Podcasts about isbn

What's a practice or mindset you've personally built into your own business to protect your joy and energy long-term?   Today's top story is… Do I Need an ISBN or Copyright?. What's a practice or mindset you've personally built into your own business to protect your joy and energy long-term?   Join the Sell More Books Show Afterparty group on Facebook and answer the Question of the Week in the comment section. Be sure to leave us a review on Apple Podcasts.

No episódio do Podcast do PublishNews desta semana,falamos como o livro está se transformando em um objeto de identidade e uma tendência importante nas redes sociais, Conversamos com Bernardo Machado - Editor do Selo Paidós da Editora Planetae Fred Indiani - Diretor de negócios do Grupo Autêntica. Conversamos também sobre estratégias de mercado, incluindo edições especiais e livros como objetos além de ser um produto cultural. Discutimos também o impacto das redes sociais na formação de identidades e na promoção de livros.O podcast é oferecimento da: MVB América Latina Um livro, Câmara Brasileira do Livro e Nielsen BookData — referência mundial em dados que impulsionam estratégias e Gráfica Viena.Este podcast é um oferecimento da MVB América Latina! Onde a inovação e tecnologia impulsionam o mercado do livro. Com a Pubnet, você ganha eficiência, agilidade e segurança em cada pedido.E quando o assunto é metadados… metadados é com Metabooks! Porque, no fim das contas, o propósito da MVB é um só: levar os livros até os leitores! https://pt.mvb-online.com/Já ouviu falar em POD, impressão sob demanda? Nossos parceiros da UmLivro são referência dessa tecnologia no Brasil, que permite vender primeiro e imprimir depois; reduzindo custos com estoque, armazenamento e distribuição. Com o POD da UmLivro, você disponibiliza 100% do seu catálogo sem perder nenhuma venda. http://umlivro.com.brA Câmara Brasileira do Livro representa editores, livreiros, distribuidores e demais profissionais do setor e atua para promover o acesso ao livro e a democratização da leitura no Brasil. É a Agência Brasileira do ISBN e possui uma plataforma digital que oferece serviços como: ISBN, Código de Barras, Ficha Catalográfica, Registro de Direito Autoral e Carta de Exclusividade. https://cbl.org.brIndicações:Audiolivro - O gato que amava livros - Sosuke Natsukawa - Narrador: Daniel Bertoloci - Tradução: Fernanda Dias (Outro Planeta)Livro - O cálice contaminado - Robert Jackson Bennett - Tradução: Flavia de Lavor (Aleph) Livros - Sandro Veronesi (autêntica)

What if the real secret to a lasting writing career isn't talent or luck, but learning to thrive in the mess? Why are in-person events worthwhile even if the maths doesn't add up? How do you protect your creativity when the machines never sleep and the community is at one another's throats? With Mark Leslie Lefebvre In the intro, Has AI Already Killed Non-Fiction [Tim Ferriss]; 9 ways that AI would disrupt authors and the publishing industry over the next decade; Pivoting towards The Transformation Economy; and Who do you serve? This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Mark Leslie Lefebvre is the author of horror and paranormal fiction, as well as non-fiction travel and books for authors. He's also an editor, professional speaker, and the Director of Business Development at Draft2Digital. His latest book is Stark Realities: Stacked Up Lessons Every Writer Needs to Know About the Business of Writing and Publishing. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why print and in-person events are making a comeback for indie authors The case for (and against) licensing your voice clone through ElevenLabs Why we keep selling books in person when the numbers rarely add up Measuring success by creative satisfaction rather than money Being honest about author earnings and the fear of being truly seen Managing stress, divisiveness, and the noise around AI You can find Mark at MarkLeslie.ca. Transcript of the interview with Mark Leslie Lefebvre Jo: Mark Leslie Lefebvre is the author of horror and paranormal fiction, as well as non-fiction travel and books for authors. He's also an editor, professional speaker, and the Director of Business Development at Draft2Digital. His latest book is Stark Realities: Stacked Up Lessons Every Writer Needs to Know About the Business of Writing and Publishing. Welcome back to the show, Mark. Mark: Oh, hey, Jo. It's always an awesome time chatting with you. Jo: You've been on the show lots of times over the years, but the last time was in September 2024, when we talked about selling books in person. So give us a bit of an update. What does your writing and publishing business look like at the moment? How do you manage it alongside the day job and everything else you do? Mark: Oh my God. Well, sleep is—no rest for the wicked, maybe. I'll sleep when I'm dead. It's so funny, it was just this last weekend in Waterloo. I was at Waterloo Book Fest, and somebody came up to my table—another author from one of the other tables—and said, “I heard you on the The Creative Penn Podcast. And then when you mentioned something about Waterloo, I said, ‘He can't be from Waterloo.' And then when you mentioned the skeleton, I said, ‘I know where he lives.'” Jo: That's scary. Mark: So I love the fact that there are so many of your listeners all over the world, and that's usually how people know me. No matter what else I've done, it's like, “Oh, you've been on Joanna Penn's podcast.” I'll say, “Yes, I have.” You know what's really funny? The last time I was on the podcast, we were talking about A Book in Hand, which I was supposed to release that year. Jo: Yes. Mark: I just added another 5,000 words to it this morning. Jo: Wait, it's still not published? Mark: No, and it's so funny. I actually have the first 60,000 words of it with an editor right now, and I told her I'd get her the rest of it, which I thought would be another 20,000 words, by the end of June. But I think it's going to hit 100,000. Here's the weird thing that happened with this. This is trying to accumulate my life of book selling, as well as doubling down on doing in-person events in the last several years. I thought I was going to have the book done in 2024. I ran into some issues where I didn't back it up properly. It was an old version, and I accidentally overwrote the only version I had. Jo: So, for everyone listening, Mark—how many decades have you been an author and a publisher? How come you're still missing deadlines and still not backing up your work properly? Mark: Yes, this is a lesson: no matter how long you've been doing something, you can still make boneheaded errors. So if you, dear listener, have made mistakes, just know that this old guy who's been doing this since the mid-'80s still makes mistakes like that. Don't beat yourself up. I probably did something worse. Anyway, that book I thought was going to be maybe 40, 45,000 words, it's going to be bigger than Wide for the Win—close to 100,000 words. Here's a really important lesson I learned in that, Jo. I thought the book would be something. It became something else. Through my own experiences of doing more in-person events, book signings, and library event. Also in talking to awesome folks like Johnny B. Truant, Katie Cross, Todd Fahnestock, and so many other authors I know, and seeing what Ben Wolf is up to, and a whole bunch of different people who are doing in-person events. In creating case studies for how they interact specifically with a bookstore or library, or how they do in-person selling—I really think the book wasn't ready then. It's like the recipe wasn't ready. I still needed to play with some things. I do sincerely have faith, since I got it into the editorial process, that this will be the year the book actually gets released. Jo: As you said, there are some really good lessons there around sometimes the book not being quite ready. I'd bought an early version from the StoryBundle, which is how I got this book as well, actually. Mark: Yes. Jo: That's another tip for people—storybundle.com. You can go and find some great bundles there. I was also thinking, as you were talking, that maybe one of the reasons this book about in-person events has got so big is because that's a real trend in the community. It feels like indies, we've moved… Back in the day, I said, “I'm not doing print. No way.” This was the early days of digital, because print was really hard back then. So I was like, “Oh, and we've got all the advantages doing digital, so I'm just going to focus on that.” It feels like the pendulum has swung, perhaps even more with the ease of mass production of digital with AI. The focus on print and in person is getting stronger and stronger. Do you think that's happening? Mark: Oh, yes, 100%. I did print in 2004. It was really hard back then, so that's gotten easier. I think there are a few reasons. One of the reasons is, yes, digital made it so much easier for indie authors to get out there and break into the community. But the reality is that print books still outsell e-books in general—overall—despite the fact that indie authors can make six and seven figures a year from selling e-books alone on a single platform. So print has never really gone away. It was just never something indie authors attended to. They were in a different business than traditional publishers were in. And second, obviously I've got these gorgeous books that you've created on Kickstarter, because I like the beautiful books. I've never stopped buying print books. I actually buy more print books. I read more because of audiobooks and e-books, but I buy more print books, especially when I can get a nice signed copy. Then the other reason comes back, again, to your advice—something I've been following for the longest time, and you've long been saying. I do repeat this, and I try my best to offer attribution to you every time I use it: to double down on your humanity, particularly in this age of digital generation and the ability for even non-writers to leverage tools to create content. I think it's so much more important for me, as a creative who will never be able to catch up with the machines, to exploit my humanity. I mean, we both have digital voices of ourselves, right? There's a digital Mark Leslie Lefebvre voice that people can use, and I'm making money off it because people are able to license it through ElevenLabs. But when I'm there in person, so far the holograms aren't good enough to fool people. I think I'm not just selling a book to somebody; I want to create an experience where, “Oh, I'm talking to the author, and we're signing a book together, and we're taking a selfie together.” For me, there's that tactile experience that's really enriching. And it may not be something that lines my pockets as easily, because the investment is more significant. For every $10 I make, it costs me six or seven dollars, as opposed to an e-book, where the cost is amortised in the most beautiful way over millions of copies. Jo: There are a few things there. First of all, let's talk about that ElevenLabs voice licensing, because, as you say, I also have a voice clone. Bones of the Deep, the latest book, that's my voice clone. I haven't gone with the licensing, partly because you don't have control over what someone can do with it. So, for example, someone could create Nazi content, or content that I might not agree with, in my voice. So how have you got over that? Because part of me really does want to license my voice, and the other part doesn't. Mark: This is a great question, Jo, and I'm glad you asked it. It's the same reason I don't worry about people stealing my books—adding DRM onto my e-books and things like that. I may as well make some money off it, because let's be honest: you and I, our voices are out there. Thousands of hours of our voices, right? In your podcast, my podcast, in various interviews we've done over the years. The technology exists for someone to make a copy of my voice themselves anyway. The tools exist. They can do it easily, so why not do it myself and at least make money? I'm actually getting money deposited into my account. Not a lot—maybe $30, $18, something like that every week. Again, I've taken a lot of my non-fiction books that I haven't had the time to record myself, as I like to do, and I can at least load those to ElevenLabs and make my voice the default voice. But wouldn't it be great to be able to listen to my book in your voice? It would sound so much better. Because you can do that. When you listen to a book on that platform, you can choose my voice if you'd rather hear it in my voice, or you can choose Burt Reynolds' voice, or some other folks who've licensed theirs. Again, for me, the whole concept of wide publishing has always been important. It's another small revenue stream that's adding to my numerous revenue streams. So I guess that's how I've justified just licensing the voice. If someone's going to do something with my voice that I can't control, they can do it regardless of whether or not I put it out there myself. Jo: I agree with you. That could happen, and neither of us is famous enough that it's likely to happen anyway. I do quite like the idea of people using our voices, say, for other books for authors, because that would make sense—that's where we fit in the niche. I will rethink that, because I think it's interesting. I wanted to come back to print books. You said sometimes there are easier ways to line your pockets, and I think that's funny. So, getting into the book, this leapt out at me quite near the beginning: Why do we keep doing this when the maths almost never adds up? Mark: Oh, I have a perfect example of that from an event I did a couple of weekends ago in Burlington, Ontario. I think it was a $60 table fee. It was a new event. I believe I made $90 or $95 in sales. So even after the costs of printing and all that stuff, I really didn't make money. I made my table back, which is always a good thing. There were a few encounters I had with people who were really excited to find my Canadian Werewolf series of books, and just so thrilled to get started. Among the four of them, they bought one copy, but they were going to pass it amongst each other. You know what? Okay, they bought a single copy, and I was like, “Well, the e-book is permanently free online. You don't even have to buy a copy”—which is anti-selling. I just want them to read the book and enjoy it. But if they read it and pass it along and start talking about it, they could become readers for a long time. It's an eight-book series, with the ninth book coming out later this year. There was another encounter I had that day. A woman and her teenage daughter came in, and they were looking at my traditionally published books that I buy at a reduced price from a local bookstore and resell. They were looking at these true ghost story books I had, and they were pointing: “Do you have that one?” “Yes, I have this one, I have that one.” And the mother's like, “Well, she collects all your books, and she wants to make sure she has them.” We had this conversation, and she was so excited to meet me in person and to get a signed copy of the book. That experience was such a vanity moment for me as an author. We're lonely. I'm a big loser. Nobody's buying my books. We're always down on ourselves. So that investment of time and energy, in order to get that little pat on the back or that feeling of, “Wow, I really connected with someone who likes my stuff”—those moments are really precious. They're difficult to explain if you only look at the world in a financial way. I guess I'm fortunate enough that I do have enough income from numerous streams, including the consulting I do part-time, that it's okay if not every bookish endeavour leads to more money in my pocket at the end of the day. I can still have these authentic connections with people, which I think is one of the reasons I'm a storyteller. Yes, it's the stories I have to tell, but it's also putting the story into somebody else's hands and eyes and heart and mind. Jo: You're very giving like that. You have that sense about you, whereas I'm just a curmudgeon in the corner. Mark: That is not true. Jo: It is, generally. I don't do events like you do for readers. Mark: But that's because it takes a lot out of you. Jo: Yes, but that doesn't matter. Why do I write? I write for me. Mark: Ah, very good. Jo: At the end of the day—just being entirely selfish about this—when people say, “Oh, if you won the lottery, what would you do?” I'm like, “Well, I'd do pretty much what I'm doing now.” Mark: Yes, I'd just do the same. Of course, I'd write more books. Jo: I'd write more books. So this is where I'm trying to get to for people as well: measuring success in a different way. You were talking about measuring success by how that girl loved your books, and how you feel when someone says they love your books. With Bones of the Deep, this thriller I've just done, I feel like I had the benefit of that book before anyone even read it. As soon as it was finished, I made a nice proof copy from BookVault, and I held it in my hand and said, “I made this. I'm proud of the story, I wrote the story, and it's outside my head now.” I feel like I'm creatively satisfied in that moment. Then, of course, the Kickstarter was great, and I love that the books are going out around the world, but— I think the happiest I felt was that moment of finishing—that creative satisfaction of holding the book in my hand. You know what I mean? Mark: 100%, Jo. I cannot agree with you enough. I love so many aspects of writing. Yes, the connection with people is amazing. But I often say this when I'm doing my one-on-one consulting with authors: focus on the projects that mean the most to you, those passion projects. The process of writing, and the painful rewriting and editing and all the things you go through—when you finish that book, like you said, you hold it in your hands and it is a thing of beauty. It's a huge achievement. You've won. Whether or not you sell a single copy, you've won by doing it. Everything else is gravy: the sales, the money in your pocket or not, the reviews, positive or not, the people who say, “Oh my God, Bones of the Deep, thank you for writing this book. I'm so glad you introduced this into the world and into my life.” Anything beyond the creation itself, which is a pure joy—I love it so much. It's just why I get up at 5:30 every morning and write for hours before the rest of my day begins. I try to get stuff done before the rest of the world wakes up. I want to get the writing done first, when I have the most energy to give myself to the page. Then the rest of the day is kind of gravy for me too. Jo: You talk there about giving yourself to the page, but in Stark Realities— You talk about the fear of truly being seen. What do you mean by that, and how do you manage that feeling? Mark: For anyone who has written anything—fiction, non-fiction, memoir in particular, since it's a bit more closely tied to reality—it's exposing yourself to the world. I'll never forget an interview I did with Canadian science fiction author Julie E. Czerneda, who, before being a fiction writer, was writing biology textbooks, but her real passion was science fiction and fiction. When her first novel came out, she said, “It's like standing naked on the front lawn.” When you release a book, even a novel, people look at it and they're going to judge you and rate you. I remember early on, Jo—we knew each other through Twitter, I think, where we initially met, and then interacted with and finally met in person at London Book Fair. I think you and I have a very similar reaction. When people know us as positive and upbeat and out there helping authors in the community, and then they read our fiction, they go, “Well, Jo, you burned a nun alive on page one.” Or, “Mark, what kind of… they're drinking from the skulls of dead people? What the heck is going on with you two?” We are exposing parts of ourselves in our fiction and non-fiction. That's a fear I embrace, but also never get over, if that makes any sense. I write scary stories because I'm a big chicken. So maybe the entire process is just cheap therapy for me. Or not cheap, because it's an expensive pastime, isn't it? Jo: It certainly can be, but I agree. I struggle with fear of judgment still. I think it's also because we do this in public, which comes back to the financial side of things. We do a lot of this in public, and then people judge us on our author businesses too. You could look at Bones of the Deep, which was just on Kickstarter, and compare my Kickstarter to another author's Kickstarter for a fiction book, and judge one or the other person based on numbers. I feel like this is because you and I have done so much in public—for me, almost 20 years, and for you, like 40 years or whatever. Maybe 30 years. You look that old. Mark: Listen there, dearie. Get off my lawn. Jo: Yes, get off my lawn—with those skeletons you have on your lawn. Mark: Yes. They're no longer in my closet. Jo: They're not in your closet. I wonder if that also plays a part of it—the pros and cons of doing this business in public. Mark: Yes, that is a part of it. One thing I try to be very clear about, because there's so much FOMO and so much out there about people thinking that everyone else is making a million dollars from their books and “I'm the only loser who's not”—I try to be clear that I have never made more than a mid-five figures as an author from my author earnings, ever. I haven't yet hit six figures. One of the reasons I try to be transparent in sharing that is I don't want people to think that everyone else is a six- and seven-figure success story, and they're the only one who's only made $100 last year on their books. The reality is, 90 to 99% of the people who are writing and publishing are not going to earn a significant amount of money. I realise I'm also very, very lucky that I've earned this much, and it's taken a long time. I just shared this in a Substack post I posted yesterday: it was 10 years of rejections before I got $5 for my first short story that was published in '92. It wasn't until 2001 that I finally made pro rate, six cents US a word, for a short story that, ironically, Julie Czerneda bought from me back in the day. For me, I've been lucky that it's always been a long, slow slog. It's been a marathon, and I've never instantly sprinted across any dramatic finish line. I've had some really phenomenal moments—doing a book signing in a Costco, walking into Walmart and seeing my books there. Even last night at the Burlington Public Library, going, “Wow, they have eight of my books here—four of my self-published books and four of my traditionally published books, in two different sections.” I was like, “That's kind of cool.” So I've had these amazing moments as a writer, but I've never had the blockbuster—the Brandon Sanderson, or even the Dungeon Crawler Carl, Matt Dinniman, kind of moments. I still think I've had a very fortunate and lucky journey. Even if I wasn't making the money I'm making, I'd still be writing, and I'm sure you would be too. Jo: Oh, yes, for sure. I actually think the thing most of us would probably let go is the marketing. If we won the lottery, we'd carry on with all the creative stuff, the writing, the community stuff, and we'd just literally do no marketing at all. Mark: Well, yes, of course. Or potentially say, “Oh, here, ad agency, here's some money. You just run it, whatever. Let me know if it works or not. I don't care.” Jo: That's a much better idea. Mark: At least I've got the extra disposable income, so I may as well, because I'm helping the world when my books are out there. I know my books will help people. I really honestly think that as storytellers—whether it's fiction or non-fiction, we're still storytellers—what we do in writing and podcasting and all the things we do, the re-sharing on social media, is really helping connect people. I think that is one of the most profound things we can do as writers. And I mean that the writing, in and of itself, is a reward. Jo: Like you said, we met on Twitter when Twitter was what it was back in the day. I do very, very little social media now. But you just mentioned your Substack, and you also have your podcast, Stark Reflections. So how are you balancing what you put on each? I only do this podcast now. I don't even blog. I write books, obviously, and then I do the podcast. So what are you doing differently on Substack to the podcast, and what part do they play in income and marketing? Mark: Great question. I realise most people have never heard of me, or read or listened to the things I put out into the world. And I've been a longtime fan of “reduce, reuse, recycle my IP.” My podcast is not as long-running as yours, but I'm in my ninth year, and I've not missed a single Friday in the full eight years, or eight and a half by now, that I've been doing this. Every week I reflect on what I learned from an interview, or I'll reflect on something you've posted and say, “This episode is not an interview, but Jo said this last week, and I'm going to talk about it.” The podcast itself takes a lot of work. I still do all of it myself, and I know I probably shouldn't, but I like doing it, so it's one of those tasks I enjoy. I also have reflections that aren't going to come out vocally but might come out in writing. Sometimes in the morning I'm not in the mood to write the novel or the non-fiction book I'm writing, but I'm writing some tangent. I just let the creative monster go. I find that re-sharing… I might have reflected on something for a couple of minutes at the end of an interview, but I really want to expand upon it, so I write the Substack article. I try to reuse some of that content. Someone's going to enjoy seeing it on a short video clip I share on YouTube, or whatever the platform is. Someone else is going to listen to it on a podcast, wherever they listen to podcasts, and someone else is going to want to read it. It could be the same information, just shared in a slightly different way, to potentially get it out to other people. So for me, it's part of that wide publishing mentality. I'm trying not to completely duplicate the work, although I am duplicating some of it. I'll give you an example. Hey, Canadian listeners—if you have not registered for Public Lending Right in Canada, please put something in your calendar for February 2027, because the deadline's over. It was May 1st of 2026. Put it in your calendar for next year. I even had somebody at this writers' event I was at this last weekend say, “You mentioned something in a presentation you did for the Canadian Authors Association about Public Lending Right, and thank you, because now I get thousands of dollars a year from this.” So just look up Public Lending Right. I've been saying stuff about Public Lending Right for at least 10 years now. Every time I get my beautiful multi-four-figure cheque from them in February every year, I post on social media and remind authors to check it out. I know it exists in the UK, and it exists in 36 countries in the world—just not the US. Jo: Not the US. Mark: They don't have a programme like this, probably because the big publishers—and probably one of the authors' associations—think that libraries are cannibalising book sales, which is not true. It's been proven time and time again, and that lobbying has prevented it from happening. Whereas here in Canada, the Canada Council for the Arts and the Writers' Union of Canada worked hard to make this happen. Anyway, I talk about something like Public Lending Right and I feel like I must have said this so much that people are sick of it, but every single time I mention it, someone goes, “Oh my God, thanks for saying that. I never heard it.” That's a good reminder, especially for folks like you and me. We know the basics. We know what an ISBN is. We know KDP Select means you can't put the e-book on any other retailer, or even sell it on your own website. We know all these things, but it's hard for us to remember that there are folks coming to this for the very first time who've never heard it, even though we feel like, “Oh my God, I've said this till I'm blue in the face.” I think I got that from retail. When I worked in retail, I recognised that somebody's going to come in and ask for “that blue book that Reese Witherspoon was talking about,” or Oprah was talking about, or whatever. And you do your darn best to help them figure it out rather than mock them. I try to take the same approach when people ask me those questions, because I'm trying to remember what it was like when I honestly did not know the answer, and having someone take the time to help me. I've been very, very lucky that I've had a lot of people take the time to help me. I'll never forget—God rest her soul—Nancy Kilpatrick, a horror writer here from Canada who passed away a few years ago. She gave me a blurb for my very first book in 2004 because she'd acquired one of my short stories for an anthology she'd edited. I was trying to call my short story collection an anthology, and she very kindly took me aside and said, “It's not an anthology if it's a single author. An anthology is a…” Jo: I didn't know that until, like, last year. I got that wrong as well. There are lots of words like that. I want to circle back, because you didn't really answer earlier about the time management. You just mentioned YouTube, on top of Substack and all the things you do. You also have a day job at Draft2Digital—it's part-time, right? You also do part-time at the university, teaching publishing, right? You do all kinds of things. How do you manage your time with all of that? Mark: Well, I mismanage my time more than I manage it, Jo. That's the God's honest truth. Fortunately, most of the things I have that aren't scheduled—like, scheduled to do this lecture at this time, or scheduled to have this meeting at this particular time with Draft2Digital—most of my work is very flexible. I do not work a regular 9:00 to 5:00, Monday to Friday. Well, I never did. I always worked way more. But I have a very flexible schedule. Every single day is a work day, and every single day is a play day for me. So I'm very, very lucky. I do schedule in the very important things, particularly where somebody else is reliant upon me—meetings and connections and stuff like that. Then I make the time first thing in the morning to get the writing done. Everything else is not as important, and it's part of… I guess it's part of playing. You know, like the social media sharing. I don't look at social media as marketing. I just look at it as another way to connect with people, with other creatives, and with readers potentially, all six people who read my stuff. I probably could do a better job of managing my time. I've tried several times over the years to adapt processes to make it better, but I consistently default back to what I do, and so far I guess I've been getting away with it. So I was like, “Do I want to waste more time trying to come up with a process, or do I just want to roll with it?” Because so far I haven't killed myself doing it, and I've been enjoying the journey. So, if it ain't broke… Jo: I think that's the point, if it doesn't feel like it's broken. Having known you for a long time now, and we work together—obviously we co-wrote The Relaxed Author—you do work very, very differently to me. You definitely are a little bit more chaotic. I'm chaotic in some ways too. Mark: Oh, you're very generous. “A little bit chaotic.” Thanks. That was generous, Jo. Jo: You're chaotic in your work practices and scheduling and all that, which I couldn't cope with very well. Even though I feel like a part of my brain is very chaotic—the creative side, I guess, can be quite chaotic—I think I'm actually quite controlling and very scheduled in my work practices. As you say, for someone else on the outside, it might feel to me like you have too many balls in the air. But if you don't feel that, then that's the way of working that works for you. So this is another important thing, isn't it? You can't adapt to what other people say your life should look like. It's what feels good to you. Mark: Oh, for sure. One thing I know about my procrastination tendency is that panic and fear motivate me. So, a deadline—”I have to get this into a publisher by this date, I have to get this manuscript to an editor by that date”—I'm motivated by fear. And I'm afraid of everything, so I guess I'm always motivated. Jo: But I also know that when you hear the word “deadline”—and I know a lot of people who do this—the deadline means you get it in on the deadline, or the day before the deadline. To me, a deadline means I have it ready a month earlier. Mark: I love that. I've done that a few times and shocked myself. I actually had a pre-order up—with the audiobook, the print, and the e-book—a month in advance, and I didn't know what to do with myself. I was like, “Well, what am I going to do now in the next month?” Jo: Work on the next thing. Mark: But I'm so used to working on it up to the last second that I was kind of like, “What do I do?” That actually caught me by surprise, and I honestly felt weird. I was like, “I've never felt this before.” I'm really lucky. I know you have a very supportive and amazing partner, and so do I. My partner, scarily enough, is maybe a bigger procrastinator than me, so she never gives me a hard time. She supports me, and I do the same thing with her own work. I'm up all night with her at the last minute so we can get something turned in. So, fortunately, we really understand one another, and we don't give each other a hard time. We just go, “Well, got away with it again. I guess I'm not going to change my ways.” Jo: We made it. And again, that's the point. You and I could stand up in front of people, both hold up the last book we wrote, and say, “We made this,” and our processes are completely different. Our brains are completely different. We come from different countries. There are lots of things that are different, and yet we both made a book. So hopefully that encourages people. You don't have to do anything that we're telling you, or anyone else tells you. But if you want to be an author, at some point you have to produce a book. Mark: Exactly. As Brian in the classic Monty Python film gets them to say: “Yes, we are all different.” Embrace that difference. I think that's such a powerful reminder that there is no one process for getting anything done. Jo: Given that we co-wrote The Relaxed Author back in 2021—and we did that because we had another show, and we were talking, and we said, “Oh, everyone's stressed and the anxiety levels are really high, and we think there's a better path”—we co-wrote that book, which I think is still a very good book. Definitely people should get it. Interestingly, I think the stress and anxiety might actually be higher now than it was. So what do you think the main stresses are in the community now? You also see a lot with Draft2Digital, I guess, as well. Mark: Oh, for sure. Honestly, Jo, I'm so glad we wrote that book, because I actually pick it up every once in a while to remind myself of the things we tried to help others with. Again, it's therapy for me as well, so I'm so glad we did it. I think we're 10, if not 100, times more stressed. The world events and things going on, the divisiveness—not just in the world in general, in politics and everything else, but the divisiveness in the author community. The witch-hunting that happens, people trying to tear down other authors either because they're successful, or because, “Oh my God, you dared use a new technology.” All of these things are happening, and everyone's at one another's throats. I need to pick that book up and reread it. I'm a lot more stressed than I was. I'm just getting over shingles, which is… Jo: Oh. Which is actually related to stress as well, isn't it? Mark: It is, yes. I was in LA for Writers of the Future—I'm a judge for that science fiction and fantasy conference. I went right from LA, like a week in LA, which was a phenomenal experience getting to mentor the winners. And I mean, come on, it's a free trip to Hollywood, hanging out with Kevin Anderson, having beers and stuff like that. Then I came back to the Toronto Indie Author Conference, run by Tao Wong, here in Toronto. I went right from the airport—didn't even go home—straight to the hotel, because I kicked into another conference. We did a display on how to set up an in-person booth, so I ended up having to hand-bomb boxes, blocks down the street from where I was parked. My chest was really sore when I got home on the Monday, and I thought it was because I hadn't used these muscles, because I'm not in the best shape. Then I took my shirt off and went, “Oh, there's a rash there.” Liz goes, “You have shingles.” Because the pain in my chest, which I thought was the muscle, was actually underneath. I'm one of those lucky people that it's taken the full five weeks, and I'm still in pain even afterwards. So, again, public notice: if you're an older person like me, and there's a vaccine available for shingles, you may want to consider it. Jo: Yep, get it. Mark: Oh my God, it hurts. But, yes, the stress, I think, is higher—even though I didn't know I was feeling it. It was happy stress, right? I was stressed out because I'm there in Hollywood, helping people and doing some good things, and then I'm doing the same thing, interacting with some amazing authors at the Toronto Indie Author Conference. I didn't feel anxious stress. I was happy stress. Is that a thing? Jo: I think possibly… your physical body masks stress, physical stress, because you enjoy all of that stuff. Whereas someone like me, I'll feel it quicker and withdraw. Although I say that, back probably a decade ago, Jonathan would say to me, “You're going too fast, and you're going to hit the wall. And when you hit the wall, it's not going to be fun.” And I did hit the wall. Then, probably in 2021—I mean, that was when I just started going into menopause, and obviously we had the pandemic, and I wrote Pilgrimage, and I was doing all those walks, which I think really helped me. I learned a lot about maybe stopping that before it happened. Becca Syme obviously talks a lot about this too. But I find it interesting with you, because I think you're so positively happy with these events you do that it might mask your physical symptoms in a different way. That's really hard to watch out for. I'll give a tip to you and everyone else listening: schedule the calendar, and look at your calendar and go, “I can't go back-to-back-to-back. I have to put in some rest days.” Mark: Well, thank you. You know, Jo, you and Becca Syme are two of my best unpaid therapists. I appreciate that. Jo: You just don't listen, Mark. Mark: Or sometimes I do. Jo: Just coming back to the community, and the divisiveness there is primarily over AI at the moment, I think that's one of the biggest things. And the arbitrary lines as to what you're allowed to use it for and what you're not allowed to use it for, which is just kind of crazy. Obviously, you know I've opted out of that whole discussion now. How do you think we can move through this [divisiveness over AI], move on? We remember when it was trad versus indie, and then it was wide versus KU. So this will pass—it's just hard, when you're in it, to know when it might pass. Mark: Yes. I think the more generic advice—for whatever may come, whatever has come—is: why are you doing this? Why are you a writer? Heads down, focus on what gives you pleasure, and do that, because everything else is noise. All the marketing tactics and strategies, and all the people yelling at one another. Write your books. Do the things that motivate you. Do the things that give you that intrinsic reward. It's hard to ignore. I get it, it is hard to ignore. I have difficulty ignoring the haters and the yelling and the screaming that happens, but I do my best. Like this morning, when I was in the throes of my manuscript and I looked up and went, “Oh my God, I've got to shower. I'm going to be talking to Jo soon, I should comb my hair”—which I have none of. Because I was so in my book that everything else melted away. That, for me as a storyteller, as a writer, is one of the most beautiful places to be. Jo: I think you're absolutely right. I have a little thing that pops up in my calendar sometimes which says, “If you're feeling all of these things, just go create something.” The moment you refocus on creation—whatever that means to you—things change. It changes the energy. That, or go for a walk. That's my other tip. Mark: Outside. And I have to say, Jo, Pilgrimage is still one of the most profound and powerful books you've written, and you've written a lot of amazing ones. Jo: Oh, you're very sweet. Mark: That one really resonates, not just for me, but with Liz. Because one of the things we often do when we get stressed is go for a walk, ideally in nature. The vitamin N. I think there's something really profound in that, and it really helps me a lot. And again, sometimes going for a walk listening to your podcast, or an audiobook, or sometimes just attending to the environment. A tip I picked up years ago from Brooklyn author Denis Hamill was: go for a walk with your character. Listen to what they see. What do they comment on? How do they approach this environment that you've seen a million times? How do they see it? What do they notice that you don't notice? That's such an incredible experience of creativity—when you're not writing, but writing. That really helps me a lot. Jo: Oh, nice one. Okay, so your latest book is Stark Realities, but you have so many more. Where can people find you and your books and your podcast online? Mark: Jo, you can find everything you want to know about me—and stuff you don't want to know about me—over at MarkLeslie.ca. It links to all the other places from there. Jo: Brilliant. Thanks again for your time, Mark. That was great. Mark: Thanks so much, Jo. Bye-bye. The post Creative Satisfaction, In Person Print Book Sales, And Author Mindset With Mark Leslie Lefebvre first appeared on The Creative Penn.

