. Chirp is run by BookBub, which is an email newsletter service that offers discounted ebooks to its subscribers. BookBub wanted to expand to audiobooks, but Audible very famously does not let indie authors control their prices and definitely doesn't let them do discounts. So to get around that slight problem, BookBub started its own audiobook store in the form of Chirp, which does let indie authors control their prices and therefore offer discounts. I've had some excellent results with Chirp deals over the years, usually with Child of the Ghost and Cloak of Dragons. In May, I had a Chirp deal with Dragonskull: Sword of the Squire, but since the dashboard on INaudio only updates every 30 days for Chirp, I'm not sure how it did yet. If you get a Chirp deal and you want to take a big swing with it, you can also set temporary discounts on the subsequent books in the series. For my earlier Chirp deals for Cloak of Dragons and Child of the Ghosts, the price for Cloak of Dragons was at $0.99 and I set the price of the subsequent two audiobooks at $2.99 each. I got good results from that and some of my best months on INaudio. For the recent Dragonskull deal, Sword of the Squire was at $0.99 and I temporarily set every other audiobook in the series at $2.99 on Chirp. It was the biggest swing I've taken with a Chip deal, so I'm curious to see how it plays out. #6: Direct sales It's a good idea to have a direct sales platform of some kind, whether it's Shopify or Payhip or Gumroad or a similar platform and offer direct sales of your audiobooks. There are numerous advantages to this. You can set your own price, which as we mentioned above, ACX does not let you do. You can very easily run sales and discounts. If you're a regular reader at the site, you know I do a different Coupon of the Week for my Payhip store every week and it's often for audiobooks. As I mentioned with the problems with INaudio, it provides a platform to get your audiobook to listeners even if the other stores are having technical problems. Sometimes ACX processing can take weeks and the site's past troubles sometimes stretched [it] into months. The difficulty is getting people to actually use the store. The term vendor lock-in means that the more a customer uses the platform, the less likely they are to switch. If someone has been building up their Kindle library or Audible library since 2009, they're unlikely to switch to a competitor. Most of my direct sales come from a combination of Coupon of the Week and new releases to people who don't like DRM. So having a direct sales platform is a long haul, but still worth doing. Besides, everything in audiobooks is a long haul. #7: Direct reader relationship via Patreon or a similar site. I've never done this myself so I don't have any specific tips, but I have seen some writers do it quite successfully. That said, you should only have a Patreon or a similar site if you're willing to put in the work. Readers are very unforgiving of a writer who does not live up to his or her Patreon obligations. However, if you include audiobooks as one of your patron tiers that can go a long way towards audiobook profitability. A regular Patreon type income can help fund regular audiobook production. Conclusion Audiobooks are indeed indie publishing on hard mode, but hopefully these tips will help increase the chances that your audiobooks will be profitable. Lastly, thanks to everyone who has listened to one of my audiobooks. So that's it for this week. Thanks 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 at https://thepulpwritershow.com, often with transcripts. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this episode, we provide a marketing update, discuss AI & energy consumption, and finish with a discussion on protocol-owned liquidity.Swap now https://swap.thorchain.org/ THORChain is a decentralized crypto exchange. THORChain is the first and biggest DEX for Bitcoin. You can use any self custody wallet to swap and there's no KYC required.Timestamps:00:00:00 Intro00:05:00 Marketing update00:07:00 Reach out to communities about adding ERC-20s? Easy to do!00:08:00 Working on Keplr Wallet00:09:00 Platform to hire KOLs00:11:00 KOL platform breakdown00:13:00 Chad B: May be a bot dream00:15:00 KOL drama00:19:00 Forewarning for drama00:20:00 Chad's talk about Monerotopia00:23:00 Someone who is into XMR will probably understand the mission00:27:00 Chad B: The attack we suffered is very hard to recover from — but we have!00:29:00 New version is coming! Fix for Solana so we can churn and XMR00:32:00 Kenton: The cynical view doesn't make sense00:33:00 Failure should be expected00:34:00 TSS will be open-sourced, probably mid-July00:36:00 Huginn's code auditing is surprisingly good00:37:00 Moving to DKLS is a priority00:39:00 The idea is to move to FROST and DKLS00:41:00 How we would transition cryptographies00:43:00 We need to find a new version of FROST if we want to add it to THORChain00:44:00 Multisig on each vault — combining cryptographies. Still entertaining that idea?00:47:00 DKLS would be first if any changes were going to be made00:48:00 Question: Can we add AI payment rails and support for precious metal derivatives?00:51:00 agentsfirst.dev analytics breakdown00:57:00 Delegation is so hard for startups00:59:00 These days are still early for AI01:01:00 Will AI be a bunch of specialist models or a more general model?01:04:00 Energy consumption versus efficiency of AI01:06:00 Chad B is bullish when it comes to increased electricity usage01:09:00 Energy scale is beyond comprehension01:13:00 Life arose so quickly when Earth was formed01:17:00 Planet talk — geeking out01:21:00 Bringing it back to THORChain, THORChain is a good foundation for a better system01:23:00 When XMR goes live, Kenton will wait about a month before really pushing it out01:26:00 What happens post-churn when it comes to POL?01:30:00 Kenton acknowledges Boone for getting the math incorrect01:33:00 Boone joins and says it is Economic Mimir01:34:00 Increasing BPs fee is probably the move (Boone)01:36:00 Kenton gives the case for POL advantages01:37:00 Kenton floats 25% to POL01:39:00 POL is a burn, technically01:42:00 Burn conversation regarding sell pressure01:46:00 POL conversation continues01:49:00 POL is an asset, not a liability01:52:00 New hat!!01:53:00 POL pitch01:56:00 POL also buys and burns their asset too01:58:00 Per-asset minBPS idea (Boone)02:02:00 Anything else? Direct ERC-20 memoless, TAO 3.2002:03:00 Reserve hard cap discussion02:06:00 Reserve income and dispersed