Ref.: Rainer Harter, Gründer und Leiter des Gebetshauses Freiburg, Freiburg im Breisgau Buch zur Impulsreihe:  Radical Love Jesus light gibt es nicht Echte Nachfolge braucht das ganze Herz. Herder Verlag; ISBN: 978-3-451-03311-7; Preis: 20  

Bright on Buddhism - Feed Drop - Nihonshi, A Japanese History Podcast - 3/11 Fukushima Nuclear DisasterJoin me as I drop an episode of my forthcoming 2nd podcast, Nihonshi, a Japanese History Podcast. On this show, we will be discussing topics in Japanese history and diving deep into their circumstances, their context, and their significance. We will talk about who the major players were, what their agendas were, and why they did what they did. Hopefully, by the end of each episode, you will have a better understanding and appreciation of Japanese history, but also East Asian history in general. I hope you enjoy. Resources: Architectural Institute of Japan, ed. (2012). Preliminary Reconnaissance Report of the 2011 Tōhoku-Chiho Taiheiyo-Oki Earthquake. Geotechnical, Geological and Earthquake Engineering. Vol. 23. Springer. doi:10.1007/978-4-431-54097-7. ISBN 978-4-431-54096-0.Birmingham, Lucy; McNeill, David (2012). Strong in the Rain: Surviving Japan's Earthquake, Tsunami and Fukushima Nuclear Disaster. Palgrave Macmillan. p. 256. ISBN 978-1-137-05060-1.[Council for Central] Disaster Management, Cabinet Office, Government of Japan (March 2015). Disaster Management in Japan (in Japanese and English).Parry, Richard Lloyd (2017). Ghosts of the Tsunami: Death and Life in Japan's Disaster Zone. New York: MCD/Farrar, Straus and Giroux. ISBN 978-0-374-25397-4.McLaughlin, Levi (2013). "What Have Religious Groups Done After 3.11? Part 1: A Brief Survey of Religious Mobilization after the Great East Japan Earthquake Disasters". Religion Compass. 7 (8): 294–308. doi:10.1111/rec3.12057.McLaughlin, Levi (2013). "What Have Religious Groups Done After 3.11? Part 2: From Religious Mobilization to 'Spiritual Care'". Religion Compass. 7 (8): 309–325. doi:10.1111/rec3.12056_________________________________If you like our show and would like to support us, we encourage you to give your money or resources to a worthy cause. We can get through this. Our strongest weapon is solidarity. Stay strong and help where you can. Thank you.Do you have a question about Buddhism that you'd like us to discuss? Let us know by emailing us at Bright.On.Buddhism@gmail.com.Credits:Nick Bright: Script, Cover Art, Music, Voice of Hearer, Co-HostProven Paradox: Editing, mixing and mastering, social media, Voice of Hermit, Co-Host

In der heutigen Folge sprechen Noir und Finn mit Clara vom Podcast ACE AROund the Cake über das Buch “Entromantisiert euch! Ein Weckruf” von Beatrice Frasl. Sie sprechen darüber, worum es in dem Buch geht und wie weit sie mit Frasls Schlussfolgerungen übereinstimmen. Außerdem betrachten sie die aktuelle Verwendung des Begriffs “Liebe” in a*spec Büchern und in aktuellen (queer)feministischen Kontexten und teilen ihre Wahrnehmung diesbezüglich unter anderem aus einer aplatonischen und loveless Perspektive. Sie überlegen außerdem, welche Schritte sie selbst setzen können, um Normen rund um romantische Beziehungen und Liebe in ihrem Leben abzubauen. Moderation: Noir, FinnGastperson(en): ClaraProduktionsleitung: FinnRedaktion: Noir, Finn, ClaraSchnitt: FinnQualitätssicherung: Delfin This work is licensed under a Creative Commons Attribution 4.0 International License Folge von ACE AROund the Cake zu Entromantisiert euch!ACE AROund the Cake Folge 36 – Entromantisieren wir uns?, https://acearoundthecake.de/2026/06/18/36-entromantisieren-wir-uns/ Content NotesAnmerkung: Je nach verwendetem Player können die Zeitstempel leicht von der tatsächlichen Zeit in der Folge abweichen.Ganze Folge: Geschlechterbinarität und Geschlechterrollen, Fokus auf heterosexuelle Paarbeziehungen, Patriarchat und patriarchale Strukturen, Misogynie und misogyne Strukturen, Romantik-Negativität, Amatornormativität, Reduzierung gesellschaftlicher Probleme und dem Entgegenwirken auf die Abschaffung romantischer Liebe / Paarbeziehungen00:02:32 – 00:06:02 | Amatornormativität, Abwertung platonischer Liebe und Freund*innenschaften gegenüber romantischer Liebe, Geschlechterbinarität, Stereotype Geschlechterrollen, toxische Männlichkeit, Sexismus, Idealisierung und Romantisierung von Limerenz und Verliebtheit00:06:35 – 00:08:05 | Einsamkeit und Vereinsamung (in Paarbeziehungen), Geschlechterbinarität, Idealisierung romantischer Paarbeziehungen00:08:05 – 00:09:56 | Konsumkapitalismus (am “Datingmarkt”) bzw. Vergleiche von Konsum(kapitalismus) mit Dating, Objektifizierende Bewertung von Personen00:09:58 – 00:13:50 | Zentrierung von Sex und körperlicher Nähe in romantische Paarbeziehungen, Geschlechterbinarität, Toxische Männlichkeit, Absprechen von Männlichkeit, Abwertung anderer Formen körperlicher Nähe gegenüber Sex, Reduzierung von Sex auf PiV (Penis-In-Vagina-Penetration), Zentrierung von Sexualität auf männliche Bedürfnisse, Compulsory Sexuality00:13:59 – 00:19:07 | Unbezahlte Care Arbeit (und deren Romantisierung), Trennung aufgrund von nicht mehr vorhandener Arbeitsfähigkeit, Misogyne Strukturen und Misogynie, Romantik-Negativität, Relationship Escalator (Beziehungsrolltreppe), Kapitalismus, Patriarchat, Familismus, Sexismus, Absprechen von Liebe, Absprechen von Menschlichkeit, Loveless-Feindlichkeit, Geschlechterrollenbilder, Geschlechterbinarität, Geschlechterbezogene Ungleichheit in heteroromantisch-sexuellen Paarbeziehungen00:19:18 – 00:22:27 | Gewalt in Paarbeziehungen, Häusliche Gewalt, Sexismus, Misogynie, Femizide / Feminizide, Geschlechterbinarität, Geschlechterrollenbilder und -zuschreibungen, Amatonormativität, Zentrierung von Sexualität (Erwähnung), Unbezahlte Care Arbeit (Erwähnung), Erziehung von Frauen zum Wunsch nach normativen Paarbeziehungen00:22:27 – 00:24:50 | Amatonormativität (Romantisierung von Liebe und Verliebtheit), Geschlechterbinarität und Geschlechterrollen, Patriarchat, Toxische Männlichkeit, Zentrierung von Nähe auf Sexualität in romantischen Paarbeziehungen, Vernachlässigung von Auswirkungen auf Männer00:25:01 – 00:28:52 | Romantik-Negativität, Häusliche Gewalt, Femizide / Feminizide, Zentrierung von Sex in romantischen Paarbeziehungen, Geschlechterbezogene Ungleichheit in Paarbeziehungen, verkürzte Darstellung von / Sicht auf poly* Beziehungen, vermeintliches Monopol von romantischen Paarbeziehungen auf Liebe00:29:35 – 00:29:52 | Probleme in heterosexuell-romantischen Paarbeziehungen (Vereinsamung, Gewalt an Frauen)00:29:52 – 00:30:15 | Romantik-Negativität00:31:43 – 00:32:16 | Geschlechterbinarität und Geschlechterrollen, Patriarchat, normative Bilder romantischer Paarbeziehungen, Vernachlässigung von Auswirkungen der Liebesnorm auf alle außer Frauen00:35:40 – 00:35:54 | Klassismus / Ableismus und damit verbundene Hürden in Bezug auf Fachliteratur00:37:17 – 00:37:40 | Verallgemeinerte Aussage zur romantische Liebe bzw. deren Abschaffung00:38:20 – 00:38:35 | Romantik-Negativität, Unbezahlte Care Arbeit (Erwähnung), Ungleich verteilte emotionale Arbeit (Erwähnung), Gesellschaftliche Romantisierung von Limerenz und anderen Emotionen00:44:22 – 00:49:35 | Patriarchale Strukturen, ungleich verteilte Care Arbeit, Toxische Männlichkeit, Familismus00:49:49 – 00:51:52 | Trennung (Scheidung, Scheidungsraten), konservative und religiöse Kritik an steigenden Scheidungsraten00:53:04 – 00:55:25 | Naturalisierung romantischer Liebe / romantischer Anziehung, Amatonormativität, gesellschaftliche Bilder von Liebe, Romantik und Partner*innenschaften00:01:20 – 01:05:55 | Reproduktion von mononormativen und amatonormativen Beziehungsvorstellungen und Normen in alternativen Beziehungsformen (z. B. queeplatonischen oder poly* Beziehungen), Respectability Politics, Fokus auf Liebe im Aktivismus (Aro*spec-Erasure, Loveless-Erasure)01:11:12 – 01:20:56 | Platonormativität, Loveless-Feindlichkeit und Erasure, Apl*spec-Erasure und Feindlichkeit, Respectability Politics, Idealisierung des Begriffs Liebe, Bezugnahme auf loveless- und apl*spec-feindliche Annahmen, die Liebe über andere Empfindungen hierarchisieren01:22:48 – 01:23:05 | Ansprechen der Ansicht, Freund*innenschaft sei vermeintlich die bessere Form von Liebe01:23:52 – 01:24:01 | Spirituelle Aufladung und Komponente des Begriffs Liebe01:24:45 – 01:33:13 | Amatonormativität, Liebesnorm (Überhöhung und Idealisierung von Liebe), Loveless- und Apl*spec-Erasure01:31:14 – 01:32:25 | Religiös / Spirituell aufgeladene Sprache01:33:51 – 01:34:13 | Romantik-Negativität01:34:20 – 01:37:20 | Bezugnahme auf patriarchale Beziehungsstrukturen und normativen Beziehungsmustern, Ungleiche Verteilung von Care Arbeit,01:37:20 – 01:38:40 | Amatonormativität, Amatonormative Sprache die romantische bzw. partner*innenschaftliche Beziehungen über andere Beziehungsformen hierarchisiert01:38:52 – 01:41:38 | Relationship-Skill-Gap, patriarchale Strukturen und ihre Folgen (binär-geschlechtliche Sozialisation), ungleich verteilte (emotionale) Care Arbeit (Zuschreibung der Verantwortung zu Care Arbeit zu Frauen / weiblich sozialisierten Personen), Geschlechterbinarität und Geschlechterrollenbilder01:42:48 – 01:43:17 | Relationship-Skill-Gap, binäre Geschlechterrollen, cis-heteronormative Sozialisation und deren Auswirkungen auf Männer Kapitelmarken00:00:00 | Cold Open00:00:14 | Intro00:00:38 | Begrüßung und Einleitung00:02:17 | Start in den Inhalt des Buches00:02:43 | (Einschub) Definition: Amatonormativität00:04:08 | (Einschub) Inhaltshinweis00:06:02 | Vereinsamung in Paarbeziehungen & Dating00:09:58 | Zentrierung von Sexualität und körperliche Nähe in Paarbeziehungen00:13:59 | Unbezahlte Care Arbeit und ihre Romantisierung00:19:18 | Gewalt in Paarbeziehungen00:25:01 | Abschaffung der romantischen Liebe00:29:03 | Allgemeiner Eindruck der Moderation zum Buch00:37:17 | Romantische Liebe abschaffen?01:00:12 | Revolutionäres Potenzial alternativer Beziehungsformen01:11:12 | Platonormativität, aplatonische und loveless Perspektiven01:11:53 | (Einschub) Definition: Platonormativität01:12:20 | (Einschub) Definition: Aplatonik01:13:25 | (Einschub) Definition: Loveless01:33:24 | Offene Fragen01:42:48 | Lexikon: Relationship-Skill-Gap01:43:27 | Kulturecke: Entromantisiert euch! von Beatrice Frasl01:44:33 | Was nehmen wir mit?01:46:31 | Hinweis auf die Sommerpause01:47:07 | Verabschiedung, Dank und Kontaktmöglichkeiten01:48:55 | Outro LexikonRelationship-Skill-Gap – Der Begriff Relationship-Skill-Gap bezeichnet nach Gregory Matos die Kluft, die sich bezüglich der Beziehungskompetenzen zwischen den (binären) Geschlechtern auftut. Männer haben mit ihren aufgrund ihrer gesellschaftlichen Sozialisation oft geringer ausgeprägte soziale und kommunikative Kompetenzen oft weniger der beim Führen von zwischenmenschlichen Beziehungen und Partner*innenschaften benötigten Fähigkeiten. Damit haben sie bei Frauen heute oft geringere Chancen als noch vor einigen Jahren oder Jahrzehnten. KultureckeBeatrice Frasl, Entromantisiert euch! Ein Weckruf, Deutsch, 280 Seiten, ISBN: 978-3-7099-8251-8 (Innsbruck: Haymon Verlag 2025 Begriffserklärung: SubversivDas Wort subversiv kommt vom spätlateinischen subversio für “Umkehrung”, “Umsturz” oder “Zerstörung” bzw. subvertere für “umkehren”, “umstürzen” oder “vernichten”) und beschreibt Handlungen, Ideen oder Konzepte, die das Ziel haben, bestehende gesellschaftliche Normen oder Autoritäten zu destabilisieren und zu verändern. Wenn in der Folge von subversiven Potenzial alternativer Beziehungsformen und Konzepte die Rede ist, geht es um Möglichkeiten, die diese Lebensentwürfe beinhalten, gesellschaftliche Normen in Frage zu stellen und diese über die Zeit zu verändern. Erwähnte InSpektren-FolgenInSpektren, Folge 66 – Fragen zu Limerenz, https://inspektren.eu/66-fragen-zu-limerenz InSpektren, Folge 67 – Limerenz, https://inspektren.eu/67-limerenz InSpektren, Folge 93 – Liebesmacht. Gespräch mit Nora Kellner, https://inspektren.eu/93-liebesmacht-gespraech-mit-nora-kellner Erwähnte BücherAlice Osemann, Loveless (deutsche Ausgabe), übersetzt von Vanessa Walder, Deutsch, 480 Seiten, Roman, Aroace-Hauptcharakter, ISBN: 978-3-7432-1219-0 (Bindlach: Loewe Jugendbücher 2022)Kayla Kaszyca/Sarah Costello, Sounds Fake But Okay. An Asexual and Aromantic Perspective on Love, Relationships, Sex, and Pretty Much Anything Else, Englisch, 160 Seiten, ISBN: 978-1-83997-001-6 (Bad Hersfeld: Hachette Children's Book 2023)Nora Kellner, LiebesMacht. Über Freund*innenschaft, Aromantik und die Dekonstruktion von romantischen Beziehungen, Deutsch, 336 Seiten, ISBN: 978-3-89771-254-6 (Münster: Unrast Verlag 2025) Shout-OutsIntrosprecher: KijargoIntro/Outro: John Bartmann – Jazzy DetectiveAudio-Player Uns findet ihr außerdem hierinspektren.euinstagram: inspektren_podcastfacebook: InSpektren.Podcasttwitch: InSpektren_Podcasttwitter: InSpektrenMastodon: chaos.social/@inspektrenDiscord: aspecgerman.deMail: info@inspektren.euYouTubeSpotifyAmazon MusicApple PodcastGoogle PodcastA*spec Vibes zum Anhören findet ihr auf unserer Spotify Playlist

In the library of a theological seminary, a researcher opens Eusebius's Church History and traces the bishops of Jerusalem - the mother church, the apostolic see of sees. He finds fifteen names spanning nearly two centuries. Marcus. Cassian. Publius. Maximus. Julian. Gaius. Symmachus. And eight more.No biographies. No letters. No sermons. No doctrines. No martyrdom accounts. Not a single quotation from their enemies. Fifteen bishops, two hundred years - and a perfect, surgical silence.Rome, Antioch, and Alexandria - churches that suffered the same persecutions - all preserved rich documentary traditions. Only Jerusalem is a vacuum. Not a damaged record. An erasure.This is Part 1 of "Sleight of Hand, Sleight of Scripture" - a documentary series from Pre-Nicene Perspective, hosted by Darren Kelama, based on the 2026 paper "The Myth of the Jerusalem Continuity" by Chancellor A.W. Mitchell (Journal of Pre-Nicene Christian Studies).In this episode, we walk the crime scene: Aelia Capitolina, the pagan colony Hadrian built on the rubble of Jerusalem in AD 135. Banned from the city on pain of death were not only Jews - but Jewish scriptures. Inside those walls, the only Christian canon that could legally exist was one without the Old Testament: the Evangelion and the Apostolikon. Hadrian, unwittingly, granted the unalloyed Pauline gospel a two-hundred-year sanctuary.And we meet the first ghost: Marcus, the first Gentile bishop of Aelia Capitolina, whom Mitchell identifies as the first Christian bishop in the Pauline sense - leader of a church whose Bible had no Torah, whose God was not Yahweh, whose throne was the mother church itself, and whose treasury held the accumulation of Paul's diaspora collection. ▶ PART 2 DROPS NEXT WEEK—————————⏱ CHAPTERS—————————0:00 — Cold Open: Fifteen Names, Fifteen Ghosts1:52 — The Question That Launched a 1,700-Year Cold Case2:20 — Welcome to Pre-Nicene Perspective (Series Intro)2:48 — Aelia Capitolina (AD 135)4:12 — Possessing the Septuagint Was a Capital Crime5:08 — The Only Christians Who Could Survive in Aelia6:04 — The Mitchell Thesis (2026 Paper)7:00 — Part III — The Red Herrings8:24 — Claim 1: "The Records Were Lost"9:48 — Claim 2: Irenaeus Never Quotes Them10:44 — Claim 3: "Jerusalem Was Always Yahwist"11:40 — Part IV — The Investigation Begins12:36 — The First Christian Bishop in the Pauline Sense13:04 — The Treasury of the Mother Church13:52 — The Apostolikon — Paul's War Report14:28 — Marcus Resolves to Act (Cliffhanger — Part 2 Next Week)—————————ACADEMIC SOURCES & FURTHER READING—————————

Was macht politische Arbeit mit Menschen? Das Buch "Wer macht's noch?" von Tannaz Falaknaz & Cécile Weidhofer thematisiert die drastischen Auswirkungen des politischen Betriebs auf die mentale Gesundheit der Politiker & Politikerinnen. Die beiden Autorinnen beschreiben Politik als einen Risikoberuf, der durch permanente Erreichbarkeit, hohen Leistungsdruck und zunehmende Anfeindungen geprägt ist. Anhand von Erfahrungsberichten bekannter Politiker wie Kevin Hönicke oder Marina Weisband wird aufgezeigt, wie toxische Strukturen und mangelnde Diversität den demokratischen Nachwuchs gefährden. Ein zentraler Fokus liegt auf der Kommunalpolitik, in der die Grenze zwischen Ehrenamt und Überlastung oft verschwimmt. Das Werk plädiert abschließend für eine strukturelle Reform der politischen Arbeitswelt, um Partizipation gesund und nachhaltig zu gestalten. Damit wird die psychische Verfassung von EntscheidungsträgerInnen als eine essenzielle Frage der demokratischen Infrastruktur definiert. Heute spreche ich im Podcast mit den beiden Autorinnen, die beide unterschiedliche parteipolitische Hintergründe (SPD und FDP) haben und sich als „sozialliberale Koalition“ verstehen. Cécile Weidhofer: ist Direktorin bei der EAF Berlin (Europäische Akademie für Frauen in Politik und Wirtschaft e.V.) und arbeitet seit vielen Jahren zu Gleichstellung in Politik und Verwaltung. Zuvor war sie kommunal- und parteipolitisch in Mecklenburg-Vorpommern aktiv. Die gebürtige Französin lebt mit ihrer Familie in Brandenburg und setzt sich in Workshops und Vorträgen mit Fragen der Demokratie, Repräsentation und politischer Teilhabe auseinander. Tannaz Falaknaz: ist Expertin, Trainerin und Moderatorin für Diversity und Frauen in der Politik. Zu ihren Schwerpunkten zählen parteiinterne Strategien zur Gewinnung von Frauen für die Kommunalpolitik. Sie war fünf Jahre lang kommunale Mandatsträgerin in Berlin-Pankow und darüber hinaus viele Jahre parteipolitisch aktiv. Geboren im Iran und aufgewachsen in Deutschland, lebt sie heute in Münster. Interessante Links: https://www.herder.de/geschichte-politik/shop/p4/94847-wer-machts-noch-klappenbroschur/ https://www.kulturkaufhaus.de/de/detail/ISBN-9783451037177/Falaknaz-Tannaz/Wer-macht%C2%B4s-noch https://www.eaf-berlin.de/wer-wir-sind/team/cecile-weidhofer https://de.wikipedia.org/wiki/C%C3%A9cile_Bonnet-Weidhofer Mentale Gesundheit von Politiker:innen | MentaleGesundheit-Politik.de Startseite - Frauen Vielfalt Politik https://www.eaf-berlin.de/wer-wir-sind/team/tannaz-falaknaz https://speakerinnen.org/de/profiles/15826 https://www.fes.de/sommerakademie-2026/speakerinnen https://z2x.zeit.de/profile/74152 https://www.amazon.de/anders-f%C3%BCr-die-Macht-Gleichberechtigung/dp/3451391368

A Scholarly Textual Analysis of Orchid Imagery in Barbados © 2026 Dr.William Anderson Gittens, D.D. ISBN 979-8-90553-446-1AbstractThis conversation presents a textual and visual analysis of a residential structure and a collection of flowering orchids situated within a cultivated tropical garden. Through the lens of visual semiotics and environmental aesthetics, the images reveal a dynamic relationship between architecture, landscape design, and botanical symbolism. The house functions as a signifier of permanence, order, and domestic identity, while the orchids symbolize rarity, cultivation, beauty, and ecological diversity. Together, these visual elements construct a narrative of human interaction with nature, where built and organic environments coexist in a carefully maintained aesthetic ecosystem. The analysis demonstrates how colour, composition, spatial organization, and botanical diversity communicate cultural values associated with tropical domesticity and environmental stewardship. The underpinning of this conversation is grounded in theories of visual analysis, orchids, architecture, semiotics, tropical gardens, and environmental aestheticsDr.William Anderson Gittens, D.D.Podcast 299. A Scholarly Textual Analysis of Orchid Imagery in Barbados© 2026 ISBN: 979-8-90553-446-1 by Dr. William Anderson Gittens, D.D.,Devgro Media Arts Services Publishing®2015 In collaboration with iMovie present Podcast 299. A Scholarly Textual Analysis of Orchid Imagery in Barbados© 2026 ISBN: 979-8-90553-446-1 by Dr. William Anderson Gittens, D.D.,RECOGNITIONSAs I take a moment to reflect on my journey, I am filled with profound gratitude for the Creator's guiding hand that has led me every step of the way. Life has brought me countless blessings, and at the forefront of these blessings is the immeasurable debt of thanks I owe to my late parents, Charles and Ira Gittens. They bestowed upon me their wisdom and creative spirit, which have been a consistent source of inspiration throughout my life. Their counsel and encouragement continue to resonate within me, shaping my path and purpose. To my beloved wife, Magnola Gittens, your unwavering support has been my anchor in turbulent seas. Your love and understanding provide the strength necessary to navigate life's complexities. I am eternally grateful for your presence, which comforts and uplifts me. To my brothers—Shurland, Charles, Ricardo, and my late brothers Arnott and Stephen—as well as my sisters, Emerald, Marcella, and Cheryl, thank you for being my steadfast companions along this journey. Each of you has contributed uniquely to my narrative, reminding me of the importance of family ties in shaping who I am today. I extend my heartfelt appreciation to my cousins: Joy Mayers, Kevin and Ernest Mayers, Donna Archer, Avis Dyer, and Jackie Clarke. Your love and camaraderie have enriched my life beyond measure. To my uncles, Clifford, Leonard Mayers, David Bruce, and Collin Rock, your support has been invaluable, strengthening the bonds of our family. To my children, Laron and Lisa, grandson Elijah you are my pride and joy, the motivation behind my work, fuelling my desire to create and inspire.Moreover, I am equally grateful to all who have believed in me and wanted nothing but the best for my growth. Mr. and Mrs. Andrew Platizky, Mr. Matthew Sutton, Mr. Juan Arroyo, Mr. and Mrs. David Lavine, and many others have played pivotal roles in my development, encouraging me to pursue my passions relentlessly. During my time at New Jersey City University (NJCU), I had the privilege of receiving guidance from exceptional mentors, including the late Dr. Joseph Drew, Merline Mayers, Mrs. Ellen Gordon, Dr. Nicholas Gordon, Rev. Dr. Scofield Eversley BSS, and many others. Conversations about enhancing my writing skills after graduating were integral to my growth, providing the foundation for my future endeavours. Over the past three decades, my experiences in the leisure activities industry have significantly shaped my journey. From 1995 to 2026, I have devoted myself to writing, resulting in 472 E-Publications and 299 podcasts that resonate within the community. In recognition of the profound impact Dr. Joseph Drew had on my academic and personal development, I dedicated my 66th publication, "A Tribute to Culture" Vol. 1, to him—a small token of gratitude for his enormous influence on my life.As I look forward to what lies ahead, I remain thankful to all who have contributed to my story and to the Creator for the endless possibilities this journey holds. Each person's presence has left an indelible mark on my life, guiding me toward a future filled with hope and potential.Dr. William Anderson Gittens, D.D.References Gittens, W. A. (2026). The Five Ws on the Word's Etymology and the Orchid's Habitat [Audio podcast episode]. Spotify. https://open.spotify.com/episode/examplelink Gittens, W. A. (2026). The Five Ws on the Word's Etymology and the Orchid's Habitat [Abstract]. Academia.edu. https://www.academia.edu/examplelinkGittens, W. A. (2026). Where are orchids found in Barbados?Gittens, W. A. (2026). Where are orchids found in Barbados? D.D. Copyright.Sievers, T. (2024). 47 orchid varieties: Different types of orchids. Epic Gardening. https://www.epicgardening.com/types-of-orchids/Chase, M. W., Christenhusz, M. J. M., & Mirenda, T. (2017). The book of orchids: A life-size guide to six hundred species from around the world. University of Chicago Press.American Orchid Society. (n.d.). Orchid care and culture. https://www.aos.orgThe "Five Ws" on the Word's Etymology and the Orchid's Habitat: An Interdisciplinary Investigation into Language, Knowledge, Ecology, Media, and Spiritual Consciousness by Dr. William Anderson Gittens, D.D. Copyright ISBN: 978-976-97942-8-3 © 2026Support the showCultural Factors Influence Academic Achievements© 2024 ISBN978-976-97385-7-7 A_MEMOIR_OF_Dr_William_Anderson_Gittens_D_D_2024_ISBNISBN978_976_97385_0_8Academic.edu. Chief of Audio Visual Aids Officer Mr. Michael Owen Chief of Audio Visual Aids Officer Mr. Selwyn Belle Commissioner of Police Mr. Orville Durant Dr. William Anderson Gittens, D.D En.wikipedia.org/wiki/Lifelong_learning Hackett Philip Media Resource Development Officer Holder, B,Anthony Episcopal Priest,https://brainly.com/question/36353773https://en.wikipedia.org/wiki/Lifelong_learning#cite_note-19https://en.wikipedia.org/wiki/Lifelong_learning#cite_note-:2-18https://independent.academia.edu/WilliamGittens/Bookshttps://scholar.google.com/scholar?hl=en&as_sdt=0%2C5&q=william+anderson+gittens+barbados&oq=william+anderson+gittenshttps://www.academia.edu/123754463/https://www.buzzsprout.com/429292/episodes. https://www.youtube.com/@williamandersongittens1714. Mr.Greene, Rupert

No episódio do Podcast do PublishNews desta semana, falamos sobre Sebos, ou o mercado de livros usados. Conversamos com André Palme, CEO da Estante Virtual, marketplace dedicado a livros, conectando sebos e pequenas livrarias aos leitores. E também Bruno Eliezer, livreiro da Ponta de Lança, editor e dono do Sebo da Ponta.Falamos sobre sebos e mercado de livros usados, da sua importância no mercado editorial, da descoberta de títulos em catálogo e o futuro do ponto físico.O podcast é oferecimento da: MVB América Latina Um livro, Câmara Brasileira do Livro e Nielsen BookData — referência mundial em dados que impulsionam estratégias e Gráfica Viena.Este podcast é um oferecimento da MVB América Latina! Onde a inovação e tecnologia impulsionam o mercado do livro. Com a Pubnet, você ganha eficiência, agilidade e segurança em cada pedido.E quando o assunto é metadados… metadados é com Metabooks! Porque, no fim das contas, o propósito da MVB é um só: levar os livros até os leitores! https://pt.mvb-online.com/Já ouviu falar em POD, impressão sob demanda? Nossos parceiros da UmLivro são referência dessa tecnologia no Brasil, que permite vender primeiro e imprimir depois; reduzindo custos com estoque, armazenamento e distribuição. Com o POD da UmLivro, você disponibiliza 100% do seu catálogo sem perder nenhuma venda. http://umlivro.com.brA Câmara Brasileira do Livro representa editores, livreiros, distribuidores e demais profissionais do setor e atua para promover o acesso ao livro e a democratização da leitura no Brasil. É a Agência Brasileira do ISBN e possui uma plataforma digital que oferece serviços como: ISBN, Código de Barras, Ficha Catalográfica, Registro de Direito Autoral e Carta de Exclusividade. https://cbl.org.brIndicações:Livro: Conspiração no Triângulo Maia - Leonelo Abello Mesa (Ponta de Lança)Livro: Bambino a Roma - Chico Buarque (Companhia das Letras)Livro: Luiza Helena – Mulher do Brasil - Pedro Bial (Editora Gente)Livro: Clara dos anjos - Lima BarretoSérie: Brasil 70: A Saga do Tri

Ref.: Pfr. Dr. Johannes Holdt, Wallfahrtsrektor in der Wallfahrtskirche Weggental, Rottenburg am Neckar Buch im Impuls erwähnt:  Du bist der geliebte Mensch Heute spirituell leben von Henri J. M. Nouwen  Herder Verlag; ISBN: 978-3-451-06752-5; Preis: 13  

Bright on Buddhism - Episode 141 - What are mandalas? What is their significance in Buddhism? How ought we understand them?Resources: Brauen, M. (1997). The Mandala, Sacred circle in Tibetan Buddhism Serindia Press, London.Bucknell, Roderick & Stuart-Fox, Martin (1986). The Twilight Language: Explorations in Buddhist Meditation and Symbolism. Curzon Press: London. ISBN 0-312-82540-4Cammann, S. (1950). Suggested Origin of the Tibetan Mandala Paintings The Art Quarterly, Vol. 8, Detroit.Cowen, Painton (2005). The Rose Window, London and New York, (offers the most complete overview of the evolution and meaning of the form, accompanied by hundreds of colour illustrations.)Crossman, Sylvie and Barou, Jean-Pierre (1995). Tibetan Mandala, Art & Practice The Wheel of Time, Konecky and Konecky.Fontana, David (2005). "Meditating with Mandalas", Duncan Baird Publishers, London.Gold, Peter (1994). Navajo & Tibetan sacred wisdom: the circle of the spirit. Inner Traditions/Bear. ISBN 0-89281-411-X. Rochester, Vermont: Inner Traditions International.Mipham, Sakyong Jamgön (2002) 2000 Seminary Transcripts Book 1 Vajradhatu Publications ISBN 1-55055-002-0Somorjit, Wangam (2018). "World's Largest Mandalas from Manipur and Carl Jung's Archetype of the Self", neScholar, vol.04, Issue 01, ed.Dr. R.K. Nimai Singh ISSN 2350-0336Tucci, Giuseppe (1973). The Theory and Practice of the Mandala trans. Alan Houghton Brodrick, New York, Samuel Weisner.Vitali, Roberto (1990). Early Temples of Central Tibet London, Serindia Publications.Wayman, Alex (1973). "Symbolism of the Mandala Palace" in The Buddhist Tantras Delhi, Motilal Banarsidass._________________________________If you like our show and would like to support us, we encourage you to give your money or resources to a worthy cause. We can get through this. Our strongest weapon is solidarity. Stay strong and help where you can. Thank you.Do you have a question about Buddhism that you'd like us to discuss? Let us know by emailing us at Bright.On.Buddhism@gmail.com.Credits:Nick Bright: Script, Cover Art, Music, Voice of Hearer, Co-HostProven Paradox: Editing, mixing and mastering, social media, Voice of Hermit, Co-Host

Andreas und Werner sprechen zum dritten Mal mit Jens Jüttner – und das aus gutem Grund: Seine beiden bisherigen Folgen (39 und 41) gehören zu den meistgehörten des Podcasts. Nach Krankheitsbeginn, akuten Phasen und Genesung geht es diesmal um eine entscheidende Frage: Wie übernimmt man nach einer schweren psychischen Erkrankung wieder selbst das Steuer? Jens ist bei diesem Thema Fachmann in mehrfacher Hinsicht: Er ist selbst betroffen gewesen und kennt die Erkrankung aus eigener Erfahrung. Gleichzeitig ist er Jurist, Betriebswirt, Autor und heute als EX-IN-Genesungsbegleiter – als Experte aus Erfahrung – in der Psychiatrie tätig. So erlebt er Empowerment aus einer doppelten Perspektive: in der Begleitung von Klientinnen und Klienten und immer wieder bei sich selbst. Gemeinsam füllen die drei den oft abstrakten Begriff „Empowerment“ mit konkretem Leben: vom Weg aus dem Kontrollverlust zurück zur Selbstbestimmung, über das Verstehen der eigenen Frühwarnzeichen und das Mitentscheiden bei der Behandlung bis hin zum Umgang mit Stigma und Selbststigma. Es geht um Selbstwirksamkeit, Hoffnung und Sinn – aber auch ehrlich um die Grenzen von Empowerment, das niemals zum neuen Druck werden darf. Und um einen befreienden Gedanken von Jens: dass Recovery ein nie abgeschlossener Prozess sein darf – und das vollkommen in Ordnung ist. Eine Mut machende Folge für Betroffene, Angehörige und Fachleute. Unser Gast Jens Jüttner (Autor & Referent): https://www.jensjuettner.com/ Buch: „Als ich aus der Zeit fiel – Mein Weg durch die paranoide Schizophrenie“ (pinguletta Verlag, ISBN 978-3-948063-11-5). pinguletta Verlag: https://www.pinguletta-verlag.de/ Empowerment, Recovery & Peer-Arbeit EX-IN Deutschland (Genesungsbegleitung / Experten aus Erfahrung): https://ex-in.de/ Andreas Knuf: „Empowerment und Recovery“ (Psychiatrie Verlag): https://psychiatrie-verlag.de/product/recovery-und-empowerment/ Hintergrund zum Krankheitsbild psychenet.de – Was ist eine Psychose?: https://www.psychenet.de/de/entscheidungshilfen/entscheidungshilfe-psychose/was-ist-eine-psychose/was-ist-eine-psychose-2.html Unsere früheren Folgen mit Jens Jüttner Folge 39 – Schizophrenie Teil 1: Krankheitsbeginn und akute Phasen Folge 41 – Schizophrenie Teil 2: Krankheitsbewältigung, Genesung und Teilhabe am Leben in der Gesellschaft