Lawfare Editor in Chief Benjamin Wittes and Senior Editor Michael Feinberg discuss the methods and techniques the FBI used to investigate Donald Trump as part of the Arctic Frost investigation, and whether critiques of the FBI's steps hold up.To receive ad-free podcasts, become a Lawfare Material Supporter at www.patreon.com/lawfare. You can also support Lawfare by making a one-time donation at https://givebutter.com/lawfare-institute.Support this show http://supporter.acast.com/lawfare. Hosted on Acast. See acast.com/privacy for more information.

In part two of this two-part series, Mike and Ryan discuss why families often abandon medication too quickly after a single difficult trial, the importance of trial-and-error in finding the right medication regimen, and why genetic testing isn't the shortcut many parents hope it will be.Find Mike @ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.grownowadhd.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Find Ryan @ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.adhddude.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Timestamps[00:00:00] Start[00:00:46] Why Families Give Up on Medication Too Easily[00:01:30] Two Main Stimulant Categories Explained[00:03:42] Non-Stimulant Medication Options[00:04:22] Why Medication Alone Is Not Enough[00:07:15] Genetic Testing Is Not Recommended[00:09:43] Key Takeaways on ADHD Medication[00:12:13] Final Thoughts on Kids and Medical DecisionsCitationsAmerican Academy of Child and Adolescent Psychiatry. (2020). Clinical use of pharmacogenetic tests in prescribing psychotropic medications for children and adolescents. ⁠https://www.aacap.org/aacap/Policy_Statements/2020/Clinical-Use-Pharmacogenetic-Tests-Prescribing-Psychotropic-Medications-for-Children-Adolescents.aspx⁠American Academy of Child and Adolescent Psychiatry. (2022). Attention-deficit/hyperactivity disorder: Parents' medication guide. ⁠https://www.aacap.org/App_Themes/AACAP/docs/resource_centers/resources/med_guides/ADHD_Medication_Guide-web.pdf⁠American Psychiatric Association. (n.d.). What is ADHD? ⁠https://www.psychiatry.org/patients-families/adhd/what-is-adhd⁠Centers for Disease Control and Prevention. (2024). Clinical care of ADHD. ⁠https://www.cdc.gov/adhd/hcp/treatment-recommendations/index.html⁠Dalsgaard, S., Leckman, J. F., Mortensen, P. B., Nielsen, H. S., & Simonsen, M. (2015). Effect of drugs on the risk of injuries in children with attention deficit hyperactivity disorder: A prospective cohort study. The Lancet Psychiatry, 2(8), 702–709. https://doi.org/10.1016/S2215-0366(15)00271-0Dalsgaard, S., Østergaard, S. D., Leckman, J. F., Mortensen, P. B., & Pedersen, M. G. (2015). Mortality in children, adolescents, and adults with attention deficit hyperactivity disorder: A nationwide cohort study. The Lancet, 385(9983), 2190–2196. https://doi.org/10.1016/S0140-6736(14)61684-6de Vries, W., Boer, M., Stevens, G. W. J. M., & van Dorsselaer, S. (2025). Exploring concept creep: Youth's portrayal of ADHD on TikTok. SSM Mental Health, 7, 100374.Harpin, V., Mazzone, L., Raynaud, J. P., Kahle, J., & Hodgkins, P. (2016). Long-term outcomes of ADHD: A systematic review of self-esteem and social function. Journal of Attention Disorders, 20(4), 295–305. https://doi.org/10.1177/1087054713486516Myer, N. M., Boland, J. R., & Faraone, S. V. (2018). Pharmacogenetics predictors of methylphenidate efficacy in childhood ADHD. Molecular Psychiatry, 23, 1929–1936.Shaw, M., Hodgkins, P., Caci, H., Young, S., Kahle, J., Woods, A. G., & Arnold, L. E. (2012). A systematic review and analysis of long-term outcomes in attention deficit hyperactivity disorder: Effects of treatment and non-treatment. BMC Medicine, 10, 99. ⁠https://doi.org/10.1186/1741-7015-10-99⁠Wetterer, L. (2020). Attention-deficit/hyperactivity disorder: AAP updates guideline for diagnosis and management. American Family Physician, 102(1), 58–60.Wolraich, M. L., Hagan, J. F., Allan, C., Chan, E., Davison, D., Earls, M., Evans, S. W., Flinn, S. K., Froehlich, T., Frost, J., Holbrook, J. R., Lehmann, C. U., Lessin, H. R., Okechukwu, K., Pierce, K. L., Winner, J. D., & Zurhellen, W. (2019). Clinical practice guideline for the diagnosis, evaluation, and treatment of attention-deficit/hyperactivity disorder in children and adolescents. Pediatrics, 144(4), e20192528. ⁠https://doi.org/10.1542/peds.2019-2528⁠Yeung, A., Ng, E., & Abi-Jaoude, E. (2022). TikTok and attention-deficit/hyperactivity disorder: A cross-sectional study of social media content quality. The Canadian Journal of Psychiatry, 67(12), 899–906. ⁠https://doi.org/10.1177/07067437221082854⁠