Stewart Russell's Chapter 2  The Missing Notes Copyright2026.mp3References to Stewart Russell's The Missing Notes © 2026 Chapter Two, “The Missing Notes,” ISBN 978-976-97942-2-1 are analyzed through an interdisciplinary framework. This discourse presents a simplified APA-formatted summary of Dr. William Anderson Gittens, D.D.'s multimodal hermeneutical and media semiotic approach, combining etymological, textual, cultural, and theological perspectives to explore the semantic and ethical layers within the narrative construct meaning. It should be noted that this academic tool integrates the study of signs (semiotics) with the interpretation of cultural texts (hermeneutics) across various sensory modes (multimodality) to understand complex, layered messages. This thinking is supported by https://www.researchgate.net/publication/335024801_Multimodal_Semiosis_In_Mass_Media_Several_Remarks_On_Methodology and Gittens,W.A. © 2026Dr. William Anderson Gittens, D.D.Podcast 298 Stewart Russell's Chapter 2: The Missing Notes,A Multimodal Hermeneutic and Media Semiotic Analysis © 2026Devgro Media Arts Services Publishing®2015 In collaboration with iMovie present Podcast 298 Stewart Russell's Chapter 2: The Missing Notes,A Multimodal Hermeneutic and Media Semiotic Analysis © 2026RECOGNITIONSAs I take a moment to reflect on my journey, I am filled with profound gratitude for the Creator's guiding hand that has led me every step of the way. Life has brought me countless blessings, and at the forefront of these blessings is the immeasurable debt of thanks I owe to my late parents, Charles and Ira Gittens. They bestowed upon me their wisdom and creative spirit, which have been a consistent source of inspiration throughout my life. Their counsel and encouragement continue to resonate within me, shaping my path and purpose. To my beloved wife, Magnola Gittens, your unwavering support has been my anchor in turbulent seas. Your love and understanding provide the strength necessary to navigate life's complexities. I am eternally grateful for your presence, which comforts and uplifts me. To my brothers—Shurland, Charles, Ricardo, and my late brothers Arnott and Stephen—as well as my sisters, Emerald, Marcella, and Cheryl, thank you for being my steadfast companions along this journey. Each of you has contributed uniquely to my narrative, reminding me of the importance of family ties in shaping who I am today. I extend my heartfelt appreciation to my cousins: Joy Mayers, Kevin and Ernest Mayers, Donna Archer, Avis Dyer, and Jackie Clarke. Your love and camaraderie have enriched my life beyond measure. To my uncles, Clifford, Leonard Mayers, David Bruce, and Collin Rock, your support has been invaluable, strengthening the bonds of our family. To my children, Laron and Lisa, grandson Elijah you are my pride and joy, the motivation behind my work, fuelling my desire to create and inspire.Moreover, I am equally grateful to all who have believed in me and wanted nothing but the best for my growth. Mr. and Mrs. Andrew Platizky, Mr. Matthew Sutton, Mr. Juan Arroyo, Mr. and Mrs. David Lavine, and many others have played pivotal roles in my development, encouraging me to pursue my passions relentlessly. During my time at New Jersey City University (NJCU), I had the privilege of receiving guidance from exceptional mentors, including the late Dr. Joseph Drew, Merline Mayers, Mrs. Ellen Gordon, Dr. Nicholas Gordon, Rev. Dr. Scofield Eversley BSS, and many others. Conversations about enhancing my writing skills after graduating were integral to my growth, providing the foundation for my future endeavours. Over the past three decades, my experiences in the leisure activities industry have significantly shaped my journey. From 1995 to 2026, I have devoted myself to writing, resulting in 471 E-Publications and 298 podcasts that resonate within the community. In recognition of the profound impact Dr. Joseph Drew had on my academic and personal development, I dedicated my 66th publication, "A Tribute to Culture" Vol. 1, to him—a small token of gratitude for his enormous influence on my life.As I look forward to what lies ahead, I remain thankful to all who have contributed to my story and to the Creator for the endless possibilities this journey holds. Each person's presence has left an indelible mark on my life, guiding me toward a future filled with hope and potential.Dr. William Anderson Gittens, D.D.ReferencesBarthes, R. (1981). Camera lucida: Reflections on photography. Hill and Wang.  Brooks, P. (1984). Reading for the plot: Design and intention in narrative. Harvard University Press.  Butler, J. (1990). Gender trouble: Feminism and the subversion of identity. Routledge.  Cart, M. (2016). Young adult literature: From romance to realism. American Library Association.  Cawelti, J. G. (1976). Adventure, mystery, and romance: Formula stories as art and popular culture. University of Chicago Press.  Freytag, G. (1863/1894). Freytag's technique of the drama: An exposition of dramatic composition and art. Scott, Foresman.  Glotfelty, C., & Fromm, H. (Eds.). (1996). The ecocriticism reader: Landmarks in literary ecology. University of Georgia Press.  Gittens, W.A. (2026). “Chapter One of Stewart Russell's The Mystery Call  © 2026: An Interdisciplinary Analysis through Writing, Podcasting, Publishing, Photojournalism, Cinematography, Media Arts, Cultural Theory, and Divinity” Published by Devgro Media Arts Services Publishing ® 2015. ISBN 978-976-97942-9-0.Hall, S. (1997). Representation: Cultural representations and signifying practices. Sage Publications.  Jenkins, H. (2006). Convergence culture: Where old and new media collide. NYU Press.  McHugh, S. (2016). Audio storytelling: Podcasting for learning and engagement. Routledge.  Russell, S. (2026). The mystery call (Chapter 1). ISBN 978-976-97942-9-0.Russell, S. © 2026. The mystery call. Published by Devgro Media Arts Services Publishing ® 2015. ISBN 978-976-97942-9-0.Todorov, T. (1977). The poetics of prose. Cornell University Press.  Support the showCultural Factors Influence Academic Achievements© 2024 ISBN978-976-97385-7-7 A_MEMOIR_OF_Dr_William_Anderson_Gittens_D_D_2024_ISBNISBN978_976_97385_0_8Academic.edu. Chief of Audio Visual Aids Officer Mr. Michael Owen Chief of Audio Visual Aids Officer Mr. Selwyn Belle Commissioner of Police Mr. Orville Durant Dr. William Anderson Gittens, D.D En.wikipedia.org/wiki/Lifelong_learning Hackett Philip Media Resource Development Officer Holder, B,Anthony Episcopal Priest,https://brainly.com/question/36353773https://en.wikipedia.org/wiki/Lifelong_learning#cite_note-19https://en.wikipedia.org/wiki/Lifelong_learning#cite_note-:2-18https://independent.academia.edu/WilliamGittens/Bookshttps://scholar.google.com/scholar?hl=en&as_sdt=0%2C5&q=william+anderson+gittens+barbados&oq=william+anderson+gittenshttps://www.academia.edu/123754463/https://www.buzzsprout.com/429292/episodes. https://www.youtube.com/@williamandersongittens1714. Mr.Greene, Rupert

No episódio do Podcast do PublishNews ouvimos uma das mesas do 5º Encontro de Editores, Livreiros, Distribuidores e Gráficos, organizado pela CBL, que aconteceu em maio no Guarujá no litoral de São Paulo. Escolhemos a conversa: “Tendências que já estão moldando o futuro do livro”, com Daniel Lameira, fundador da Editora Seiva; Rejane Dias, fundadora e gestora do Grupo Autêntica com a mediação de Talita Facchini. Eles conversam sobre as tendências emergentes no mercado editorial, destacando a importância de identificar sinais de mudança, adaptar estratégias de publicação e envolver comunidades de leitores na era digital. O podcast é oferecimento da: MVB América Latina Um livro, Câmara Brasileira do Livro e Nielsen BookData — referência mundial em dados que impulsionam estratégias e fortalecem o mercado do livro e também mais um novo apoiador: Gráfica Viena.Este podcast é um oferecimento da MVB América Latina! Onde a inovação e tecnologia impulsionam o mercado do livro. Com a Pubnet, você ganha eficiência, agilidade e segurança em cada pedido.E quando o assunto é metadados… metadados é com Metabooks! Porque, no fim das contas, o propósito da MVB é um só: levar os livros até os leitores! https://pt.mvb-online.com/Já ouviu falar em POD, impressão sob demanda? Nossos parceiros da UmLivro são referência dessa tecnologia no Brasil, que permite vender primeiro e imprimir depois; reduzindo custos com estoque, armazenamento e distribuição. Com o POD da UmLivro, você disponibiliza 100% do seu catálogo sem perder nenhuma venda. http://umlivro.com.brA Câmara Brasileira do Livro representa editores, livreiros, distribuidores e demais profissionais do setor e atua para promover o acesso ao livro e a democratização da leitura no Brasil. É a Agência Brasileira do ISBN e possui uma plataforma digital que oferece serviços como: ISBN, Código de Barras, Ficha Catalográfica, Registro de Direito Autoral e Carta de Exclusividade. https://cbl.org.br

For over a century, Pennsylvania has been a hotspot for UFO encounters that baffle experts and leave witnesses questioning reality. From glowing discs in remote lakes to crafts that defy physics, the Keystone State's skies are filled with the mysterious, paranormal, and extraterrestrial.EPISODE BLOG PAGE (includes sources):  https://weirddarkness.com/PennsylvaniaUFOsREAD or DOWNLOAD the full transcript of this episode: https://weirddarkness.tiny.us/ye247nxkFEATURED STORIES IN THIS EPISODE: Pennsylvania has always been a land of mysteries in the skies. It has become one of the most intriguing destinations for UFO sightings throughout the years, with tales that date back long before the term “flying saucer” was even coined. From glowing discs hovering over fields, to objects that break the laws of physics, the state's history is filled with encounters that leave you wondering what might actually be out there. And these are not mere passing glimpses; these are encounters that can leave a witness profoundly shaken – altered for life. There's the Carbondale incident, where strange lights in a lake sent people into a panic. There's the experienced aviator who encountered something that decades in the cockpit could not explain. There are numerous accounts of silent craft and disc-shaped objects, eerie lights in the sky — occasions when the stars were blotted out. There are reports of the stopping of time, an encounter that had state troopers speechless, and even an extraterrestrial werewolf-like entity. From the earliest sightings in 1917 through more modern accounts, Pennsylvania's connection to the UFO phenomenon is undeniable, if not unbelievable. What's going on in the skies over the Keystone State? And why is it happening there in particular?CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = The Foreboding00:01:37.162 = Show Open00:02:45.008 = Chapter 01: Lanterns and Lies: The Carbondale UFO Mystery00:11:48.101 = Chapter 02: Eerie Lights in Erie ***00:15:12.728 = Chapter 03: The Oil City Light Show00:16:46.996 = Chapter 04: Saylor's Lake, Silent Lights, and a Stunned State Trooper00:18:09.833 = Chapter 05: A Tent, A Grandmother, And A Silent Visitor Overhead00:20:02.281 = Chapter 06: The Wainwright's Werewolf00:25:33.631 = Chapter 07: The Black Circle In The Sky ***00:27:55.349 = Chapter 08: Friday Night Lights In The Sky00:30:36.853 = Chapter 09: Playing Chicken With An Experienced Pilot00:32:40.481 = Chapter 10: Mind Probing and Time Stopping00:35:41.135 = Chapter 11: The First Saucers00:41:31.466 = Chapter 12: Why Pennsylvania? ***00:44:16.924 = Show Close & Bloopers*** = Begins immediately after inserted ad breakLISTEN ON PODCAST APPS: Look for this podcast on Apple Podcasts, Spotify, iHeart Radio, Amazon Music, Pandora, TuneIn Radio, and other podcast apps. Get a list of free listening apps here: https://weirddarkness.com/wdapps*No AI Voices Are Used In The Narration Of This Podcast*SOURCES and RESOURCES:UFOs in Pennsylvania: Encounters with Extraterrestrials in the Keystone State, Patty A. Wilson, ISBN 9780811 706483The Carbondale UFO Crash, 11-11-1974, The Reality, the Hoaxes and the Legend, M.J. Graeber https://www.ufocasebook.com/carbondalecrash1974.htmlHovered- Colored lights went out- sped away -left trail, National UFO Reporting Centerhttp://www.nuforc.org/webreports/068/S68976.htmlUFO Over Westline, National UFO Reporting Center http://www.nuforc.org/webreports/032/S32964.htmlUFO Over Erie, National UFO Reporting Center http://www.nuforc.org/webreports/019/S19817.htmlBright lights in the sky seperated by several miles, National UFO Reporting Centerhttp://www.nuforc.org/webreports/043/S43145.htmlWar of the Worlds Sighting, National UFO Reporting Center http://www.nuforc.org/webreports/054/S54491.htmlVery large circular craft with engine problem, descends, stabilizes, restores engines and tests them, National UFO Reporting Center http://www.nuforc.org/webreports/016/S16875.htmlOne larger white object & 2 smaller round white objects, National UFO Reporting Center http://www.nuforc.org/webreports/048/S48591.htmlUFO Sighting Johnstown 1951, National UFO Reporting Center http://www.nuforc.org/webreports/132/S132897.htmlBright Blue Object Sighting, National UFO Reporting Center http://www.nuforc.org/webreports/035/S35223.htmlSix craft observed that brought people out of their homes to look up, National UFO Reporting Center http://www.nuforc.org/webreports/043/S43006.htmlThe Discreetly Intriguing Carbondale Case – A Downed UFO In Pennsylvania, Marcus Lowth, UFO Insighthttps://www.ufoinsight.com/ufos/cover-ups/carbondale-case-downed-ufo-pennsylvania(Over time links may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)WeirdDarkness® is a registered trademark. Copyright ©2026, Weird Darkness.Originally aired: February 24, 2025Weird Darkness traces more than a century of unexplained encounters in the skies over Pennsylvania, from a glowing disc submerged in a Carbondale lake to a werewolf-faced figure tied to a silent craft, the apparent stopping of time outside New Kensington, and the geography researchers believe may explain why the Keystone State draws so many sightings.It opens with the Carbondale incident of November 1974, when teenagers Bill Lloyd, John Lloyd, and Bob Gillette watched a golden-white light streak from the direction of Salem Mountain and drop near the lake outside Russell Park. A disc-shaped glow moved beneath the water, the surface fizzed and turned a sickly green-yellow, and when Officers Barbero and Jacobina fired their weapons at it, the object appeared to dodge the shots. The boys overheard a police radio order to hold off the news media, watched a scuba diver surface screaming, and saw a crane and delivery truck brought to the water's edge under the eye of Police Chief Francis Dottle — only for divers to later produce a single old railroad worker's lantern and declare the whole thing a hoax. Matt Graeber of the UFO Report and Information Center in Philadelphia arrived at five in the morning to find a crowd of between fifteen hundred and three thousand people ringing the lake.From there the episode moves to February 1975 in Simpson, where a driver on Route 171 joined other motorists pulled over to watch red and green lights hover before a white beam appeared and the object shot off faster than a fighter jet. That June, two friends fishing at Red Bank near the Allegheny Reservoir tracked a craft that stopped dead in midair and hovered for roughly an hour, then heard KDKA radio report at six-thirty that morning that a UFO had crashed into an eastern Pennsylvania lake and the National Guard had it surrounded, before the story disappeared from every outlet. Near Erie around the same stretch, two motorists stopped to study a silent disc about eighty feet across hanging a thousand feet up, ringed with red, yellow, blue, and green lights, and afterward never spoke of it to each other again.Next comes Oil City on November 1, 1974, where CB radio chatter about lights near the Vocational Technical Center across from Oil City High School drew a group of brothers out to look. They found three or four bright lights spread miles apart, moving in geometric formations no aircraft could manage, performing for nearly two hours in front of hundreds of onlookers.The account then shifts to Saylor's Lake in Monroe County on the evening of March 1, 1973, where lights began darting fifteen hundred feet above the water around seven-thirty, shifting between white, red, and blue. State Trooper Jeffrey Hontz, sent to investigate, later told the press the display looked like Christmas trees flying in the air. Witnesses counted roughly forty separate lights, all of them silent at an altitude where planes or helicopters would have roared, and the spectacle lasted until just before eleven.That summer of 1973 in Erie, a teenager sleeping in a backyard tent to escape the heat saw a red, star-like object cross the sky with apparent purpose and ran inside to fetch his grandmother. By the time the two returned, the sky had filled with colored star-like objects moving at impossible angles and near-collisions before they winked out of existence rather than flying away, and the grandmother, though she had watched the whole half-hour, afterward refused to discuss any of it.The most frightening encounter belongs to Bensalem on August 27, 1973, when Alan and Elsie Wainwright saw a boomerang-shaped craft glide silently over their home, halt overhead, and d

Dietmar Dath zu narrativem Utopisieren. zur Veranstaltung ‘Creative Construction and the Struggle over Progress – Democratic Planning in the 21st Century' am 11.06.2026, 19:00 Uhr im NACHTASYL Hamburg:  https://www.thalia-theater.de/de/stuecke/creative-construction-and-the-struggle-over-progress-democratic-planning-in-the-21st-century/361 Groos, J. & Sorg, C. (2026). Creative Construction. Demokratische Planung im 21. Jahrhundert. Brumaire.  https://brumaireverlag.myshopify.com/products/creative-construction Saito, K. (2026). Am Ende des Fortschritts: Überleben in den Ruinen des Kapitalismus. dtv.  https://www.dtv.de/buch/am-ende-des-fortschritts-28534 Shownotes Dietmar Dath Dietmar Dath bei der Frankfurter Allgemeinen:  https://www.faz.net/redaktion/dietmar-dath-200002914.html Staab, P. (2025). Systemkrise. Suhrkamp.  https://www.suhrkamp.de/buch/philipp-staab-systemkrise-t-9783518128237 zum Kohei Saito Zitat “The future is collapsed. The future is barbarism”:     https://thenew.institute/en/people/kohei-saito zu Peter Hacks: https://www.deutsche-biographie.de/gnd118544330.html#dbocontent zu Kohei Saito:  https://www.u-tokyo.ac.jp/focus/en/people/k0001_04217.html zu Wachstum bei Kohei Saito:  Saito, K. (2024). Slow Down: How Degrowth Communism can save the Earth. W&N. https://www.weidenfeldandnicolson.co.uk/titles/kohei-saito/slow-down/9781399612975/ zur Debatte zwischen Karl Kraus und Bertold Brecht:  New Brecht Research. (2017). Karl Kraus und Bertolt Brecht: Über die Vergleichbarkeit des Unvergleichlichen. Cambridge University Press.  https://www.cambridge.org/core/books/abs/brecht-yearbook-das-brechtjahrbuch-40/karl-kraus-und-bertolt-brecht-uber-die-vergleichbarkeit-des-unvergleichlichen/2A44E347B63B3D9CA03BA5B176595BAF zu Kim Stanley Robinson:  https://www.penguin.de/autoren/kim-stanley-robinson/108810 Bogdanow, A. (1908 [2023]). Der rote Stern. Ein utopistischer Roman. Hofenberg. https://www.morawa.at/detail/ISBN-9783743742567/Bogdanow-Alexander/Der-rote-Stern zu Sokrates Diktum ‘Das unerforschte Leben ist nicht lebenswert': https://de.wikipedia.org/wiki/Das_unerforschte_Leben_ist_nicht_lebenswert Dath, D. (2008). Die Abschaffung der Arten. Suhrkamp. https://www.suhrkamp.de/buch/dietmar-dath-die-abschaffung-der-arten-t-9783518461457 zum Arno Schmidt Zitat „Friß Deine Knackwurst, Sklav, / und halt Dein Maul!“: Schmidt, A. Deutsches Elend. Haffmans.  https://www.abebooks.de/9783251001729/Deutsches-Elend-3251001728/plp?srsltid=AfmBOoq3TGqF7mNkpjPkajJW59Tayz53LjBrISop2z66e3143yl5nzM7 Wells, H. G. (2025). Die Zeitmaschine. Anaconda.  https://www.penguin.de/buecher/h-g-wells-die-zeitmaschine-roman/lederausgabe/9783730615621 Das vollständige Zitat von Marx & Engels: “(...) - während in der kommunistischen Gesellschaft, wo Jeder nicht einen ausschließlichen Kreis der Tätigkeit hat, sondern sich in jedem beliebigen Zweige ausbilden kann, die Gesellschaft die allgemeine Produktion regelt und mir eben dadurch möglich macht, heute dies, morgen jenes zu tun, morgens zu jagen, nachmittags zu fischen, abends Viehzucht zu treiben, nach dem Essen zu kritisieren, wie ich gerade Lust habe, ohne je Jäger, Fischer, Hirt oder Kritiker zu werden”.  Marx, K. & Engels, F. (1845-1846 [2025]). Die deutsche Ideologie. Dietz Berlin.  https://dietzberlin.de/produkt/mew-marx-engels-werke-band-3-2/ Marx, K. (1867-1894 [2020]). Das Kapital I-III. Nikol Verlag.  https://nikol-verlag.de/products/das-kapital zu Deng Xiaoping:  https://www.bpb.de/themen/asien/china/44262/portraet-deng-xiaoping/ zur Internationalen Arbeiterassoziation (IAA):   https://de.wikipedia.org/wiki/Internationale_Arbeiterassoziation Arendt, H. (1968 [2012]). Menschen in finsteren Zeiten. Piper.  https://www.piper.de/buecher/menschen-in-finsteren-zeiten-isbn-978-3-492-27491-3 zur Pascalschen Wette:  https://www.philomag.de/artikel/blaise-pascals-wette-auf-gott zum Film ‘Zwei zu eins' von Natja Brunckhorst:  https://de.wikipedia.org/wiki/Zwei_zu_eins zu den ‘Innsbrucker Brillenversuchen':   https://ulb-dok.uibk.ac.at/ZuFo/periodical/pagetext/3390118 Vogl, J. (2020). Oikodizee. In J. Vogl & B. Wolf (Ed.), Handbuch Literatur & Ökonomie (pp. 224-226). Berlin, Boston: De Gruyter. https://www.degruyterbrill.com/de/document/doi/10.1515/9783110516821-043/html?srsltid=AfmBOooZTqBa7NJlVlREfgACbQtOhaXHMT0kvM18najxaXGB1MTAiEkZ zu Palantir und Peter Thiel:  https://de.wikipedia.org/wiki/Palantir_Technologies https://de.wikipedia.org/wiki/Peter_Thiel Godwin, T. (1954). The Cold Equations. Astounding Magazine.  https://www.lightspeedmagazine.com/fiction/the-cold-equations/ zu Peter Wessel Zapffe und sein Buch ‘Der letzte Messias':  https://de.wikipedia.org/wiki/Peter_Wessel_Zapffe https://en.wikipedia.org/wiki/The_Last_Messiah https://philosophynow.org/issues/45/The_Last_Messiah Thiel, P. & Masters, B. (2014). Zero to One: Wie Innovation unsere Gesellschaft rettet. Campus.  https://campus.de/wirtschaft-gesellschaft/wirtschaftssachbuch/zero-to-one/CAM50160?srsltid=AfmBOorr-gSCbflqzy12O7H4p9byHg3veREUThkWa7umEYx_vAOcYacp Beckett, L. X. (2019). Gamechanger.   https://www.lxbeckett.com/gamechanger/ zur 68er Bewegung:   https://www.bpb.de/themen/zeit-kulturgeschichte/68er-bewegung/ zu Louis Pasteur:  https://de.wikipedia.org/wiki/Louis_Pasteur zu Obschtschina (russische Dorfgemeinschaft) und Marx:  https://www.telepolis.de/article/Britischer-Kolonialismus-und-russische-Dorfgemeinde-Zerstoerung-und-Ueberlebenshoffnung-4000616.html?seite=all Dath, D. )2019). Niegeschichte: Science Fiction als Kunst- und Denkmaschine. Matthes & Seitz.  https://www.matthes-seitz-berlin.de/buch/niegeschichte.html zum Third World Network-Africa:  https://www.twnafrica.org/ zur 14. WTO-Ministerkonferenz in Yaoundé, Kamerun:  https://www.bpb.de/kurz-knapp/hintergrund-aktuell/576435/14-wto-ministerkonferenz-in-yaounde/ von Redecker, E. (2026). Dieser Drang nach Härte. Über den neuen Faschismus. S. Fischer.  https://www.fischerverlage.de/buch/eva-von-redecker-dieser-drang-nach-haerte-9783103977240 Relevante Future Histories Folgen S03E55 | Kim Stanley Robinson on Real Utopian Futures https://www.futurehistories.today/episoden-blog/s03/e55-kim-stanley-robinson-on-real-utopian-futures/ S03E53 | Philipp Staab zur Systemkrise  https://www.futurehistories.today/episoden-blog/s03/e53-philipp-staab-zur-systemkrise/ S03E45 | Luise Meier zu kommunisitischem Utopisieren https://www.futurehistories.today/episoden-blog/s03/e45-luise-meier-zu-kommunistischem-utopisieren/ S02E38 | Eva von Redecker zu Bleibefreiheit und Demokratischer Planung https://www.futurehistories.today/episoden-blog/s02/e38-eva-von-redecker-zu-bleibefreiheit-und-demokratischer-planung/ S01E25 | Joseph Vogl zur Krise des Regierens https://www.futurehistories.today/episoden-blog/s01/e25-joseph-vogl-zur-krise-des-regierens/ — Future Histories Kontakt & Unterstützung: Wenn euch Future Histories gefällt, dann erwägt doch bitte eine Unterstützung auf Patreon: https://www.patreon.com/join/FutureHistories Schreibt mir unter: office@futurehistories.today Instagram: https://www.instagram.com/futurehpodcast/ Mastodon: https://mstdn.social/@FutureHistories Website mit allen Folgen: https://www.futurehistories.today/ Episode Keywords #DietmarDath, #JanGroos, #Interview, #FrankfurterAllgemeine, #FutureHistories, #SciFi, #ScienceFiction, #Fantasy, #Utopie, #Markt, #Zukunft, #Kommunismus, #Sozialismus, #Demokratie, #Imagination, #Gesellschaft, #Literatur, #Marxismus, #Marx, #Engels, #Solidarität, #Narrative, #Geschichte  

A tiny island in the French West Indies, St. Barthélemy was long the ugly duckling of the Caribbean, a barren volcanic rock loved by few, aside from the often-inbred descendants of the first French settlers who arrived in the 17th century. Today, St. Barth is recognized worldwide as the luxury travel destination for the super-rich. At the height of its high season, between Christmas and New Year's Day, the island's harbor is transformed into a parking lot for superyachts, and its beaches, restaurants, and clubs become the ultimate see-and-be-seen scene. In Treasured Island, Treasured Island: The Story of St. Barth…and Its Barbarians, Billionaires, and Beauties (June 16, 2026; Harper Collins; ISBN: 978-0063410961; $32.00; Hardcover), Gross shares 8 never revealed island secretsBecome a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

On this episode of Self-Publishing with ALLi, Dan Holloway reports on Spotify's investor day, where the company credited its Page Match feature for a 60 percent rise in audiobook listening hours, notes ElevenLabs' quiet expansion as a listening platform in its own right, and examines a troubling trend in AI copyright class actions — where increasingly narrow eligibility requirements around ISBN registration and Copyright Office filings are leaving many indie and overseas authors out of the picture. Sponsor Self-Publishing News is proudly sponsored by PublishMe—helping indie authors succeed globally with expert translation, tailored marketing, and publishing support. From first draft to international launch, PublishMe ensures your book reaches readers everywhere. Visit publishme.me. Find more author advice, tips, and tools at our Self-publishing Author Advice Center, with a huge archive of nearly 2,000 blog posts and a handy search box to find key info on the topic you need. About the Host Dan Holloway is a novelist, poet, and spoken word artist. He is the MC of the performance arts show The New Libertines, He competed at the National Poetry Slam final at the Royal Albert Hall. His latest collection, The Transparency of Sutures, is  available on Kindle.

Bright on Buddhism - Śrīmālādevī Siṃhanāda Sūtra - Part 2 - Chapters 6-10Join us as we read and discuss Chapters 1-5 of the Diana Paul translation of the Śrīmālādevī Siṃhanāda SūtraBarber, Anthony W. (2009), Buddhism in the Krishna River Valley of Andhra, NY: State Univ of New YorkBrown, Brian Edward (1994), The Buddha Nature. A Study of the Tathagatagarbha and Alayavijnana, Delhi: Motilal Banarsidass PublishersHodge, Stephen (2006), "On the Eschatology of the Mahaparinirvana Sutra and Related Matters". (PDF), lecture delivered at the University of London, SOASMcRae, John; Paul, Diana (2004), The Sutra of Queen Śrīmālā of the Lion's Roar and the Vimalakīrti Sutra (PDF), Berkeley, CA: Numata Center for Buddhist Translation and Research, ISBN 1886439311, archived from the original (PDF) on 2017-02-28, retrieved 2017-05-06Tola, Fernando; Dragonetti, Carmen (2004), Being As Consciousness: Yogācāra Philosophy of Buddhism, Delhi: Motilal Banarsidass, ISBN 8120819675Wayman, Alex and Hideko (1990), The Lion's roar of Queen Srimala, New York: Columbia University Press_________________________________If you like our show and would like to support us, we encourage you to give your money or resources to a worthy cause. We can get through this. Our strongest weapon is solidarity. Stay strong and help where you can. Thank you.Do you have a question about Buddhism that you'd like us to discuss? Let us know by emailing us at Bright.On.Buddhism@gmail.com.Credits:Nick Bright: Script, Cover Art, Music, Voice of Hearer, Co-HostProven Paradox: Editing, mixing and mastering, social media, Voice of Hermit, Co-Host

Chapter One of Stewart Russell's The Mystery Call © 2026  .mp3Chapter One of Stewart Russell's The Mystery Call  © 2026: An Interdisciplinary Analysis through Writing, Podcasting, Publishing, Photojournalism, Cinematography, Media Arts, Cultural Theory, and Divinity”Dr. William Anderson Gittens, D.D. ISBN 978-976-97942-9-0 AbstractThis literature review examines Chapter One of Stewart Russell's The Mystery Call (2026) through an interdisciplinary framework encompassing literary criticism, narrative journalism, podcast storytelling, publishing studies, photojournalism, cinematography, media arts, cultural theory, and theological reflection. The chapter introduces Carson Marshall and his companions as they prepare for a summer expedition to Idyllic Gardens, a location simultaneously characterized by natural beauty and hidden danger. Through close textual analysis, this review explores the chapter's narrative architecture, characterization, environmental symbolism, dialogic realism, and moral undertones. The study argues that Russell effectively combines elements of the coming-of-age adventure novel, detective fiction, and moral allegory while employing techniques that resonate with contemporary multimedia storytelling traditions. The chapter establishes suspense through foreshadowing, particularly with the mysterious telephone warning that concludes the narrative, thereby creating a compelling foundation for subsequent developments.All things considered, it should be noted that educator Stewart Russell, in his novel, employed his linguistic expertise to engage with and manipulate a range of theoretical constructs, including adventure fiction, young adult literature, narrative theory, media studies, cultural analysis, theology, and literary criticism.Dr. William Anderson Gittens, D.D. Podcast 297 Chapter One of Stewart Russell's The Mystery Call © 2026  Dr. William Anderson Gittens, D.D.  ISBN:978-976-97942-9-0   Devgro Media Arts Services Publishing®2015 In collaboration with iMovie present Podcast 297 Chapter One of Stewart Russell's The Mystery Call © 2026  Dr. William Anderson Gittens, D.D.  ISBN:978-976-97942-9-0  RECOGNITIONSAs I take a moment to reflect on my journey, I am filled with profound gratitude for the Creator's guiding hand that has led me every step of the way. Life has brought me countless blessings, and at the forefront of these blessings is the immeasurable debt of thanks I owe to my late parents, Charles and Ira Gittens. They bestowed upon me their wisdom and creative spirit, which have been a consistent source of inspiration throughout my life. Their counsel and encouragement continue to resonate within me, shaping my path and purpose. To my beloved wife, Magnola Gittens, your unwavering support has been my anchor in turbulent seas. Your love and understanding provide the strength necessary to navigate life's complexities. I am eternally grateful for your presence, which comforts and uplifts me. To my brothers—Shurland, Charles, Ricardo, and my late brothers Arnott and Stephen—as well as my sisters, Emerald, Marcella, and Cheryl, thank you for being my steadfast companions along this journey. Each of you has contributed uniquely to my narrative, reminding me of the importance of family ties in shaping who I am today. I extend my heartfelt appreciation to my cousins: Joy Mayers, Kevin and Ernest Mayers, Donna Archer, Avis Dyer, and Jackie Clarke. Your love and camaraderie have enriched my life beyond measure. To my uncles, Clifford, Leonard Mayers, David Bruce, and Collin Rock, your support has been invaluable, strengthening the bonds of our family. To my children, Laron and Lisa, grandson Elijah you are my pride and joy, the motivation behind my work, fuelling my desire to create and inspire.Moreover, I am equally grateful to all who have believed in me and wanted nothing but the best for my growth. Mr. and Mrs. Andrew Platizky, Mr. Matthew Sutton, Mr. Juan Arroyo, Mr. and Mrs. David Lavine, and many others have played pivotal roles in my development, encouraging me to pursue my passions relentlessly. During my time at New Jersey City University (NJCU), I had the privilege of receiving guidance from exceptional mentors, including the late Dr. Joseph Drew, Merline Mayers, Mrs. Ellen Gordon, Dr. Nicholas Gordon, Rev. Dr. Scofield Eversley BSS, and many others. Conversations about enhancing my writing skills after graduating were integral to my growth, providing the foundation for my future endeavours. Over the past three decades, my experiences in the leisure activities industry have significantly shaped my journey. From 1995 to 2026, I have devoted myself to writing, resulting in 470 E-Publications and 297 podcasts that resonate within the community. In recognition of the profound impact Dr. Joseph Drew had on my academic and personal development, I dedicated my 66th publication, "A Tribute to Culture" Vol. 1, to him—a small token of gratitude for his enormous influence on my life.As I look forward to what lies ahead, I remain thankful to all who have contributed to my story and to the Creator for the endless possibilities this journey holds. Each person's presence has left an indelible mark on my life, guiding me toward a future filled with hope and potential.Dr. William Anderson Gittens, D.D.ReferencesBarthes, R. (1981). *Camera lucida: Reflections on photography*. Hill and Wang.  Brooks, P. (1984). *Reading for the plot: Design and intention in narrative*. Harvard University Press.  Butler, J. (1990). *Gender trouble: Feminism and the subversion of identity*. Routledge.  Cart, M. (2016). *Young adult literature: From romance to realism*. American Library Association.  Cawelti, J. G. (1976). *Adventure, mystery, and romance: Formula stories as art and popular culture*. University of Chicago Press.  Freytag, G. (1863/1894). *Freytag's technique of the drama: An exposition of dramatic composition and art*. Scott, Foresman.  Glotfelty, C., & Fromm, H. (Eds.). (1996). *The ecocriticism reader: Landmarks in literary ecology*. University of Georgia Press.  Gittens, W.A. (2026). “Chapter One of Stewart Russell's The Mystery Call  © 2026: An Interdisciplinary Analysis through Writing, Podcasting, Publishing, Photojournalism, Cinematography, Media Arts, Cultural Theory, and Divinity” Published by Devgro Media Arts Services Publishing ® 2015. ISBN 978-976-97942-9-0.Hall, S. (1997). *Representation: Cultural representations and signifying practices*. Sage Publications.  Jenkins, H. (2006). *Convergence culture: Where old and new media collide*. NYU Press.  McHugh, S. (2016). *Audio storytelling: Podcasting for learning and engagement*. Routledge.  Russell, S. (2026). The mystery call (Chapter 1). ISBN 978-976-97942-9-0.Russell, S. © 2026. The mystery call. Published by Devgro Media Arts Services Publishing ® 2015. ISBN 978-976-97942-9-0.Todorov, T. (1977). *The poetics of prose*. Cornell University Press.  Support the showCultural Factors Influence Academic Achievements© 2024 ISBN978-976-97385-7-7 A_MEMOIR_OF_Dr_William_Anderson_Gittens_D_D_2024_ISBNISBN978_976_97385_0_8Academic.edu. Chief of Audio Visual Aids Officer Mr. Michael Owen Chief of Audio Visual Aids Officer Mr. Selwyn Belle Commissioner of Police Mr. Orville Durant Dr. William Anderson Gittens, D.D En.wikipedia.org/wiki/Lifelong_learning Hackett Philip Media Resource Development Officer Holder, B,Anthony Episcopal Priest,https://brainly.com/question/36353773https://en.wikipedia.org/wiki/Lifelong_learning#cite_note-19https://en.wikipedia.org/wiki/Lifelong_learning#cite_note-:2-18https://independent.academia.edu/WilliamGittens/Bookshttps://scholar.google.com/scholar?hl=en&as_sdt=0%2C5&q=william+anderson+gittens+barbados&oq=william+anderson+gittenshttps://www.academia.edu/123754463/https://www.buzzsprout.com/429292/episodes. https://www.youtube.com/@williamandersongittens1714. Mr.Greene, Rupert

Topics covered:A field report from week one of Crossroads Publishing Group—what's coming in the door, what's surprising, what's confirming.What a hybrid press actually is. A working definition: a publisher where the author shares the financial risk via a fee (broadly $5K to $45K, depending on the engagement), in exchange for real editorial work, professional production, distribution under the press's imprint, and a higher royalty share than traditional contracts.Why the vanity-press confusion exists, and why it's no longer accurate to the category as it stands in 2026.The IBPA Hybrid Publisher Pledge—the trade-association standard the legitimate hybrid presses meet (and the vanity operations don't).Three case studies of serious hybrid presses: She Writes Press (founded by Brooke Warner, 2012; 500+ titles; Industry Innovator Award from the Book Industry Study Group in 2017; Warner is chair of the IBPA) Greenleaf Book Group (Austin; operating since 2003; 1,500+ titles; multiple New York Times bestsellers) Lucid Books (Texas Christian hybrid; 5,000 authors in 20 years of operation)Three structural reasons the hybrid category is growing while the Big Five contracts: * The agent and Big Five pipeline is capped (≈1,000 active US agents, 3-5 new clients each per year) * Platform requirements at traditional imprints have become unworkable for serious working writers * The math of a hybrid contract is often better for the author: The traditional advance reality in 2026: $5K-$25K for non-celebrity nonfiction, declining year over year, with the author doing the marketing anyway, on a 10-15% royalty, with the publisher owning the ISBN.Why this matters for The Difficulty‘s actual listeners — coaches, therapists, consultants, pastors, mission-driven leaders, retired executives in second and third acts, working professionals in midlife transition.Five questions to ask any hybrid press before you give them a dollar:One — Are they IBPA pledged? If not, why not? Two — What is the author royalty split, in a specific number, with accounting schedule? Three — What editorial work is actually included in the price — developmental, line, copy, proofreading; at what stage; how many rounds? Four — Where does your book actually go after publication? Real distribution (Ingram, Amazon, Bookshop.org, library channels like Baker & Taylor and OverDrive) or just a SKU on a website? Five — What is the editorial selection rate? A serious hybrid press turns books down.About Crossroads Publishing Group:Crossroads is a hybrid press for practitioner authors—coaches, therapists, consultants, mission-driven leaders, and working professionals with a serious book and a body of insight. Three main category lanes on the site. 80% net royalties to the author. IBPA-pledged criteria built into the model.Inquiry door: crossroadspublishing.groupCall to action:If you're a practitioner author with a serious book and the hybrid path sounds like it could be yours, visit crossroadspublishing.group to start the conversation. Feedback on the show is welcome — what episodes are speaking to you, what you'd like to hear more or less of. Get full access to The Descent at chadprevost.substack.com/subscribe

No episódio do Podcast do PublishNews desta semana falamos sobre Futebol, Álbum e figurinhas da Copa e Livros.Temos duas partes: Juliana Ferreira, gerente de marketing e produto da área de colecionáveis da Panini, compartilha sobre a história, produção e impacto cultural do álbum de figurinhas da Copa do Mundo. E na segunda parte conversamos com Carlos Eduardo Nakaharada da Livraria Barrilete  definida como Livros de, com e sobre futebol,e falamos sobre  colecionismo de figurinhas, livros de futebol e o impacto da Copa do Mundo na nossa cultura.O podcast é oferecimento MVB América Latina Um livro, Câmara Brasileira do Livro e Nielsen BookDataEste é um episódio 424 do Podcast do PublishNews do dia 2 de junho de 2026 e gravado dia 18 com Juliana e no dia 20 de maio com Carlos. E este episódio teve a participação de Beatriz Sardinha.  Não se esqueça de assinar a nossa newsletter, nos seguir nas redes sociais: Instagram, Linkedin, Facebook e TikTok.  Todos os dias com novos conteúdos para você. E também nos siga no YouTube ou no Spotify, onde você pode comentar, dar sugestões até 5 estrelas. E agora Juliana Ferreira e depois Carlos Eduardo Nakaharada.E também temos uma conversa com Luiz Gaspar, Diretor Regional da NielsenIQ Book Brasil. A nossa nova apoiadora Nielsen BookData — referência mundial em dados que impulsionam estratégias e fortalecem o mercado do livro.Indicações:Série - Bem-vindos ao WrexhamSérie - Ted LassoLivro - Cláudia Vera Feliz Natal - Mariana Salomão Carrara (Todavia)Livro - Almanaque do Brasil nas Copas - Celso Unzelte (Maquinaria)Livro - Futebol ao Sol e à Sombra - Eduardo Galeano Tradução de Eric Nepomuceno e Maria do Carmo Brito (L&PM)Este podcast é um oferecimento da MVB América Latina! Onde a inovação e tecnologia impulsionam o mercado do livro. Com a Pubnet, você ganha eficiência, agilidade e segurança em cada pedido.E quando o assunto é metadados… metadados é com Metabooks! Porque, no fim das contas, o propósito da MVB é um só: levar os livros até os leitores! https://pt.mvb-online.com/Já ouviu falar em POD, impressão sob demanda? Nossos parceiros da UmLivro são referência dessa tecnologia no Brasil, que permite vender primeiro e imprimir depois; reduzindo custos com estoque, armazenamento e distribuição. Com o POD da UmLivro, você disponibiliza 100% do seu catálogo sem perder nenhuma venda. http://umlivro.com.brA Câmara Brasileira do Livro representa editores, livreiros, distribuidores e demais profissionais do setor e atua para promover o acesso ao livro e a democratização da leitura no Brasil. É a Agência Brasileira do ISBN e possui uma plataforma digital que oferece serviços como: ISBN, Código de Barras, Ficha Catalográfica, Registro de Direito Autoral e Carta de Exclusividade. https://cbl.org.br

Я сделала подкаст о моих "хождениях по мукам", про то, как я опубликовала свою книгу на Инграмспарк, и решила выложить для всех. Это - тяжело и длинно. Но некоторые утверждают, что им интересноюКраткое содержание этого подкаста:- Почему я решила издавать свои книги именно там - Там нельзя публиковаться без номера ISBN. Сша и Канада своим авторам их дают бесплатно, а нам в Германии нужно покупать. (Купила.) И там имеются некоторве запреты, например, нельзя с ISBN публиковать раскраски, книги, котрые будут разрезаны на рукоделия ("вырезашки"), еженедельники и еще сто пунктов. Упомянутые три я как раз собиралась выпускать вскоре, но без такого номера туда не пустят. Гугл и ИИ советуют просто издавать и забить, т.к. якобы никто не проверяет. Если таки проверят, могут наказать, отказавшись тому же автору продавать еще. - В самиздате автор - сам себе издатель, и с этим связаны определенные трудности. (Например, выходные данные обязаны содержать в себе адрес человека, даже если он - домашний, и других вариантов нет.) - Чтобы начать верстать книгу, надо было разобраться с форматами. И это было непросто, т.к. описание содержит много очень неоднозначной информации. - Описание того, как вообще готовить файлыв (особенно для обожки) супер странные, и требования к файлам - тоже. - Помимо прочего блок не принимают в печать, если при верстке использованы файлы, не сплавленные в один слой. Также нельзя никак при верстке менять размер картинок, все должно быть вставлено в размере 100%, хоть убей. - Метод, которым они показывают авторам, что с файлами не так, тоже ужасный. - Чтобы опубликовать книгу, нужно заполнить три формы, иногда просто невозможно перейти к следующей, причины не понятны, и как исправить - невозможно узнать. - История с ценообразованием, процентами и скидками для опта тоже гораздо сложнее, чем вы думали. - В итоге и для авторов, и для покупателей, самый выгодный вариант - продавать книгу через свой магазин, но тут нас настигает трындецкая история с методами пересылки! - Чтобы самостоятельно отправить авторский экземпляр себе или книгу заказчику, через свой магазин, нужен один из двух таможенных номеров: IOSS или EORI. Я узнавала, какой нужен мне, поняла, что мне нужен EORI, заказывала его на сайте таможни, который попросил залогиниться через налоговую. Но получила. - Бонус-трек (что не попало в подкаст, т.к. новое): в своем магазине я спокойно собираю заказы, и их оплачивают через PayPal. Но потом я должна пойти оформить заказ на Инграмспарк, и заплатить им за производство и пересылку, но с ними можно расплатиться только кредиткой. (Почемууууу?)Как вы наверное уже додумались, я порекламировала свою книжку, мне пришло сколько-то заказов. Я села отправлять их через Инграмспарк, и после где-то первых тридцати мне заблокировали кредитку. По понтяным причинам. Сидит человек, и, один за другим, проплачивает что-то кредиткой. Пришлось звонить в поддержку банка. Они "открыли гейт на час", и сказали, что остальное можно будет сделать не ранее понедельника. ("Остальное" - это - поместить в белый список три типографии: американскую, европейскую и австралийскую.)Однако все это стоило того, потому что в итоге мою книгу можно купить в моем магазине за 15 евро, а на всяких разных маркетплейсах я вижу ее за 26-29-49! И это - несмотря на то, что они получили ту самую оптовую скидку!Короче, кто готов то же самое услышать с подробностями - вот вам подкаст.