Maxwell Frost blasts billionaire capture of AI and space, Jenna's panel exposes war profiteering, and GOP SNAP cuts throw hundreds of thousands of kids into hunger.Subscribe to our Newsletter:https://politicsdoneright.com/newsletterPurchase our Books: As I See It: https://amzn.to/3XpvW5o How To Make AmericaUtopia: https://amzn.to/3VKVFnG It's Worth It: https://amzn.to/3VFByXP Lose Weight And BeFit Now: https://amzn.to/3xiQK3K Tribulations of anAfro-Latino Caribbean man: https://amzn.to/4c09rbE

Ross Hudgens sits down with Aja Frost, Sr. Director of Global Growth & Paid at HubSpot, to open up the playbook behind one of the most advanced GEO/AEO programs in SaaS. Aja shares how HubSpot has been investing in answer engine optimization since early 2023 and how the company turned a very public blog traffic decline into a "Phoenix from the ashes" story, becoming the single most visible CRM in LLMs. They get tactical on writing for the bot (her "B2B2C" framing and "tofu with a twist" content strategy), why visibility beats citation share as a KPI, how HubSpot tracks prompts down to the feature level, and why audience size barely predicts who gets cited. Aja also breaks down HubSpot's creator and affiliate strategy, the durable (and not-so-durable) ways to earn off-site mentions, a deep dive on doing Reddit authentically, and how she reorganized her 65-person team around products instead of web properties. Show Notes 0:00 – HubSpot's GEO playbook 2:21 – Why AI evaluation predicts purchase intent 03:48 – Becoming the top CRM in LLMs 06:31 – Writing for the bots 11:07 – How HubSpot tracks its prompts 18:16 – Audience size doesn't predict citations 25:15 – Affiliates and valuing a citation 37:30 – The Reddit deep dive 49:27 – Inside HubSpot's reorg   Show Links Aja on LinkedIn: https://www.linkedin.com/in/ajafrost/ Aja's website: https://ajafrost.com/ Aja on The HubSpot Marketing blog: https://blog.hubspot.com/marketing/author/aja-frost AEO Sensor: https://www.hubspot.com/aeo-sensor   Subscribe today for weekly tips: https://bit.ly/3dBM61f Listen on iTunes: https://podcasts.apple.com/us/podcast/content-and-conversation-seo-tips-from-siege-media/id1289467174 Listen on Spotify: https://open.spotify.com/show/1kiaFGXO5UcT2qXVRuXjsM Listen on Google: https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9jT3NjUkdLeA Follow Siege on Twitter: http://twitter.com/siegemedia Follow Ross on Twitter: http://twitter.com/rosshudgens Directed by Cara Brown: https://twitter.com/cararbrown Email Ross: ross@siegemedia.com #seo | #contentmarketing

Jason talks about last night's Unified Games as part of the Special Olympics with Grace Zumwinkle from the Frost and Team USA who was also a celebrity coach for one of the teams on a very special night.

Thank you LadyHistorian, Marg KJ, Bev Ferguson, Judy, Linda Jean, and many others for tuning into my live video!* Maxwell Frost: Gen Z Power, Immigrant Justice, AI, Space, And Voting Rights: Maxwell Frost discusses Gen Z leadership, immigrant dignity, AI billionaire capture, space privatization, and voting rights in a bold progressive interview. [More]* Jenna Flanagan Panel: Ira… To hear more, visit egberto.substack.com

Frost Fire Summer Theater joins us to talk about "Come from Away" Show is recorded at Grand Forks Best Source. For studio information, visit www.gfbestsource.com – Or message us at bit.ly/44meos1 – Help support GFBS at this donation link - https://bit.ly/3vjvzgX - Access past GFBS Interviews - https://gfbsinterviews.podbean.com/  #gfbs #gfbestsource.com #grandforksnd #interview #local #grandforks #grandforksbestsource #visitgreatergrandforks @grandforksnd @THECHAMBERGFEGF #belegendary #followers #everyone

Drawing from Philippians 2, Roydon Frost explores how Christian unity is both a gift from God and a calling for every believer. Paul, writing from prison, argues that a life worthy of the gospel is marked by humble love, rejecting selfish ambition and empty glory in favor of putting others first. At the center of the message stands Jesus Christ, whose willingness to humble Himself from heavenly glory to the cross provides both the perfect pattern and the divine power for true unity. The sermon challenges believers to take personal responsibility for preserving unity in the church, reminding us that God delights in His people living together in Christ-centered harmony and that genuine unity produces deep joy for both God's people and God Himself.

In this episode, Mary & Frost discuss the pilot episode of Maximum Pleasure Guaranteed available on Apple TV.