he Untolld Story of NYC's Weed KiingpiinGenovese mob-scion Silvio Eboli lived within the shadows of history, and now for the first time, the untold story of a mafia legend is revealed. The Ganja Godfather (Trineday, March 23, 2015, ISBN: 978-1937584955) s the story about an ongoing organized criminal operation, in real time with firsthand accounts and experiences by award-winning author and investigative journalist, Toby Rogers.Shadowing the Ganja Godfather, Rogers witnesses it all standing next to the Boss himself: violence, drugs, celebrities, girls, construction hustles, crime-family business meetings and social gatherings. From strip clubs in Atlantic City to Sunday night dinner with the wife and kids, Rogers experiences whatever the Ganja Godfather does on any given day. As exhilarating as Silvio's life had become, it certainly was much more stressful behind the scenes. Being the Empire State's spliff king was undoubtedly the hardest job in New York. And it was only after Silvio finally got to the top of the mountain that he realized just how easy it was to fall over the edge.With a wife and kids, dysfunctional family business obligations, and an out-of-control social life all pulling him in conflicting paths, Silvio struggled keep the empire moving forward without detection from law enforcement. But when he was introduced to a Colombian cocaine princess with aspirations to become a model, he saw an opportunity to expand the family's profit margins to unimaginable heights and risked it all despite the collision course with disaster he saw right before him.Toby Rogers is an award winning author and investigative journalist. He has written for the New York Times, New York Post, Village Voice, High Times, Clamor Magazine, and Houston's Public News. He has been featured on MSNBC's Countdown with Keith Olbermann, Democracy Now, with Amy Goodman as well as the National Enquirer. He was a consultant and featured in HBO's Horns and Halos documentary.Rogers' first book, Ambushed: Secrets of the Bush Family, was featured in newspapers and magazines in America and internationally. rThe New York Times described Rogers as “a hell of a journalist,” and Ambushed as “very impressive top notch stuBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Well, it must be May, because I’m doing another book review! This time around I’m reviewing Thumper Forge’s “The Chaos Apple” (ISBN 9780738775432) which came out last fall. It is, unsurprisingly, a book on Chaos Magic – a topic it turns out I knew more about than I realized. And while overall I liked this book a lot, it does have one glaring issue for me… but only because I’m a pedantic nerd. The annual Q&A/Feedback episode is coming up! I need your questions — send them via my contact form by July 10th 2026 if you want me to read your question on the show! Find “The Chaos Apple” Online: Order The Chaos Apple on Amazon Order The Chaos Apple on Bookshop.org Pre-order Trae’s new Novel The Perfect Host – out August 10th! ISBN: 9798295897726 Pre-order eBook: Kindle / Kobo Pre-order Paperback: Amazon / Bookshop.org Also check out the rest of Trae’s Books and visit Trae’s website. (And, of course, don’t forget this show is part of the Nerd & Tie Network, and funded by listeners like you via Patreon. Consider joining our Discord or our forums!) Music: “The Man With One Eye,” “So I Said It,” “Putz and Pulse,” “Untitled Nonsense” (Trae Dorn) / Random Loops (Apple Music Library)The post 95. An Honest Review of Thumper Forge's “The Chaos Apple” first appeared on Nerd & Tie Network.

Bright on Buddhism - Episode 140 - Who is Bodhidharma? What is his significance to East Asian Buddhism? What are some legends about him?Resources: charya, Raghu (2017), Shanon, Sidharth (ed.), Bodhidharma Retold – A Journey from Sailum to Shaolin, New Delhi: Motilal Banarsidass, ISBN 978-81-208-4152-9Broughton, Jeffrey L. (1999), The Bodhidharma Anthology: The Earliest Records of Zen, Berkeley: University of California Press, ISBN 0-520-21972-4Buswell, Robert E., ed. (2004), Encyclopedia of Buddhism, vol. 1, Macmillan, ISBN 0-02-865718-7Cole, Alan (2009), Fathering Your Father: The Zen of Fabrication in Tang Buddhism, Berkeley, Los Angeles, London: University of California Press, ISBN 978-0-520-25485-5Dumoulin, Heinrich; Heisig, James; Knitter, Paul F. (2005). Zen Buddhism: India and China. World Wisdom, Inc. ISBN 978-0-941532-89-1.Faure, Bernard (1986), "Bodhidharma as Textual and Religious Paradigm", History of Religions, 25 (3): 187–198, doi:10.1086/463039, S2CID 145809479, archived from the original on 2007-09-28, retrieved 2007-02-13Ferguson, Andrew (2000), Zen's Chinese Heritage: The Masters and their Teachings, Somerville: Wisdom Publications, ISBN 0-86171-163-7Garfinkel, Perry (2006), Buddha or Bust, Harmony Books, ISBN 978-1-4000-8217-9Henning, Stanley (1994), "Ignorance, Legend and Taijiquan" (PDF), Journal of the Chenstyle Taijiquan Research Association of Hawaii, 2 (3): 1–7, archived from the original on 2011-02-23, retrieved 2019-10-19Henning, Stan; Green, Tom (2001), "Folklore in the Martial Arts", in Green, Thomas A. (ed.), Martial Arts of the World: An Encyclopedia, Santa Barbara, CA: ABC-CLIOJorgensen, John (2000), "Bodhidharma", in Johnston, William M. (ed.), Encyclopedia of Monasticism: A-L, Taylor & FrancisKambe, Tstuomu (2012), Bodhidharma. A collection of stories from Chinese literature (PDF), archived from the original (PDF) on 2015-11-06, retrieved 2011-11-23McRae, John R. (2000), "The Antecedents of Encounter Dialogue in Chinese Ch'an Buddhism", in Heine, Steven; Wright, Dale S. (eds.), The Kōan: Texts and Contexts in Zen Buddhism, Oxford University Press, archived from the original on 2012-07-25, retrieved 2006-11-30.McRae, John R. (2003), Seeing Through Zen. Encounter, Transformation, and Genealogy in Chinese Chan Buddhism, The University Press Group Ltd, ISBN 978-0-520-23798-8McRae, John R. (2004), Seeing through Zen: Encounter, Transformation, and Genealogy in Chinese Chan Buddhism, University of California PressPine, Red, ed. (1989), The Zen Teaching of Bodhidharma: A Bilingual Edition, New York: North Point Press, ISBN 0-86547-399-4Pine, Red, ed. (2009), The Zen Teaching of Bodhidharma, Farrar, Straus and Giroux, ISBN 978-0-86547-399-7Sekida, Katsuki (1996). Two Zen Classics. Mumonkan, The Gateless Gate. Hekiganroku, The Blue Cliff Records. Translated with commentaries by Katsuki Sekida. New York / Tokyo: Weatherhill.Shahar, Meir (2008). The Shaolin Monastery: history, religion, and the Chinese martial arts. University of Hawaii Press. ISBN 978-0-8248-3110-3.Sutton, Florin Giripescu (1991), Existence and Enlightenment in the Laṅkāvatāra Sūtra: A Study in the Ontology and Epistemology of the Yogācāra School of Mahāyāna Buddhism, Albany: State University of New York Press, ISBN 0-7914-0172-3.Williams, Paul (1989), Mahayana Buddhism: The Doctrinal Foundations, Psychology Press, ISBN 0-415-02537-0_________________________________If you like our show and would like to support us, we encourage you to give your money or resources to a worthy cause. We can get through this. Our strongest weapon is solidarity. Stay strong and help where you can. Thank you.Do you have a question about Buddhism that you'd like us to discuss? Let us know by emailing us at Bright.On.Buddhism@gmail.com.Credits:Nick Bright: Script, Cover Art, Music, Voice of Hearer, Co-HostProven Paradox: Editing, mixing and mastering, social media, Voice of Hermit, Co-Host

Should we still be drilling early caries lesions? Where do peptides, resin infiltration, fluoride varnish and SDF actually fit in modern practice? Is hydroxyapatite toothpaste a genuine alternative to fluoride, or just another dental trend? And when you see that suspicious grey occlusal shadow, do you seal it, explore it, or actively surveil it? In part two of this modern caries management episode, Jaz continues the conversation with Prof. Avijit Banerjee on minimal intervention dentistry. This episode moves beyond diagnosis and communication into the practical management of early and progressing caries lesions, including peptides, SDF, hydroxyapatite toothpaste, fissure sealing, xerostomia, root caries and selective caries removal. https://youtu.be/dGt7FW7C4N0 Watch PDP269 on YouTube Protrusive Dental Pearl Use the Contemporary Caries Management Implementation Pack as a chairside aid to turn the episode into daily clinical action. ⚠️ Learning the evidence is not enough if it never makes it into your patient conversations, risk assessment or treatment planning. ✅ Print it, laminate it, and use it to support communication, diagnosis, active surveillance and minimally invasive decision-making. Disclaimer: This is an educational resource produced by Team Protrusive, derived from the two-part Protrusive Dental Podcast episode featuring Prof. Avijit Banerjee. Its contents were not written, reviewed, or endorsed by Prof. Banerjee; they represent Team Protrusive’s own interpretation of the material discussed. It is intended as a practical summary and is not a substitute for primary sources. We strongly encourage all clinicians to consult the latest Clinical Practice Guidelines before making treatment decisions. Key Takeaways: Peptides are designed to infiltrate early enamel lesions and create a scaffold for mineral deposition. Peptide technologies still need minerals from saliva, toothpaste, mouthwash or other sources to work. Fluoride supports remineralisation; it acts more like the “mortar” than the “bricks”. Early E1 lesions are usually managed with prevention, fluoride, oral hygiene, diet control and biofilm control. Deeper enamel lesions, such as progressing E1 or E2 lesions, may be suitable for resin infiltration or peptide infiltration. SDF is better suited to cavitated lesions where arrest and stabilisation are needed. In the UK, SDF is licensed for dentine sensitivity, so caries arrest is an off-label use. SDF can be very useful for children, older adults, medically compromised patients and care-home patients. The main downside of conventional SDF is black staining, especially on anterior teeth. Hydroxyapatite toothpaste has more science behind it than charcoal-style fad toothpastes. Fluoride toothpaste remains the preferred baseline recommendation when patients are happy to use fluoride. A suspicious grey occlusal lesion should be assessed in the context of the patient's overall caries risk. In selected cases, a tiny exploratory opening can act like a diagnostic biopsy. Sealing fissures on the same tooth being restored can be sensible when the fissure pattern is deep. For severe xerostomia and root caries risk, consider high-fluoride regimes, close recalls, trays or dentures as carriers for remineralising agents. YouTube Highlights: 00:00 Teaser 01:17 Introduction 02:17 Pearl: Caries Management Implementation Pack 05:54 What are Peptides? 14:42 SDF: Silver Diamine Fluoride 14:55 Early Enamel Lesion Pathway 15:11 When to Consider Resin or Peptide Infiltration 15:51 Best Use Case for SDF 20:14 Hydroxyapatite Toothpaste 21:18 Fluoride Safety and Evidence 27:00 Midroll 40:53 Preventive vs Therapeutic Sealants 42:09 Severe Xerostomia and Root Caries 44:40 Using Trays or Dentures as Carriers 45:48 Tooth Mousse and CPP-ACP 47:11 Artificial Saliva 47:46 Why the Patient Has Dry Mouth Matters 49:35 Current Position on Stepwise Excavation 50:09 Selective Caries Removal 51:15 Deep Caries Guidelines 53:01 Materials Are Not Everything in Caries Management 55:59 Further Learning Resource  56:44 Outro Want more? Check out part one of this modern caries management series for communication, diagnostics, triangulating data and deciding which caries detection tools are actually worth using.

No episódio do Podcast do PublishNews desta semana falamos sobre a quinta edição d'A Feira do Livro, que começa no próxima sábado, dia 30 de maio até 7 de junho, reunindo 107 autores e autoras em 120 atividades gratuitas, na praça Charles Miller, no Pacaembu em São Paulo, E Temos duas partes deste podcast: uma conversando sobre a Feira em si, com seu diretor geral, Paulo Werneck e na segunda parte falamos com uma das autoras convidadas, Mariana Salomão Carrara.Com Paulo, falamos sobre a evolução da Feira do Livro de São Paulo, seus desafios logísticos, estratégias de sustentabilidade e tendências do mercado editorial. Já com Mariana, ela compartilha sua trajetória como escritora e defensora, explorando a relação entre leitura, escrita, linguagem e sua experiência com literatura e justiça e a expectativa do lançamento do seu novo livro: Claudia Vera Feliz Natal pela Todavia.O podcast é oferecimento MVB América Latina Um livro, Câmara Brasileira do Livro e Nielsen BookDataIndicações:Livro: Doce Tóquio, de Durian Sukegawa - Tradução de ​​Sandra Keika (Morro Branco)Livro: Guia da Copa Falha de Cobertura - Caíto Mainier, Daniel Furlan e Pedro Leite (Record)Audiolivro: Laços - Domenico Starnone - Narrado por Paulo Betti (Todavia)Audiolivro: A Uruguaia - Pedro Mairal - Narrado por Paulo Betti (Todavia)Audiolivro: Não fossem as sílabas do sábado - Mariana Salomão Carrara - Narrado por Mariana Salomão Carrara (Todavia)Audiolivro: Se deus me chamar não vou - Mariana Salomão Carrara - Narrado por Lorena Comparato (Supersônica)Livro: Cláudia Vera Feliz Natal - Mariana Salomão Carrara (Todavia)Livro: O sol é para todos - Harper Lee - Tradução: Beatriz Horta (Record)Audiolivro: A morte de Ivan Ilitch - Lev Tolstói - Tradução: Irineu Franco Perpétuo e Paulo Henrique Pompermaier - Narrado por Alberto EloyEste podcast é um oferecimento da MVB América Latina! Onde a inovação e tecnologia impulsionam o mercado do livro. Com a Pubnet, você ganha eficiência, agilidade e segurança em cada pedido.E quando o assunto é metadados… metadados é com Metabooks! Porque, no fim das contas, o propósito da MVB é um só: levar os livros até os leitores! https://pt.mvb-online.com/Já ouviu falar em POD, impressão sob demanda? Nossos parceiros da UmLivro são referência dessa tecnologia no Brasil, que permite vender primeiro e imprimir depois; reduzindo custos com estoque, armazenamento e distribuição. Com o POD da UmLivro, você disponibiliza 100% do seu catálogo sem perder nenhuma venda. http://umlivro.com.brA Câmara Brasileira do Livro representa editores, livreiros, distribuidores e demais profissionais do setor e atua para promover o acesso ao livro e a democratização da leitura no Brasil. É a Agência Brasileira do ISBN e possui uma plataforma digital que oferece serviços como: ISBN, Código de Barras, Ficha Catalográfica, Registro de Direito Autoral e Carta de Exclusividade.https://cbl.org.br

Salut salut les roupioupious and welcome back !Dans ce nouvel épisode, on parle de création et de créativité à l'ère d'internet et des réseaux sociaux.Ces plateformes ont ouvert un terrain de jeu immense : un espace pour créer, partager, s'inspirer et exposer ses créations bien au-delà de son environnement immédiat.Mais en créant du contenu autour du podcast, j'ai aussi repris conscience de certaines logiques : produire, se comparer, s'exposer, absorber en continu… des mécanismes propres aux réseaux, mais aussi plus largement à notre société.Dans cet épisode, je questionne ce que ces dynamiques changent dans notre rapport à la création : qu'est-ce que créer aujourd'hui ? Pourquoi ? Pour qui ? Et comment notre regard sur la créativité évolue ?Une réflexion personnelle pour ouvrir la discussion sur ce qu'implique créer veut dire à l'ère des réseaux sociaux.Artistes mentionnées :Mee shel- Le temps qui passeD juno-Tango seuleBénédicte - MacadamRéf :GRESILLON Boris. « III. Créateurs, création, créativité. Quelques éléments de réflexion sur les attributs culturels de la « ville-monde » d'aujourd'hui », Michel Lussault éd., Cultures et créations dans les métropoles-monde. Hermann, 2016, pp. 63-75.https://www.cairn.info/cultures-et-creations-dans-les-metropoles-monde--9782705692995-page-63.htm VIVANT Elsa, Qu'est-ce que la ville créative ? Presses Universitaires de France, « La Ville en débat », 2009, ISBN : 9782130578833. DOI : 10.3917/puf.bouti.2009.01. : https://www.cairn.info/qu-est-ce-que-la-ville-creative--9782130578833.htmN'hésite pas à partager l'épisode autour de toi, et laisser 5 étoiles si tu as apprécié le moment que t'as passé.Tu peux aussi nous rejoindre sur Instagram, u're gonna love it there ! : https://www.instagram.com/kikiwithnini_/Que du love,*clin d'oeil clin d'oeil* Nini

This post contains affiliate links, which means I may earn a small commission at no extra cost to you.She wrote her debut novel at 18, self-published it, went viral on TikTok — and now she's a Simon & Schuster author with a dramatized audiobook. Lauren Roberts is living proof that passion plus scrappiness can take you very, very far.In this episode, Lauren breaks down the wild origin story behind Powerless — from pitching the idea live on TikTok to Googling her way through ISBN numbers and copyright filings. We talk about what makes the Powerless trilogy so addictive (enemies to lovers! forbidden romance! high-stakes trials!), the incredible new dramatized audiobook of Powerless, and the literary fiction authors who are quietly shaping Lauren's writing voice.Whether you're a romantasy superfan or just looking for your next unputdownable series, this one's for you.

In this episode of Brave New Bookshelf, we are joined by author and "vibe coder" Cassie Alexander to discuss how high-level AI automations can revolutionize an author's business operations. Cassie shares her fascinating journey of building a cloud-based "command center" using Supabase and slashing her monthly overhead by replacing expensive subscriptions with custom-coded tools. From scaling a single nonfiction book into 50 different languages to developing bespoke AI "skills" that handle the tedious grunt work of retailer uploads and ISBN registration, Cassie provides a roadmap for authors looking to reclaim their creative time and maximize their global reach. Visit our website https://bravenewbookshelf.com to view the full episode notes, links and apps mentioned in the episode, and the full transcript.

The second Black Books Matter Festival is inaugurated by Ramunda Young, co-owner of MahoganyBooks, whose opening remarks resonate with a deep appreciation for the significance of community spaces that embrace and celebrate Black narratives without the constraints of code-switching. Young's reflections set the tone for the festival, which features a panel of independent authors—Charlotte Avery, Brian Heat, and Cerece Rennie Murphy—who share their journeys in self-publishing, emphasizing how this choice has enabled them to maintain their creative integrity.They discuss the internal battles of self-doubt and the motivational factors that drive them to persist in their writing endeavors, focusing on the importance of serving their readers and cultivating their characters with love and dedication. During the panel, the authors delve into the complexities of balancing the artistic and commercial aspects of writing. They highlight the necessity of assembling support teams and utilizing cost-effective resources, such as Fiverr, to manage various facets of the publishing process. The discussion also covers valuable tools and strategies, including IngramSpark for print-on-demand services, and the Amazon KDP platform for effective keyword optimization to enhance discoverability. Young underscores the critical nature of owning intellectual property, which can pave the way for future adaptations and opportunities. She also champions Black Classic Press for its commitment to high-quality printing services, reinforcing the festival's mission to uplift Black-owned enterprises.This episode encapsulates a rich tapestry of experiences, offering practical advice and inspiring stories that illuminate the path of independent authors navigating the publishing landscape. The panelists' insights serve not only as a guide for aspiring writers but also as a testament to the power of storytelling in fostering community and cultural identity within the Black literary tradition.Takeaways:Ramunda Young emphasizes the necessity for Black community spaces to celebrate and share stories.The panelists discuss the importance of self-publishing to maintain creative control and protect their voices.Key strategies for balancing writing with the business aspects include building teams and using affordable services like Fiverr.IngramSpark is recommended as an essential resource for print-on-demand services and distribution among independent authors.Authors are advised to ensure their books have appropriate ISBNs, barcodes, and returnable terms for bookstore acceptance.Mentorship is highlighted as a critical asset for aspiring authors to navigate the publishing landscape effectively.Links referenced in this episode:blackclassicpress.commahonagonybooks.com

If you showed the same bitewing to 10 dentists, would they all agree on whether to pick up the drill? Why does the word monitoring mean nothing to a patient — and how does swapping it for active surveillance change everything from your notes to your indemnity to your government policy meetings? Is it overtreatment to act on an E2 lesion — or is “watch and wait” actually the lazy answer dressed up as minimally invasive? And what should you actually do with AI caries detection that flags shadows your eye doesn't see? In this episode, Professor Avijit Banerjee — Professor of Cariology & Operative Dentistry at King's College London, Honorary Consultant at Guy's & St Thomas', and First Dean of the Faculty of Dentistry at the College of General Dentistry — sits down with Jaz for what is genuinely one of the most important caries conversations on the podcast. Part one of two. Avijit doesn't do soft answers. The drill-fill-bill model is broken. “Monitoring” needs to go. “Treatment planning” is antiquated terminology medics dropped twenty-five years ago. And AI in caries diagnosis? Useful — but the moment it gets things wrong, you are the one with indemnity, not the software. What you walk away with is a framework (MIOC), a decision filter (three factors that decide whether to pick up a bur), and a vocabulary shift you can implement tomorrow. Part two covers peptides, SDF, hydroxyapatite, stepwise excavation, and managing caries in xerostomia. https://youtu.be/YriLo8_hXNw Watch PDP268 on YouTube Protrusive Dental Pearl: Delete the Word “Monitor” from Your Vocabulary Stop saying monitor. Start saying active surveillance. ⚠️ Active surveillance must not mean passive delay — document your reasoning, risk assessment, and what would trigger intervention. ✅ Explain it to patients as structured, proactive care: clinical checks, radiographs, risk review, behaviour support, and timely action if things change. Key Takeaways Minimum intervention oral care is bigger than minimally invasive dentistry. MIOC is prevention-based, person-focused, susceptibility-related, and delivered by the whole oral healthcare team. MID is only one part of MIOC: operative dentistry when a tooth actually needs intervention. The four MIOC domains are: identify the problem, prevent lesions and control disease, provide minimally invasive operative care, then reassess. A care plan is more useful than a treatment plan because it includes justification, prevention, behaviour change, and review. Ask patients what matters to you, not just what's the matter with you. Cavitation, cleansability, and lesion activity should guide whether to intervene operatively. A cavitated lesion that cannot be cleaned is much more likely to remain active. Smooth surface lesions may sometimes be made cleansable without conventional drilling. Restorations are not just about filling holes; they help recreate a cleansable tooth surface. There is no single perfect caries detection technology — clinical examination and good radiographs remain fundamental. If using NIRI, fluorescence, scanners, or AI, understand how the technology works and where it fails. AI should support diagnosis, not replace clinical judgement. For uncertain early lesions, triangulate: clinical findings, radiographs, risk, technology, and patient factors. Proximal resin infiltration has a role in the right patient and situation, especially as part of a wider prevention-led strategy. Highlights of This Episode 00:00 Teaser 02:17 Protrusive Dental Pearl: Active Surveillance, Not Monitoring 09:14 Minimum Intervention Oral Care vs Minimally Invasive Dentistry 11:28 Core Principles of MIOC 11:48 Domain 1: Identify the Problem 12:46 Domain 2: Prevention of Lesions and Control of Disease 13:18 Microinvasive Care Options 14:41 Domain 3: Minimally Invasive Operative Dentistry 16:38 Why “Active Surveillance” Matters 18:24 MIOC as a Practical Framework 19:43 Applying MIOC in Patient Communication 22:38 Sustainability & Salutogenesis 29:05 When to Pick Up a Drill 30:23 Biofilm as the Engine of Caries 31:33 Purpose of a Restoration in Caries Management 36:13 Caries Detection Technologies 42:44 Watch and Wait vs Detect and Manage 01:02:52 Outro Professor Avijit Banerjee's recommended reading and ongoing work: New textbook: A Clinical Guide to Advanced Minimum Intervention Restorative Dentistry (Banerjee A., Elsevier, 2024) — the most comprehensive single reference for modern MIOC and MID.