In episode 306, we looked at the advantages of taking your book wide to all retailers. In this week's episode, we'll look at the other side of the coin and examine eight advantages to placing your book in Kindle Unlimited. This coupon code will get you 50% off the audiobook of Dragonskull: Doom of the Sorceress, Book #8 in the Dragonskull series, (as excellently narrated by Brad Wills) at my Payhip store: JUNEDOOM The coupon code is valid through July 7, 2026. So if you need a new audiobook this summer, we've got you covered! 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 308 of The Pulp Writer Show. My name is Jonathan Moeller. Today is June 19th, 2026 and today we are looking at the advantages of using Kindle Unlimited for your books. Two weeks ago, we had an episode about the advantages of going wide and distributing it away from Amazon, but there is another side of the coin and today we're going to look at it in the advantages of Kindle Unlimited. We also have an update on my current writing, publishing, and audiobook projects and Coupon of the Week. So let's start off with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Doom of the Sorceress, Book #8 in the Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store. That code is JUNEDOOM. As always, the coupon code and the links to my Payhip store will be available in these show notes for this episode. This coupon code will be valid through July 7th, 2026. So if you need a new audiobook for your travels this summer, we have got you covered. So now let's take a look at where I'm at with my current writing, publishing, and audiobook projects. I'm pleased to report that the rough draft of Blade of Thieves is done. It turned out to be just about as long as Blade of Wraiths. I'm also finished with Orcish Fury, which will be the bonus short story that newsletter subscribers will get a free ebook copy of when Blade of Thieves comes out. I am now editing Blade of Thieves. The first two chapters are edited. I am not sure how many chapters I'll end up with because I've gotten into the habit of splitting up longer chapters into shorter chapters lately since readers seem to prefer that. I do think the book will probably be out after 4th of July weekend if all goes well, because it is a big book and I'm going to have to do a fair bit of editing and I do have a few more things to do in real life that might slow the process down. But if all goes well, the book should be out shortly after the 4th of July weekend. I am also 13,000 words into Cloak of Frost, which will be my next main project once Blade of Thieves is finally done. That will probably be available in August, if all goes well. In audiobook news, at the moment I have no audiobooks in active production, but that will change next month because Leanne Woodward will be recording Dragon-Mage. Hollis McCarthy will be recording Cloak of Worlds and Brad Wills will be recording Blade of Thieves once I finally get it done. So it's funny how things always seem to do a bunch up like that rather than having a more conveniently distributed fashion, but I suppose that's just the nature of life. In other audiobook news, I mentioned earlier that Cloak of Dragons is now available in Audible Plus for those of you who are Audible listeners who have a plan that includes that. Before too much longer, I'm going to start working on the audiobook version of Cloak Mage Omnibus Four, which will combine I believe Cloak of Embers, Cloak of Titans, and Cloak of Illusion into one audiobook bundle. I've done that before [in] the past [with] Cloak Mage books and it's worked pretty well, so we're going to do it with this one as well. I'm going to start working on that next week because I've got to make the cover and then it takes forever to upload all the audiobook files. Hopefully that will be out sometime in July, if all goes well. So that is where I'm at with my current writing, publishing and audiobook projects. 00:03:23 Main Topic of the Week: When and Why to Put Your Books in Kindle Unlimited (KU) Now let's move on to our main topic this week, when and why to put your books in Kindle Unlimited. You might remember that two weeks ago (with Episode 306, I believe) we discussed the advantages and benefits of taking your books wide and not exclusive to Amazon. However, there are reasons it might actually be a good decision to put your books in Kindle Unlimited. In this week's episode, we'll talk about why you might want to consider putting your book in Kindle Unlimited. First, we should discuss how Kindle Unlimited actually works, defining our terms, so to speak. Kindle Unlimited is Amazon's merchandising program for ebooks, essentially. To use the program, you agree that your ebook will be exclusive to Amazon for the next three months (and by default, it auto renews, but you can turn that off in the dashboard). The advantages to you for using Kindle Unlimited are that in addition to buying your book outright, people can also check it out in the Kindle Unlimited program and then you get paid based on how many pages they read. The payout typically varies, but it's usually 45% of one cent [USD] per page read. For example, Half-Elven Thief, you can buy it for $4.99, but in terms of Kindle Unlimited, it comes to about 300 Kindle Unlimited pages, which means that if a reader reads the entire book, I typically get about $1.35 for a complete read. Obviously, this advantages longer books, whereas with the sale of the book, I would get like $3.49, which is significantly more, but it is possible to make up in volume of page reads lost sales on other platforms if the circumstances are right. So that is how Kindle Unlimited works. And now we will look at eight reasons why it is a good idea or why it might be a good idea and why it might be advantageous for you to put your books into Kindle Unlimited. #1: Certain genres are KU dominant. This is not true across all genres, but certain genres tend to be heavily dominated by Kindle Unlimited readers. For example, LitRPG is a unique case because the most popular LitRPG tends to be in serialized form on sites like Royal Road and similar sites, but when it does come to ebook form, it's usually on Kindle Unlimited. So if you're looking to read LitRPG, you will find most of it on Kindle Unlimited and not on the other sites. Other genres tend to be not totally dominant to that effect the way that LitRPG is, but do still have a great deal of strength in Kindle Unlimited, such as military sci-fi, certain kind of thrillers, and certain romance genres as well tend to be very heavily dominated by Kindle Unlimited. So if you are writing in one of those genres, it may be worth your while to consider that it may be advantageous to you to put your book in Kindle Unlimited and see how it performs. #2: The Kindle Unlimited Boost It's no secret that Amazon definitely puts its thumb on the scales for Kindle Unlimited books as opposed to regular ebooks. I've noticed that Kindle Unlimited books tend to go higher in the Amazon rankings. They tend to stay up there for longer than non-Kindle Unlimited books and that reviews generally show up faster for Kindle Unlimited books than they do for non-Kindle Unlimited books. That last part might vary, but the ranking thing is true. It's also true that the higher a book stays in the Amazon rankings and for longer, the more likely it is Amazon is to generate "we think you might like this" emails and send them out to readers in hopes of drawing them to your books. So it is true that Amazon definitely gives a lot of advantages to Kindle Unlimited books that other books don't get. And depending on your sales strategy and your genre, as we mentioned before, it might be worthwhile for your book to be in Kindle Unlimited. #3: Your sales data supports it. If you publish a book wide and after you look at a couple of months of sales data and you notice something like 95% of the sales are coming from Amazon, it might be worthwhile to consider taking the book exclusive and putting it in Kindle Unlimited since in that instance, the boost of page reads and page reads revenue would make up for the sales you clearly aren't getting on the other platforms. Now the threshold for this obviously varies a good deal. I've had months in the past where only like 45% of my revenue came from Amazon and in some of my older series in particular, the Amazon revenue tends to only be around like 40 to 45% and the rest comes from all the other retailers. So in that case, obviously it would be a very poor decision to take the book exclusive to Amazon and take it off all the other retailers. So this is a case where it is once again a good idea to monitor your sales data closely so you can make informed decision rather than working off of gut hunches and guesswork. #4: It permits you to reach readers who aren't buying individual books and value conscious readers. When I've talked about Kindle Unlimited on Facebook and my website in the past, I usually get comments from people who point out that they are on fixed incomes, whether from retirement or disability or taking care of other relatives and so forth and that Kindle Unlimited for them is a great deal because in exchange for $12 a month, they can read as many KU books as they have time to read. That is true. Kindle Unlimited is a much better deal for readers than it is for the majority of writers. And having your book in Kindle Unlimited is a way to reach those value conscious readers who will not buy individual ebooks for whatever reason, whether budgetary constraints or other reasons but do have a Kindle Unlimited subscription. Kindle Unlimited offers you a way to reach those readers that you otherwise would not and that is a potentially useful advantage. #5: It helps you to find new readers and binge readers. Kindle Unlimited kind of works a little bit like the permafree strategy, which I've discussed before, where that if you make the first book in your series free, people are more likely to take a chance on it than they would otherwise. The same thing is true of Kindle Unlimited because if someone's already paid the Kindle Unlimited subscription for a month, it's a sunk cost and therefore there is no disadvantage or additional cost to them for trying out your book and that can potentially lead to a strong sales boost for you if someone discovers your books and likes it. Additionally, if you have a series, every time you release a new book in the series, there is a strong chance your previous books will get a boost. This has been my strategy with the Half-Elven Thief series for the last two and a half years. Now, every time I release a new book in the series, I am fortunate enough that it does well enough that it goes high in the ranks for a while and that causes a sort of halo effect as people discover the previous books in the series for the first time and read through them with their Kindle Unlimited subscriptions, which generates a lot of page reads and therefore revenue. As I said before, a complete read through of Half-Elven Thief, the first book in a series by itself tends to get me around $1.30 to $1.50, depending on what the KU payout rate is that month. By contrast, if a Kindle Unlimited reader reads through all six books in the series, that tends to be around $8 to $8.50, which is a good chunk of revenue. These are often people who, as I mentioned in the previous point, would not have bought the individual ebooks. So that is potentially a big advantage, especially if you write in series and you regularly release in that series because then you get the halo effect to it. #6: It simplifies your ads and marketing strategy. I've often recommended to people who are just starting out self-publishing that it's a good idea to start on Amazon and KU and then see if they want to expand later because it's very simple to just manage one dashboard as opposed to like seven or eight different retailers. As self-publishers get more advanced experience, they tend to prefer to go wide. This also means that your ads are simplified because then you just have to worry about Amazon ads. You can do BookBub ads for KU books. I have not found that to be very advantageous because it's so expensive, but Amazon ads for KU books tend to be very effective and fairly cost effective so long as you monitor the costs and keep your cost per click and ad budget down closely. #7: KU has kind of what I call an immediacy bias. It definitely favors new material over older material. I would not say it's a good idea to take an old series out and put it in KU, especially if it's been on Amazon for several years because the Amazon algorithm definitely tends to reward newness. Self-publishers will talk about the 30, 60, and 90 day cliff where sales tend to drop off, partly from just the organic effect of the book having reached most of its target audience and partly because the Amazon algorithms stop pushing it so much once they reach those points. Kindle Unlimited really, really likes new stuff and I think they change the algorithms on a regular basis, but I think it gives a strong advantage to new stuff. So that ties in if you write a long series and publish new books in it on a regular basis, then you will probably see a strong advantage from that because each new additional book you published in the series will get that new book Halo Effect, which will then boost the other books in the series and that's happening with Half-Elven Thief right now with Dragon-Mage boosting the previous books in the series. #8: Don't plan on keeping your books in Kindle Unlimited forever. As I mentioned in previous episodes of this podcast, my strategy going forward is to only write three series at a time, two of which will be wide and one of which will be in Kindle Unlimited. Once Half-Elven Thief is finished, and I've written the ninth book in the series and it's all wrapped up, I will take it out of Kindle Unlimited and take it to the other platforms because of KU's newness bias. As I mentioned before, since I will no longer be writing new books in the Half-Elven Thief series, they will no longer get that halo boost of page reads from a new book and therefore it makes sense to take it out of Kindle Unlimited and then take it wide to other retailers. I know of other indie authors who do this. [They] will start out their series in Kindle Unlimited and then when it's complete, take it wide to other retailers and that is something I think is worth thinking about if you are publishing your book in Kindle Unlimited is that once the series is done and once you're no longer publishing new books that receive advantages from KU's preference for new material, it is definitely time to start thinking about taking the series out of Kindle Unlimited and putting it on other platforms. Indeed, this is advice I'm going to follow myself once Half-Elven Thief is finished. So there are eight potential reasons putting your book in Kindle Unlimited might be advantageous to you and now the question always tends to be a bit of a binary one is like, should my book be wide? Should my book be in Kindle Unlimited? The secret is there is no right answer. There is just the answer that is right for you and your individual circumstances at this point in time. Like I mentioned earlier, myself, I'm doing a hybrid strategy where most of my books remain wide and most of my new books are wide, but I do have one series in Kindle Unlimited that I am continuing and that might work for you if you write fast enough or it might work better for you to be wide. It might work what better for you to be in Kindle Unlimited. It is just important to reflect and soberly and honestly analyze the data and then make the best decision that is right for you and your self-publishing business. 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 at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and we'll see you all next week.  