Release notes - SOOOO MUCH, Spring 2026 "Surprise" ReleaseC3Con reveal- C3Con shirt- Mic check- GoPro wide angle shot- Events and questsSimplified feed header and algo- 3 options: chrono/algo sort, following/all filter, unseen/all filter- Changes to toggles are sticky and autosave- Can refresh to check for more without reloading pageSimplified post header- Less Facebook like- Wrappable tags1/2 stars!Game review page- autosaves- creates a profile post automatically- pushes to feed if clicked- new fields for price, subscription, and private notesOh wait, one other thing. The biggest release in our history.- Supposed to happen after C3Con.- Not reallllly ready. but releasing it anyway.- Need feedback, fixes, data- Want you all to shape it- But also, it's so foundational it's tough to keep secret- I don't take it lightly- Have been working on it for months- Talking about it non stop- Every person I talk to I ask them about it- Dan, Rey, and Finalboss have had it for a little while now- I had lunch with Jedi, told him about it. Asked if it was obvious I was considering this and he said "yeah it's obvious."Introducing... Books (beta)Introducing... Movies (beta)Introducing... TV (beta)For new media types- rating and reviewing- post about- quest select- basic lists: Watching, Want to Watch, Completed, AnticipatedStreaming subscriptions for movies/TVGoodreads and Letterboxd library import support- for now, we process for you, email hey@channel3.ggNew Rapid rate- all media types- now a native play gameAbility to toggle your nav- for NOW, this just toggles the nav, eventually it will toggle your experienceSearch to add for all media types- DEFINITELY a trial- will see how it goes- books are already looking rough. Can always send the stuff you want added to an admin.Want to Play List is now a major list for games. Aligns with other typesBy the numbers:- 15.3k games- 27.1k books- 87.3k ISBNs- 5.6k Goodreads IDs- 1.9k movies- 637 tv series- 3.2k tv seasonsComing soon- lots of bugs- lots of enhancement ideas- HERE FOR BOTH OF THEM. LAY EM ON ME.- self service Goodreads import- self service Letterboxd import- gamified elements for books/movies/tv- better platform personalization by media type preferences- goal setting and tracking for games/books/movies/tv completed- new user onboarding process- @ tagging for books/movies/tv- better discovery tools- community focused features- features only we can do (cross media type integration)- book/movie/tv related prizes- Velora integration!The vision- remains the same- our differentiator and our magic is: community- our mission is to be a Third Place- if I'm at a party or group setting and there's a lull in the convo, my go to questions are "See any good movies lately?" or if it's a gamer, what games are you playing?- this convo, all the time, turned up to 11.

No podcast do PublishNews desta semana, conversamos com a jornalista, escritora, roteirista e ativista feminista: Milly Lacombe. Ela compartilha sua trajetória de vida, paixão por livros, feminismo, e sua experiência no mundo do futebol e da literatura. Discute a importância da leitura, o impacto do feminismo na sociedade e sua luta contra o machismo, além de falar sobre seus projetos futuros e o papel da afetividade na transformação social.E também fala sobre o Clube da Milly, um projeto de leitura e formação política que une livros, debates públicos e discussões sobre feminismo, raça e economia. https://www.millylacombe.comO podcast é oferecimento MVB América Latina Um livro, Câmara Brasileira do Livro e Nielsen BookDataIndicaçõesAudiolivro - Devoradores de estrelas - Andy Weir - Narrado por Rafael Maia (Suma)Série - For all mankind (AppleTV)Série - Hacks (HBO Max)Quadrinhos - Laika - Nick Abadzis (Boitempo)Este podcast é um oferecimento da MVB América Latina! Onde a inovação e tecnologia impulsionam o mercado do livro. Com a Pubnet, você ganha eficiência, agilidade e segurança em cada pedido.E quando o assunto é metadados… metadados é com Metabooks! Porque, no fim das contas, o propósito da MVB é um só: levar os livros até os leitores! https://pt.mvb-online.com/Já ouviu falar em POD, impressão sob demanda? Nossos parceiros da UmLivro são referência dessa tecnologia no Brasil, que permite vender primeiro e imprimir depois; reduzindo custos com estoque, armazenamento e distribuição. Com o POD da UmLivro, você disponibiliza 100% do seu catálogo sem perder nenhuma venda. http://umlivro.com.brA Câmara Brasileira do Livro representa editores, livreiros, distribuidores e demais profissionais do setor e atua para promover o acesso ao livro e a democratização da leitura no Brasil. É a Agência Brasileira do ISBN e possui uma plataforma digital que oferece serviços como: ISBN, Código de Barras, Ficha Catalográfica, Registro de Direito Autoral e Carta de Exclusividade. https://cbl.org.br

A Guide to the Sapphic Regency The Lesbian Historic Motif Podcast - Episode 342 with Heather Rose Jones In this episode we talk about: Demographics and economics affecting f/f couples Legal and religious considerations Friendship and romance Affection and sex The language of lesbianism Models of gender and sexuality Bibliography 18th Century Precursors Bennett, Judith M. & Amy M. Froide eds. 1999. Singlewomen in the European Past 1250-1800. University of Pennsylvania Press, Philadelphia. ISBN 0-8122-1668-7 Bennett, Betty T. 1991. Mary Diana Dods: A Gentleman and a Scholar. Johns Hopkins University Press, Baltimore. ISBN 0-8018-4984-5 Beynon, John C. & Caroline Gonda eds. 2010. Lesbian Dames: Sapphism in the Long Eighteenth Century. Ashgate, Farnham. ISBN 978-0-7546-7335-4 Bodek, Evelyn Gordon. 1976. "Salonières and Bluestockings: Educated Obsolescence and Germinating Feminism" in Feminist Studies vol 3 no. 3/4 185-199. Clark, Anna. 1996. "Anne Lister's construction of lesbian identity", Journal of the History of Sexuality, 7(1), pp. 23-50. Donoghue, Emma. 1995. Passions Between Women: British Lesbian Culture 1668-1801. Harper Perennial, New York. ISBN 0-06-017261-4 Dugaw, Dianne. 1989. Warrior Women and Popular Balladry 1650-1850. The University of Chicago Press, Chicago. ISBN 0-226-16916-2 Merrick, Jeffrey & Bryant T. Ragan, Jr. 2001. Homosexuality in Early Modern France: A Documentary Collection. Oxford University Press, New York. ISBN 0-19-510257-6 Norton, Rictor (ed.), Homosexuality in Eighteenth-Century England: A Sourcebook. Updated 7 September 2014 http://rictornorton.co.uk/eighteen/. (Accessed 2014/09/13) Hitchcock, Tim. 1997. English Sexualities, 1700-1800. St. Martin's Press, New York. ISBN 0-312-16573-0 Rizzo, Betty. 1994. Companions without Vows: Relationships among Eighteenth-Century British Women. Athens: University of Georgia Press. ISBN 978-0-8203-3218-5 19th Century Sources Binhammer, Katherine. 1996. “The Sex Panic of the 1790s” in Journal of the History of Sexuality 6, no. 3: 409-34. Jennings, Rebecca. 2007. A Lesbian History of Britain: Love and Sex Between Women Since 1500. Greenwood World Publishing, Oxford. ISBN 978-1-84645-007-5 Lanser, Susan S. 2014. The Sexuality of History: Modernity and the Sapphic, 1565-1830. University of Chicago Press, Chicago. ISBN 978-0-226-18773-0 Lasser, Carol. 1988. "'Let Us Be Sisters Forever': The Sororal Model of Nineteenth-Century Female Friendship" in Signs vol. 14, no. 1 158-181. Moore, Lisa. 1992. "'Something More Tender Still than Friendship': Romantic Friendship in Early-Nineteenth-Century England" in Feminist Studies vol. 18, no. 3 499-520. Norton, Rictor (ed.), Homosexuality in Eighteenth-Century England: A Sourcebook. Updated 7 September 2014 http://rictornorton.co.uk/eighteen/nineteen.htm (Accessed 2014/09/13) Vicinus, Martha. 2004. Intimate Friends: Women Who Loved Women, 1778-1928. University of Chicago Press, Chicago. ISBN 0-226-85564-3 Whitbread, Helena ed.  1992.  I Know My Own Heart:  The Diaries of Anne Lister 1791-1840.  New York University Press, New York.  ISBN 0-8147-9249-9 Whitbread, Helena ed.  1992.  No Priest But Love.  NY Univ Press, New York.  ISBN  0-8147-5077-X A transcript of this podcast is available here. Links to the Lesbian Historic Motif Project Online Website: http://alpennia.com/lhmp Blog: http://alpennia.com/blog RSS: http://alpennia.com/blog/feed/ Twitter: @LesbianMotif Discord: Contact Heather for an invitation to the Alpennia/LHMP Discord server The Lesbian Historic Motif Project Patreon Links to Heather Online Website: http://alpennia.com Email: Heather Rose Jones Mastodon: @heatherrosejones@Wandering.Shop Bluesky: @heatherrosejones Facebook: Heather Rose Jones (author page)

Bright on Buddhism - Episode 139 - What is the fourth moral precept of Buddhism? What is its significance? How have interpretations of it changed over time?Resources: Keown, Damien (2013b), "Buddhist Ethics", in LaFollette, Hugh (ed.), The International Encyclopedia of Ethics, Blackwell Publishing, pp. 636–47, doi:10.1002/9781444367072.wbiee163, ISBN 978-1-4051-8641-4Keown, Damien (2016b), Buddhism and Bioethics, Springer Nature, ISBN 978-1-349-23981-8De Silva, Padmasiri (2016), Environmental Philosophy and Ethics in Buddhism, Springer Nature, ISBN 978-1-349-26772-9Edelglass, William (2013), "Buddhist Ethics and Western Moral Philosophy" (PDF), in Emmanuel, Steven M. (ed.), A Companion to Buddhist Philosophy (1st ed.), Wiley-Blackwell, pp. 476–90, ISBN 978-0-470-65877-2, archived from the original (PDF) on 16 March 2015Funayama, Tōru (2004), "The Acceptance of Buddhist Precepts by the Chinese in the Fifth Century", Journal of Asian History, 38 (2): 97–120, JSTOR 41933379Seeger, M. (2010), "Theravāda Buddhism and Human Rights. Perspectives from Thai Buddhism" (PDF), in Meinert, Carmen; Zöllner, Hans-Bernd (eds.), Buddhist Approaches to Human Rights: Dissonances and Resonances, Transcript Verlag, pp. 63–92, ISBN 978-3-8376-1263-9Keown, Damien (2012), "Are There Human Rights in Buddhism?", in Husted, Wayne R.; Keown, Damien; Prebish, Charles S. (eds.), Buddhism and Human Rights, Routledge, pp. 15–42, ISBN 978-1-136-60310-5Keown, Damien (2013a), "Buddhism and Biomedical Issues" (PDF), in Emmanuel, Steven M. (ed.), A Companion to Buddhist Philosophy (1st ed.), Wiley-Blackwell, pp. 613–30, ISBN 978-0-470-65877-2, archived from the original (PDF) on 16 March 2015_________________________________If you like our show and would like to support us, we encourage you to give your money or resources to a worthy cause. We can get through this. Our strongest weapon is solidarity. Stay strong and help where you can. Thank you.Do you have a question about Buddhism that you'd like us to discuss? Let us know by emailing us at Bright.On.Buddhism@gmail.com.Credits:Nick Bright: Script, Cover Art, Music, Voice of Hearer, Co-HostProven Paradox: Editing, mixing and mastering, social media, Voice of Hermit, Co-Host

Host: JR Guest: Isabella Reddy, author of That You RememberJR sits down with acclaimed author Isabella Reddy to discuss her novel That You Remember, a work of historical fiction loosely based on the Buffalo Creek Disaster — a devastating flood that struck Logan County, West Virginia on February 26, 1972, killing 125 people, mostly women and children, after a coal slurry dam owned by the Pittston Coal Company catastrophically failed.Isabella shares how she spent 10 years researching the story, including visiting the region, reviewing court depositions from the landmark Gerald Stern lawsuit against Pittston, and even going inside coal mines in Beckley, WV and Wales. The spark that drove her to write the novel? A poem recited online by a disaster survivor, whose words — "I can't remember... I can't forget" — moved her to tell the story.The Buffalo Creek Disaster: What happened, who was affected, and why it's been overlooked in mainstream historyCoal culture in southern WV: The deep bond communities have with coal mining, the role of unions (UMWA), and the economic reality of Logan CountyResearch process: Visiting Logan County, going into homes, attending memorials (from the 40th to the 54th anniversary), and using her father's personal desk diaries — he once worked for PittstonThe character of Sarah: A fictional heroine inspired by real people Isabella met — spunky, outspoken, caught between loyalty to her community and a forbidden relationship with a coal operatorCorporate accountability vs. responsibility: Pittston infamously called the disaster "an act of God" — JR and Isabella discuss what that deflection reveals about corporate ethicsThe Miracle Baby, Carrie Albright: A real survivor of the disaster, thrown to safety by his mother as she was swept away; now a successful man in New York CityConnections to global disasters: The 1966 Aberfan disaster in Wales, Erin Brockovich, and Dark WatersHow to support the book and your local library: Purchase the book and provide its ISBN to your state capital to get it placed in every county libraryAmazon and Barnes & NobleRequest it at your local bookstore or libraryPublisher: Bell Aisle Books (an imprint of Brandy Lane Publishing, Richmond, VA)Author's website: thatyouremember.com- **Instagram | Tumblr | Twitter | TikTok | Facebook | LinkedIn — @WVUncommonPlaceMerch store: onecommonplacesquarespace.comJoin the email list via the websiteRate, subscribe, and leave feedback on your favorite podcast platformWV Uncommon Place is a variety podcast covering mental health, empowerment, pop culture, and West Virginia — hosted by JR and Stacey.Episode SummaryKey Topics CoveredWhere to Find the BookConnect with WV Uncommon Place

Proverbs 16:24 tells us: "Kind words are like honey—sweet to the soul and healthy for the body."In this episode, you discover Bible-based ways to apply this wisdom to bless family members, friends, strangers, and yourself.You'll also discover how scientific research confirms the truth of Proverbs 16:24.---Citations: Newberg, A., & Waldman, M.R. (2012). Words Can Change Your Brain: 12 Conversation Strategies to Build Trust, Resolve Conflict, and Increase Intimacy. Hudson Street Press / Penguin Books. ISBN: 978-0142196779.Hirano, Y., et al. (2024). "Neural Effects of One's Own Voice on Self-Talk for Emotion Regulation." Brain Sciences, 14(7), 637. MDPI. https://doi.org/10.3390/brainsci14070637---Host: Stephen Carter - Website: https://StressReliefRadio.com - Email: CarterMethod@gmail.com or BibleVersesForBetterLiving@gmail.com---Technical information: Recording and initial edits with Twisted Wave. Additional edits with Soften, Audacity, Amadeus Pro, and Waves Voice ReGen. Final edits and rendering with Hindenburg Pro. Microphone: Earthworks Ethos.---Keywords: God, Christ, Holy Spirit, Bible, Kindness, 

No podcast do PublishNews desta semana, conversamos com Milton Hatoum, recém-empossado na Academia Brasileira de Letras. Escritor, professor universitário e tradutor, ele é autor de sete romances, publicado em 17 países e vencedor de diversos prêmios Jabuti, entre outros reconhecimentos nacionais e internacionais, além de ter sido cotado ao Nobel. No episódio, ele compartilha suas experiências com a literatura, as influências de seus professores, seu processo de escrita, reflexões sobre crítica literária, família e outros assuntos.Livro - Okinawa - Susumu Higa (Conrad)Livro - Dois irmãos - Milton Hatoum, Fábio Moon e Gabriel Bá (Quadrinhos na Cia.)Livro - Diário da tristeza comum - Mahmud Darwich - Tradução: Safa Jubran (Tabla)Livro - Invenção e crítica - Sobre a obra de Davi Arrigucci Jr. - Marta Kawano (Org.) - Milton Hatoum (Org.) - Samuel Titan Jr. (Org.) (Companhia das Letras)Este podcast é um oferecimento da MVB América Latina! Onde a inovação e tecnologia impulsionam o mercado do livro. Com a Pubnet, você ganha eficiência, agilidade e segurança em cada pedido.E quando o assunto é metadados… metadados é com Metabooks! Porque, no fim das contas, o propósito da MVB é um só: levar os livros até os leitores! https://pt.mvb-online.com/Já ouviu falar em POD, impressão sob demanda? Nossos parceiros da UmLivro são referência dessa tecnologia no Brasil, que permite vender primeiro e imprimir depois; reduzindo custos com estoque, armazenamento e distribuição. Com o POD da UmLivro, você disponibiliza 100% do seu catálogo sem perder nenhuma venda. http://umlivro.com.bre também com o apoio da CBLA Câmara Brasileira do Livro representa editores, livreiros, distribuidores e demais profissionais do setor e atua para promover o acesso ao livro e a democratização da leitura no Brasil. É a Agência Brasileira do ISBN e possui uma plataforma digital que oferece serviços como: ISBN, Código de Barras, Ficha Catalográfica, Registro de Direito Autoral e Carta de Exclusividade. https://cbl.org.br

Look for my books on Amazon.1. My memoir LIES BETWEEN US2. The addict book "DADDY, WHY WERE YOU A DRUG ADDICT?" By Roger Ray BirdThe word "addict" is horribly stigmatized, therefore the book will likely not initially show up in your search. Query for the  full name Roger Ray Bird, or search for the addict book by its ISBN number: 979-8218286651Roger's complete social directory can be found at Solo.to / RogerRayBird

Bright on Buddhism - Episode 138 - What are the 3 mysteries in Shingon Buddhism? What are their significance? How ought we understand it?Resources: Arai, Yusei (1997). Koyasan Shingon Buddhism: A Handbook for Followers, Japan: Koyasan Shingon Mission, ISBN 4-9900581-1-9.Bowring, Richard (2008). The Religious Traditions of Japan: 500–1600. Cambridge, UK: Cambridge University Press.BDK (2015), Esoteric Texts, Bukkyō Dendō Kyōkai America Incorporated.Chandra, Lokesh (2003). The Esoteric Iconography of Japanese Mandalas, International Academy of Indian Culture and Aditya Prakashan, New Delhi, ISBN 81-86471-93-6Dreitlein, Eijo (2011). Shido Kegyo Shidai, Japan.Dreitlein, Eijo (2011). Beginner's Handbook for the Shido Kegyo of Chuin-ryu, Japan.Giebel, Rolf W.; Todaro, Dale A.; transl. (2004). Shingon Texts, Berkeley, Calif.: Numata Center for Buddhist Translation and Research. ISBN 1886439249Giebel, Rolf, transl. (2006), The Vairocanābhisaṃbodhi Sutra, Numata Center for Buddhist Translation and Research, Berkeley, ISBN 978-1-886439-32-0Giebel, Rolf, transl. (2006). Two Esoteric Sutras: The Adamantine Pinnacle Sutra (T 18, no 865), The Susiddhikara Sutra (T 18, no 893), Berkeley: Numata Center for Buddhist Translation and Research. ISBN 1-886439-15-XHakeda, Yoshito S., transl. (1972). Kukai: Major Works, Translated, With an Account of His Life and a Study of His Thought, New York: Columbia University Press, ISBN 0-231-03627-2.Matsunaga, Daigan; and Matsunaga, Alicia (1974). Foundation of Japanese Buddhism, Vol. I: The Aristocratic Age. Buddhist Books International, Los Angeles und Tokio. ISBN 0-914910-25-6.Kiyota, Minoru (1978). Shingon Buddhism: Theory and Practice. Los Angeles/Tokyo: Buddhist Books International.Payne, Richard K. (2004). "Ritual Syntax and Cognitive Theory", Pacific World Journal, Third Series, No 6, 105–227.Toki, Hôryû; Kawamura, Seiichi, tr, (1899). "Si-do-in-dzou; gestes de l'officiant dans les cérémonies mystiques des sectes Tendaï et Singon", Paris, E. Leroux.Miyata, Taisen (1998). A Study of the Ritual Mudras in the Shingon Tradition and Their Symbolism.Maeda, Shuwa (2019). The Ritual Books of Four Preliminary Practices: Sambo-in Lineage Kenjin School, Japan.Orzech, Charles D; Sorensen, Henrik Hjort; Payne, Richard Karl (2011). Esoteric Buddhism and the tantras in East Asia. Leiden; Boston: Brill. doi:10.1163/ej.9789004184916.i-1200. ISBN 978-90-04-20401-0. OCLC 731667667._________________________________If you like our show and would like to support us, we encourage you to give your money or resources to a worthy cause. We can get through this. Our strongest weapon is solidarity. Stay strong and help where you can. Thank you.Do you have a question about Buddhism that you'd like us to discuss? Let us know by emailing us at Bright.On.Buddhism@gmail.com.Credits:Nick Bright: Script, Cover Art, Music, Voice of Hearer, Co-HostProven Paradox: Editing, mixing and mastering, social media, Voice of Hermit, Co-Host

Vom Lügen über Stehlen bis hin zu Mord und Totschlag: Auch das alles kann zu einer Freundschaft gehören. Wo verläuft die Grenze zwischen unseren Werten und denen der Friends? Ein Blick auf die hügelige Landschaft unserer Moral.**********Ihr hört: Gesprächspartnerin: Alisa, findet Loyalität in Freundschaften wichtig, aber wahrt auch ihre Grenzen Gesprächspartner: Zachariah Berry, Assistenzprofessor für Management und Organisation an der University of South California in Los Angeles, forscht zu Fragen der Moral Gesprächspartnerin: Aysan Amir, psychologische Psychotherapeutin Autor und Host: Przemek Żuk Redaktion: Yevgeniya Shcherbakova, Friederike Seeger Produktion: Przemek Żuk**********Quellen:Berry, Z., Silver, I. & Shaw., A. (2024). Moral Paragons, but Crummy Friends: The Case of Snitching. Journal of Experimental Psychology: Applied, 30(3). S. 442–464.Berry, Z. & Hildreth, J.A.D. (2024). When Your Friend is My Friend: How Loyalty Prompts Support for Indirect Ties in Moral Dilemmas. Organization Science, 36(2).Hildreth, J.A.D. & Anderson, C. (2018). Does loyalty trump honesty? Moral judgments of loyalty-driven deceit. Journal of Experimental Social Psychology, 79. S. 87-94.Royce, J. (2018) [Originalausgabe 1908]. The Philosophy of Loyalty. CreateSpace Independent Publishing Platform. ISBN 978-1985098527. **********Mehr zum Thema bei Deutschlandfunk Nova:Vermenschlichung: Forschende warnen vor emotionaler Beziehung zu KITrennung, Kündigung, Krise: So supporten wir unsere FreundeBeziehung: Was tun, wenn wir den Partner unserer Freunde nicht mögen**********Den Artikel zum Stück findet ihr hier.**********Ihr könnt uns auch auf diesen Kanälen folgen: TikTok und Instagram .**********Meldet euch!Ihr könnt das Team von Facts & Feelings über Whatsapp erreichen.Uns interessiert: Was beschäftigt euch? Habt ihr ein Thema, über das wir unbedingt in der Sendung und im Podcast sprechen sollen?Schickt uns eine Sprachnachricht oder schreibt uns per 0160-91360852 oder an factsundfeelings@deutschlandradio.de.Wichtig: Wenn ihr diese Nummer speichert und uns eine Nachricht schickt, akzeptiert ihr unsere Regeln zum Datenschutz und bei Whatsapp die Datenschutzrichtlinien von Whatsapp.