Leah and Amanda sit down with bestselling author Jeaniene Frost to talk about book one in her new Beautiful and Beastly series. 

In this episode, Derek (@CreaseAndAssist) and Theresa (@MNSOTA24) discuss the results of the Minnesota Frost's 2028 draft. We discuss the PWHL Expansion Draft and the departures it created for the Frost as they try to reformulate themselves in order to challenge for a third Walter Cup in 2026-27. We also discuss whether the expansion process is sustainable as it is currently formulated. We then answer some listener questions as well. If you would like to join the conversation, please find one of us on Twitter / X or BlueSky and tag it #CreasePodcast, and we'll include it in our next show.Happy listening!

Outsourcing podcast Get the full show notes for this outsourcing podcast here: outsourceaccelerator.com/592   Rodney Frost, CEO of IntegratedOS, guests on the Outsource Accelerator Podcast to share how the offshore staffing landscape — and his own model — is being reshaped by AI, rising onshore costs, and the rise of risky low-touch employment structures.  With 20 years of experience building dedicated teams in the Philippines, Rodney laid out where the industry is heading and where buyers should be careful.   References: Website: https://www.integratedos.com LinkedIn: https://www.linkedin.com/company/integrated-os/   Start Outsourcing Outsource Accelerator can help you transform your business with outsourcing. Get in touch now, or use one of the resources below.   Business Process Outsourcing Get a Free Quote - Connect with 3 verified outsourcing experts & see how outsourcing can transform your business Book a Discovery Call - See how Outsource Accelerator can help you enhance your company's innovation and growth with outsourcing The Top 40 BPOs - We have compiled this review of the most notable 40 Business Process Outsourcing companies in the Philippines Outsourcing Calculator - This tool provides you with invaluable insight into the potential savings outsourcing can do for your business Outsourcing Salary Guide - Access the comprehensive guide to payroll salary compensation, benefits, and allowances in the Philippines Outsourcing Accelerator Podcast - Subscribe and listen to the world's leading outsourcing podcast, hosted by Derek Gallimore Payoneer - The leading global B2B payment solution for the outsourcing industry   About Outsource Accelerator Outsource Accelerator is the world's leading outsourcing marketplace and advisory. We offer the full spectrum of services, from light advisory and vendor brokerage, though to full implementation and fully-managed solutions. We service companies of all sectors, and all sizes, spanning all departmental verticals. Outsource Accelerator's unique approach to outsourcing enables our clients to build the best teams, access the most flexible solutions, and generate the best results possible. Our unrivaled sector knowledge and market reach mean that you get the best terms and results possible, at the best ALL-IN market-leading price - guaranteed.

In this episode of The Write Place, I'm joined by New York Times bestselling author Jeaniene Frost, best known for her hugely popular Night Huntress books.Jeaniene joins me to talk about her latest novel, A Curse of Beasts and Magic, the first book in her new Beautiful and Beastly series. Described as Beauty and the Beast meets The Witcher, this is a romantasy adventure with a twist: Beauty is the Beast.We talk about the rise of romantasy, writing morally grey characters, building fantasy worlds from character first, and why Jeaniene doesn't keep the kind of organised series bible many writers might expect.Jeaniene also reflects on finally finishing her first novel after years of starting but not completing books, the pressure and reality of becoming a published author, and the difficult balance between writing from passion and treating publishing like a business.We also discuss social media, book marketing for introverts, burnout, revision, persistence, and why writers need to celebrate the small victories along the way.In the Book That Saved Your Life segment, Jeaniene talks about the books and authors that shaped her, including Skye O'Malley by Bertrice Small, Jackie Collins, Dean Koontz and Stephen King.Useful links:Jeaniene Frost website: https://www.jeanienefrost.comJeaniene on Instagram: https://www.instagram.com/jfrostauthor/Jeaniene on TikTok: https://www.tiktok.com/@jfrostauthorJeaniene on Threads: https://www.threads.net/@jfrostauthorA Curse of Beasts and Magic: https://www.panmacmillan.com/authors/jeaniene-frost/a-curse-of-beasts-and-magic/9781037404429My book, Real Writers Never Quit, is out now: https://mybook.to/realwritersneverquitFollow me on Instagram: https://www.instagram.com/mrkelly2u/

In this episode, Mary & Frost discuss the feature film, Slanted, available on Paramount+.

Special Guests Rayel DJ Troy Frost Featured Discussion Topics A Troy Story event preview Purple Produce and House Blend Hip hop and wellness Creativity and storytelling AI in music production Inspiration vs. imitation Producer culture and artist development Independent music opportunities Mental health and creative expression Keep It or Cut It Beat Reviews KEEP IT C-Magic — Flipcom Soul Centric — Spooky World C-Nice — Safe Brain Got Blaps — Sick In The Brain Max Tremendous — Don't Stop Believing Magic On The Beat — Worth The Climb CUT IT RC Production — Shadows Ethics The Problem — Empty Promises Jerz Mayfield — Excuse Me Mister Live Performance Rayel performs original verses over Beat Club producer submissions. Featured Producers C-Magic Sol Centrik C-Nice Brain Got Blaps RC Production Max Tremendous EthicszThe Problem Jerz Mayfield Magik On The Beat Event Spotlight A Troy Story

Joseph (Joe) Frost is the Co-founder of yorCMO, a franchise-based company that provides fractional Chief Marketing Officers to help businesses achieve strategic growth through expert marketing leadership. Under Joe's direction, yorCMO has helped dozens of companies scale, and his previous ventures include multiple EO-qualifying, million-dollar-plus businesses across the US and Canada. Joe is known for spotting emerging trends early, such as leveraging video marketing and launching community-driven networks for fractional professionals. He hosts The Fractional C‑Suite Retreat podcast, where he discusses leadership and the future of work. In this episode… Today's entrepreneurs face unprecedented demands  — technology, competition, and a constantly shifting market. How can business leaders leverage expert guidance without hiring full-time executives? Drawing from his experience building multiple ventures, Joseph Frost believes the key lies in fractional professionals. He explains that giving companies access to top-tier executives on a flexible basis allows them to scale smarter and faster, like catching the next big wave without buying the entire surfboard. The result is strategic growth that's nimble and sustainable in an unpredictable market. Tune in to this episode of the Smart Business Revolution Podcast as John Corcoran interviews Joseph (Joe) Frost, Co-founder of yorCMO to discuss leveraging fractional professionals. They cover building fractional CMO teams, creating sellable firms, adapting to AI in marketing, and Joe also shares tips on expanding fractional networks internationally.

Welcome to episode 419 of Growers Daily! We cover: we're talking frosted potatoes, we're touring my hedges, and discussing strawberries in humid conditions where the diseases are the fruitful ones. We are a Non-Profit! 

Ryan & Mike take on ADHD kids' medication based on research and doctors, not social media. They cover untreated ADHD risks, debunk the psychiatrist myth, and put decisions with parents and prescribers.Find Mike @ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.grownowadhd.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Find Ryan @ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.adhddude.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠{{chapters}}[00:00:00] Start[00:01:05] Why Parents Get Confused About Medication[00:03:40] The Risks of Untreated ADHD[00:06:46] Where Medication Misinformation Comes From[00:10:15] Do You Really Need a Child Psychiatrist?[00:13:34] Who Makes the Medication DecisionCitationsAmerican Academy of Child and Adolescent Psychiatry. (2020). Clinical use of pharmacogenetic tests in prescribing psychotropic medications for children and adolescents. https://www.aacap.org/aacap/Policy_Statements/2020/Clinical-Use-Pharmacogenetic-Tests-Prescribing-Psychotropic-Medications-for-Children-Adolescents.aspxAmerican Academy of Child and Adolescent Psychiatry. (2022). Attention-deficit/hyperactivity disorder: Parents' medication guide. https://www.aacap.org/App_Themes/AACAP/docs/resource_centers/resources/med_guides/ADHD_Medication_Guide-web.pdfAmerican Academy of Child and Adolescent Psychiatry. (n.d.). Pharmacogenetic testing. https://www.aacap.org/AACAP/Families_and_Youth/Facts_for_Families/FFF-Guide/Pharmacogenetic_Testing-128.aspxAmerican Psychiatric Association. (n.d.). What is ADHD? https://www.psychiatry.org/patients-families/adhd/what-is-adhdCenters for Disease Control and Prevention. (2024). Clinical care of ADHD. https://www.cdc.gov/adhd/hcp/treatment-recommendations/index.htmlDalsgaard, S., Leckman, J. F., Mortensen, P. B., Nielsen, H. S., & Simonsen, M. (2015). Effect of drugs on the risk of injuries in children with attention deficit hyperactivity disorder: A prospective cohort study. The Lancet Psychiatry, 2(8), 702–709. https://doi.org/10.1016/S2215-0366(15)00271-0Dalsgaard, S., Østergaard, S. D., Leckman, J. F., Mortensen, P. B., & Pedersen, M. G. (2015). Mortality in children, adolescents, and adults with attention deficit hyperactivity disorder: A nationwide cohort study. The Lancet, 385(9983), 2190–2196. https://doi.org/10.1016/S0140-6736(14)61684-6de Vries, W., Boer, M., Stevens, G. W. J. M., & van Dorsselaer, S. (2025). Exploring concept creep: Youth's portrayal of ADHD on TikTok. SSM Mental Health, 7, 100374.Harpin, V., Mazzone, L., Raynaud, J. P., Kahle, J., & Hodgkins, P. (2016). Long-term outcomes of ADHD: A systematic review of self-esteem and social function. Journal of Attention Disorders, 20(4), 295–305. https://doi.org/10.1177/1087054713486516Myer, N. M., Boland, J. R., & Faraone, S. V. (2018). Pharmacogenetics predictors of methylphenidate efficacy in childhood ADHD. Molecular Psychiatry, 23, 1929–1936.Shaw, M., Hodgkins, P., Caci, H., Young, S., Kahle, J., Woods, A. G., & Arnold, L. E. (2012). A systematic review and analysis of long-term outcomes in attention deficit hyperactivity disorder: Effects of treatment and non-treatment. BMC Medicine, 10, 99. https://doi.org/10.1186/1741-7015-10-99Wetterer, L. (2020). Attention-deficit/hyperactivity disorder: AAP updates guideline for diagnosis and management. American Family Physician, 102(1), 58–60.Wolraich, M. L., Hagan, J. F., Allan, C., Chan, E., Davison, D., Earls, M., Evans, S. W., Flinn, S. K., Froehlich, T., Frost, J., Holbrook, J. R., Lehmann, C. U., Lessin, H. R., Okechukwu, K., Pierce, K. L., Winner, J. D., & Zurhellen, W. (2019). Clinical practice guideline for the diagnosis, evaluation, and treatment of attention-deficit/hyperactivity disorder in children and adolescents. Pediatrics, 144(4), e20192528. https://doi.org/10.1542/peds.2019-2528Yeung, A., Ng, E., & Abi-Jaoude, E. (2022). TikTok and attention-deficit/hyperactivity disorder: A cross-sectional study of social media content quality. The Canadian Journal of Psychiatry, 67(12), 899–906. https://doi.org/10.1177/07067437221082854

Netroots Nation 2026 ends with progressive energy, interviews with Raskin, Frost, Mejia, Mazzone, and a We Decide panel on Iran, Trump, 250th plans, and elections.Subscribe to our Newsletter:https://politicsdoneright.com/newsletterPurchase our Books: As I See It: https://amzn.to/3XpvW5o How To Make AmericaUtopia: https://amzn.to/3VKVFnG It's Worth It: https://amzn.to/3VFByXP Lose Weight And BeFit Now: https://amzn.to/3xiQK3K Tribulations of anAfro-Latino Caribbean man: https://amzn.to/4c09rbESubscribe to our Newsletter:https://politicsdoneright.com/newsletterPurchase our Books: As I See It: https://amzn.to/3XpvW5o How To Make AmericaUtopia: https://amzn.to/3VKVFnG It's Worth It: https://amzn.to/3VFByXP Lose Weight And BeFit Now: https://amzn.to/3xiQK3K Tribulations of anAfro-Latino Caribbean man: https://amzn.to/4c09rbE

"Two roads diverged in the yellow wood, and I - I took the one less traveled by, And that has made all the difference." R. Frost

By the middle of the twentieth century, Robert Frost was widely regarded as America's most popular poet, beloved for the simple, sincere verses that took readers on journeys through the wooded roads of rural New England, accompanied by Frost's wry observations and hardscrabble truths. Just a few years after Frost's death, a scathing biography by Lawrance Thompson painted a different picture of the man, which led critic Helen Vendler to ask, in her review of the biography, whether it was possible to avoid the conclusion that Frost had actually been a "monster." In this episode, Jacke talks to critic and author Adam Plunkett about his new book, Love and Need: The Life of Robert Frost's Poetry, a major new biography that challenges our understanding of Frost's life and poetic legacy. PLUS Ursula Buchan (Beyond the Thirty-Nine Steps: A Life of John Buchan) stops by to discuss her choice for the last book she will ever read. The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠gabrielruizbernal.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Help support the show at ⁠⁠⁠⁠⁠⁠patreon.com/literature⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠historyofliterature.com/donate⁠⁠⁠⁠⁠⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠⁠⁠⁠⁠⁠thepodglomerate.com/historyofliterature⁠⁠⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

In preparation for next week's conversation with Adam Plunkett, author of a new major biography of Robert Frost (1874-1963), we revisit an earlier episode about the widely anthologized (and often misunderstood) New England poet. In this episode, which first aired in 2017 as Episode 93, Jacke dives into a curious but compelling story from the years just before World War I, when a struggling Frost hastily packed up his family and moved to London in search of a friend. Although Frost's efforts to ingratiate himself with W.B. Yeats and Ezra Pound fizzled, he soon found a man, critic Edward Thomas (1878-1917), who championed Frost's poetry and became one of Frost's best friends. Frost in turn inspired Thomas to write his own poetry – until something happened on one of their walks in the woods that would forever change them both. Professor Bill Hogan of Providence College joins Jacke to recount the full story of Frost and Thomas: their friendship, their falling out, and how one of Frost's (and America's) most famous poems, “The Road Not Taken,” inspired by Frost's views of Thomas, has been widely misunderstood by generations of readers. The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠gabrielruizbernal.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Help support the show at ⁠⁠⁠⁠⁠patreon.com/literature⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠historyofliterature.com/donate⁠⁠⁠⁠⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠⁠⁠⁠⁠thepodglomerate.com/historyofliterature⁠⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Lerin is back on the pod and we chat'n'prov about high school dances, what TWIRP means (The Woman is Responsible to Pay) the many Michael spinoffs, and horrendous scents.Get tickets to see us and many more at Mud City Festival June 6thFollow Lerin on Instagram for show updates!See Birdlady at iO On Wednesdays!Support the pod and join our Patreon for bonus scenes, our entire backlog, and even more premium content!Just easing into Improv is Dead? Check out our Starter Platter and Best of Playlists on Spotify!Hosts: ⁠Damian Anaya⁠, ⁠Tim Lyons⁠Sound Design by Nick