In this episode, we return to Iain McGilchrist as he spirals upwards from his binary hemispheric model into full cosmic spirituality. The rule is simple: everything McGilchrist likes is due to the subtle, nuanced, and deeply sophisticated right brain, while the left brain (pffft) is responsible for reductionism, modernity, and most of the problems in your life.From this neuroscientific foundation, the theory expands with admirable ambition. Civilisations rise and fall depending on which hemisphere they inhabit. Ancient societies were properly attuned to the right brain, while the modern world has gone mechanical and spiritually bankrupt. The details are, of course, very complex, but the moral is clear.Scientific evidence features occasionally, mostly in a decorative capacity or as parables of scientists being baffled by mystical forces. Hence, we learn that decapitated worms retain perfect memories, Nobel Prizes have been awarded for demonstrating a mystical direction powering evolution, and near-death experiences establish that memories form when the brain isn't functioning.Alongside this hard science, McGilchrist also ventures into more spiritual realms, where we learn that artificial intelligence is likely to be channelling demons, schizophrenia might be caused by malign spiritual forces treating our brains as a luxury resort, and recently exorcised demons prefer to communicate via text message. No really...Ultimately, what matters is that McGilchrist's bespoke theology, bespoke metaphysics, bespoke biological teleology, and bespoke panentheist philosophy are really very impressive. And if you don't find any of it compelling, well, we are sad to inform you that this itself proves you are stuck in the wrong mode of thinking and failing to recognise true profundity.And if that doesn't work, then let's just say it was all a metaphor anyway!LinksAlex O' Connor: Why Evolution Gave You Two Brains - Iain McGilchristJonathan Pageau: Artificial Intelligence, Possession, and Mental Illness - Dr. Iain McGilchristThink Faith: Philosopher Iain McGilchrist DEBATES neuroscientist Anil Seth on God & minds | Uncommon GroundSpezio, M. (2019). McGilchrist and hemisphere lateralization: a neuroscientific and metaanalytic assessment. Religion, Brain & Behavior, 9(4), 387–399. https://doi.org/10.1080/2153599X.2019.1604416Corballis, M. C. (2014). Left brain, right brain: facts and fantasies. PLoS biology, 12(1), e1001767.Carson, A. (2010). The Master and His Emissary: The Divided Brain and the Making of the Western World. By Iain McGilchrist. Yale University Press. 2009. US $38.00 (hb). 608 pp. ISBN: 9780300148787. The British Journal of Psychiatry, 196(6), 498-498.De Haan, D. (2019). McGilchrist's hemispheric homunculi. Religion, Brain & Behavior, 9(4), 368-379.Shomrat, T., & Levin, M. (2013). An automated training paradigm reveals long-term memory in planarians and its persistence through head regeneration. Journal of Experimental Biology, 216(20), 3799-3810.

In this episode of the Self-Publishing with ALLi Member Q&A podcast, hosts Michael La Ronn and Sacha Black discuss whether authors of memoir and creative nonfiction should invest in a legal review before publication. Other questions include: Should you agree to a publishing services contract that assigns your ISBN to the company? When is the right stage to add references in a nonfiction manuscript? Are Goodreads giveaways worth the cost compared to other marketing options? What is the simplest way to build a functional author website with email capture and reader magnets? Should you revise and republish a bestselling book with low reviews or focus on new work? What should you do if you are about to miss an Amazon pre-order deadline? And more! Find more author advice, tips, and tools at our Self-Publishing Author Advice Center, with a huge archive of nearly 2,000 blog posts and a handy search box to find key info on the topic you need. And, if you haven't already, we invite you to join our organization and become a self-publishing ally. About the Hosts Michael La Ronn is ALLi's Outreach Manager. He is the author of over 80 science fiction & fantasy books and self-help books for writers. He writes from the great plains of Iowa and has managed to write while raising a family, working a full-time job, and even attending law school classes in the evenings (now graduated!). You can find his fiction at www.michaellaronn.com and his videos and books for writers at www.authorlevelup.com. Sacha Black is a bestselling and competition winning author, rebel podcaster, speaker and casual rule breaker. She writes fiction under a secret pen name and other books about the art of writing. When Sacha isn't writing, she runs ALLi's blog. She lives in England, with her wife and genius, giant of a son. You can find her on her website, her podcast, and on Instagram.

An Unflinchingly Raw, Coming Out Memoir of Addiction, Trauma, and Recovery, Within the Landscape of NY/NJ and the Criminal Underworld of WaikikiTeen junkie. Criminal prodigy. Meth kingpin. PTA mom. Lesbian. Nikki Mammano has lived many lives, each with its soaring highs and crushing lows. Now, as a recovering addict and mother of two (young adults) in her 50s, Mammano tells her tale at last in BREAKING GOOD: A Memoir (March 2026; Regalo Press; ISBN: 979-8895651681; Trade Paperback Original; $19.99). At 20, Nikki arrived on the breathtaking island of Oahu, raring to start classes at the University of Hawaii and serious about turning over a new leaf. Before leaving the mainland, she had made a promise to herself not to party too hard, and her roommate Deb, a friend from her wild teenage years in New York's Hudson Valley, seemed to be on the same page. Yet to Nikki's surprise, Deb already had a roommate: her cokehead boyfriend. Within a flash, Nikki's college dreams and savings went up in smoke. By 22, she was a full-blown meth addict. Living on the streets of Oahu, she did whatever it took-begging, borrowing, stealing-to feed her habit. How the hell did she get there?Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

This episode is entirely in Spanish. English translation is here: https://marekpoliks.com/noinvestigues_transcript. We are delighted to be joined by the algorithmically contagious memetic research project no.investigues. If you are chronically online, especially if you are familiar with the Spanish-speaking corners of the internet, you must have already interacted with one of the echoes of no.investigues —probably through their wonderful Substack, or in conversation at their Discord book club, or through the 28.research cluster, or most likely through monumental Instagram meme carousels.Their voice flows through online algorithmic inertia, yet the substance of their discourse exists in the shadow of virality.In this conversation, we talk about what it means to understand the apocalypse as an asymmetrical phenomenon: no one experiences it at the same time, and clearly not with the same intensity. This polyphonic nature of the apocalypse is amplified by the increasingly atomized and homogeneous global distribution of violence.Even so, the apocalypse is already here, and we might be better off learning how to inhabit it. Through an extrapolated reading of Ernesto Oroza's visual archive Desobediencia Tecnológica (Technological Disobedience), documenting repurposed technology in Cuba, we talk about repurposing salvaged discourses into newly assembled modes of thinking that would allow us to confront the roughness of our apocalyptic situation. This invitation resonates with a thread that runs through our conversations ever since Exocapitalism came out: the premise that perhaps the apocalypse and capital are forces not to be treated as enemies, but as inertias of History. Both demand a nuanced engagement with their diverse local articulations of violence. Under this framework, the apocalypse feels like an ineluctable situation, one that cannot be won by fighting.Instagram: https://instagram.com/no.investigues/Selected no.investigues substack posts:Pensamiento apocalíptico, una aproximación: https://substack.com/home/post/p-192881638La Torre: https://substack.com/home/post/p-191289547Desobediencia Tecnológica de Ernesto Oroza: https://substack.com/home/post/p-179603849References: Valencia, Sayak. Capitalismo gore. Barcelona: Melusina, 2010. ISBN: 978-84-96614-87-1. Oroza, Ernesto. Desobediencia tecnológica: La permanencia de lo temporal en Cuba. Ciudad de México: FIEBRE Ediciones, 2025.

Episode SummaryIn this episode of Million Dollar Flip Flops, Rodric sits down with Michele DeFilippo — owner of 1106 Design and a publishing expert who has helped more than 4,000 authors self-publish their books since 2001.Michele breaks down the confusion surrounding modern publishing, especially the traps authors fall into when they assume they need a “publisher” when what they really need is the right services. She explains the difference between true self-publishing and the growing wave of middleman publishing companies that charge authors upfront, then also take money from every sale on the back end.Rodric and Michele also talk about AI-generated book garbage flooding Amazon, the misuse of royalties in self-publishing deals, and how authors can protect both their work and their income. If you have a book in you — or one already in progress — this episode is a must-listen.In this episode, you'll hear:Michele's path to helping more than 4,000 authors self-publishThe difference between self-publishing and paying the wrong kind of publisherWhy authors often don't need a publisher — they need expert servicesHow some publishing companies charge authors twiceThe red flags every author should watch for before signing anythingMichele's take on AI-generated books and why they're harming publishingWhy “royalty” language can be a warning sign in self-publishing dealsThe common misconceptions authors have about book salesWhy a quality book still matters if you want to build a business with itThe simple questions authors should ask before hiring anyoneHighlights & Timestamps[00:00] The publishing industry's darker sideMichele opens with a warning about publishers who take authors' money and still fail to produce a quality book.[00:00] Meet Michele DeFilippoRodric introduces Michele, founder of 1106 Design, who has helped over 4,000 authors self-publish since 2001.[01:00] Rodric's own publishing lessonsRodric shares that after publishing two books, he learned a lot the hard way and wishes he'd had someone like Michele sooner.[01:00] AI-generated books and publishing garbageMichele explains her concerns about AI-created books flooding the market and why there is no substitute for an author's real voice.[02:00] Biggest misconceptions authors haveShe breaks down how authors often misunderstand what self-publishing really means.[02:00] What self-publishing originally meantMichele explains that self-publishing used to clearly mean the author was the publisher and kept control and profits.[03:00] The rise of middleman publishersShe explains how many companies now charge authors to publish their books and still take money from every sale.[04:00] Publisher vs. services: what authors actually needRodric asks Michele to clarify the difference between a publisher and simply hiring the right professionals to help.[04:00] How Michele's company helps authorsMichele explains how 1106 Design provides editing, design, distribution setup, and publishing support in the author's name.[06:00] The money authors leave on the tableShe explains how many authors are unknowingly earning far less per book because they signed bad publishing deals.[06:00] Rodric on unrealistic publishing expectationsRodric shares how people often misunderstand what success looks like when a book launches.[07:00] Michele on the “100 books sold” mythShe pushes back on the often-repeated statistic that most books sell under 100 copies and explains why that number can be misleading.[08:00] Why authors need protection from scamsMichele talks about the emotional investment authors make in their books and why scams in publishing are especially damaging.[09:00] Rodric's story about a poet friendRodric shares a story about a friend whose poetry book struggled to find support in traditional publishing.[10:00] Rodric's message about Million Dollar Flip FlopsRodric shares a quick message about his book and the foundation behind it.[10:00] Where to find MicheleMichele shares where authors can connect with her and download her free book, Publish Like the Pros.[11:00] Michele's question for the next guestShe asks a simple but powerful question: what is your why?[11:00] Michele's answer to the previous guest's questionShe shares the last physical book she read — The Body Keeps the Score — and what it taught her about hidden suffering and compassion.[13:00] Final advice for authorsMichele ends by sharing the specific warning signs and questions authors should use when evaluating publishing offers.Notable Quotes“Some of these publishers just take their money and don't put out a good book.” – Michele DeFilippo“Authors do not need a publisher. They need services.” – Michele DeFilippo“If they're offering you a free ISBN, that's a red flag.” – Michele DeFilippo“If they're offering to pay you in a royalty, that's a red flag.” – Michele DeFilippo“There's no substitute for an author writing down what's in their heart.” – Michele DeFilippo“When in doubt, be kind.” – Rodric LenhartConnect with Michele

Are you tired of the hustle-harder approach to book marketing? What if a quieter, more creative strategy could work just as well — and feel a whole lot better? How can special editions, physical letters, and library outreach bring readers to your books without the daily grind of ads and social media? Sara Rosett shares her low-key approach to marketing, direct sales, and the creative business of being an indie author. In the intro, dealing with uncertainty, and Becca Syme's Quit books; The Successful Author Mindset; Building resilience and the creative lies that writers tell themselves [Wish I'd Known Then]; On Writing – Stephen King; Big Magic – Elizabeth Gilbert; This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Sara Rosett is the USA Today bestselling author of over 30 books across 1920s mysteries, cosy mysteries, and travel mysteries, as well as nonfiction for authors. She's also the co-host of the fantastic Wish I'd Known Then podcast. In this episode: Why low-key, personality-driven marketing can be more sustainable than aggressive advertising How to pitch your books to libraries using a simple email strategy The pros and cons of special editions, physical letters, and Kickstarter campaigns Shifting from retailer-first releases to direct sales through a Shopify store Co-writing nonfiction and the power of series bundles for reader discovery Drawing creative inspiration from other industries and international storytelling trends You can find Sara at SaraRosett.com and at WishIdKnownForWriters.com Transcript of the interview Jo: Sara Rosett is the USA Today bestselling author of over 30 books across 1920s mysteries, cosy mysteries, and travel mysteries, as well as nonfiction for authors. She's also the co-host of the fantastic Wish I'd Known Then podcast. Welcome back to the show, Sara. Sara: Hi, Jo. Thanks for having me. It's great to be back. Jo: It is great to have you back. You were last on the show five years ago, around February 2021, and we talked about writing a series — and you have a great book on that. But first up, give us an update. What does your author business look like right now, and what are you up to with your writing? How Sara's author business has evolved Sara: Well, it's changed a lot. I sat down to think about this and I thought, yes, I have got into direct sales. I've done Kickstarters. I have a Shopify store now. I've really shifted from releasing first on the retailers. I don't really do that anymore. I've done some special editions, some physical things — I'm sure we'll talk about those later. Still doing the podcast with Jamie, the Wish I'd Known Then podcast, we're still doing that. I also have a Mystery Books podcast, which is an episodic podcast that comes out in seasons. I do a short season, about one a year, so I keep doing that. Writing some nonfiction. I did the trope book with Jennifer Hilt for mystery and thriller. And writing-wise, I've created a spinoff, a short spinoff in the 1920s series. I'm still loving the 1920s timeline. But I've slowed down a little bit on the releases. Busy, but good. Jo: Busy, but good. All right, we're going to get into all of those things. Although I must say I had forgotten about your Mystery Books podcast and going to seasonal. I also had my second podcast, Books and Travel, which is now on a kind of hiatus, but going to a seasonal approach is actually really interesting. Do you find that listeners come back to that podcast? The power of a seasonal podcast Sara: Yes, and it surprises me because I've always thought you have to be weekly with a podcast to gain any traction at all, which I think is the best way to do it. You can build an audience quickly then, but I just knew I couldn't sustain that. So when I set out, I started with maybe seven to ten episodes and I did them each year — each year has had a season — and I do five to ten episodes. Readers find it, and I have highlighted specific books. I think maybe they're searching for a podcast about the Thursday Murder Club or something like that. They find it that way, and I get downloads, just steady downloads throughout the year, and I don't do much. I do some Pinterest pins for that, and that's about all I do. This is one of those things — it's the kind of low-key marketing that's low threshold, but it does work. I think if your readers are looking for stuff to listen to about the topic you write about, it could be a good way to do some low-cost, long-tail marketing. I love it. I keep doing it because I love it. Jo: That's great. Low-key marketing that fits your personality Jo: As you mentioned, I really wanted to talk to you about this low-key, non-hype marketing. We've met in person a number of times, and I think we're quite similar — we're quiet, reserved. We are quite low key. I just put content out, and yes, I do some paid ads or whatever, but I just don't find the hype marketing something I want to do. I like the attraction marketing, and I feel like I do intuitive marketing. So how does your low-key marketing fit with your personality? Sara: Well, I did try some of the more promotional marketing. I tried to have a street team back when I heard authors talking about that. I thought, oh, I'll do a Street Team, and that doesn't really match with my readers. My genre — that's just not a thing that happens a lot there. So I backed off of that, and I've tried ads. Not really interested in those. I'm not really good at them, and I don't really want to get good at them. So I've searched for ways that I can find readers that don't rely on ads. I've really focused on my newsletter, and I have two of those. I have a main one that goes out to my readers who sign up in the back of the book. And then I have a New Release in Historical Mysteries newsletter that goes out about twice a month most of the time. That's just curation. I'm saying, hey, these are the new books that are out. I feel like those are easy to do. They fit with my personality, which is like, here, let me give you some information about what's going on in this genre. I do newsletters, the promo sites, the smaller promotional paid ads — I do those occasionally. I have a rotation that I go through, and I try to get a BookBub. If I can, that's great. I've just done things that are leaning into what I feel comfortable doing. Pitching books to libraries Sara: A lot of it is finding small sites where I haven't run an ad. Let me see if there's anybody who wants to sign up or get a free book through me here. I've done some BookFunnel marketing, where you can join the group promos. I like those. And I've reached out to libraries because I feel like my books appeal to libraries. They like the 1920s historicals. It's an easy way to reach people — it's attractive to libraries. So I had a list of libraries in my state, and I have an assistant who helps me out. She emailed down the list. She picked a few every week and messaged them and said, hey, this is a local author. She lives in this state. Here are some books you might enjoy from her. And I have, because of you, large print — I got into that when you started talking about large print a couple of years ago. So I have large print case laminate books that libraries like. I just do things like that, things that are not the norm. Hardly anybody is talking about marketing to libraries. But I try to do that. Sometimes I'll just think of something. I was at the library and I thought, wow, look at all these hardcover case laminate books they have in this large print section. Maybe I should try that. And then I search out and try to figure out if I can do it. Jo: And just for people who don't know, case laminate is a hardback. Sara: Yes. Jo: That's really interesting. You mentioned the libraries and the list. Was that a list you were able to buy? I remember years ago I had someone on the show who was doing that kind of thing. Or was it that your assistant had to go through and find all the libraries, find an email address, that kind of thing? Sara: I think I found it through Sisters in Crime, which is a mystery writers' organisation, and I think they had a contact list — you could get libraries and bookstores in your area. I think I started with that and then just research. And I'm sure now with AI, you could put in where you are and say, in a radius of 250 miles, what is near me? And you could probably get a great list. Jo: Absolutely. And when the assistant is emailing, is it just information about you and then saying, would you like to buy? Because you have a big backlist, and we don't want to be sending loads of expensive hardbacks to libraries unless they're actually going to buy. What's the process to actually sell to them? The library email approach Sara: I wrote up an email and introduced myself. I leaned into the “I'm local — I live in the same city or state that you're in.” Then I described my most popular series and said the first book is this. I put a link to a PDF that they can go look at. I think it's on my website, and they can go see the books. They can print that out, of course, and it has the ISBNs. I make sure they know they can order them from Ingram, and that's all I do. Then when I had a new release, we switched it up and put that at the top. But I have all the books in the series so they know it's a series. Jo: That's fantastic. I love that. Set-and-forget promotional marketing Jo: A lot of what you were talking about was newsletter, email marketing, some ads, but nothing aggressive — as in you're not monitoring it every single day. The email pushes, like a BookBub or free books, bargain books — you can book it and then it's almost set and forget, isn't it? You don't have to log in every day to check the results. Is that what you mean? Sara: Yes. And I like those because they are set and forget. You just have to remember to drop the price and then reset it on Amazon, and then they send it out to their list and hopefully you get some traffic from that. I like that much better than Facebook ads, because with ads I feel like you have to go in and monitor the comments and check on how they're doing. It's a more full-time type job. If you're doing a lot of ads, it's a couple of hours — for me anyway, because I'm not very savvy with it and I'm not as experienced. So it would take a long time to increase my knowledge there. Jo: To be fair, both of us have had many years when we could have become experts, but the fact is it doesn't suit our personalities. I am now working with Claude Code a bit more to do Amazon ads, but even then we go in once a week and Claude does a few things and then we log out again. I'm not doing this daily stuff, and I may eventually get back into doing it for Meta. But in terms of what I mean by low-key marketing — it's lower stress when you don't have to do stuff every day. And I guess what you're doing with the Mystery Books podcast, with the library pitches, with the batching — is that what you're doing? Putting aside time for marketing occasionally? Sara: Yes. And that's what I do. I'll think, oh, I haven't checked Kobo promos, so let me go check that, because I do use those too. I'm wide, so I'm trying to find things that bring my books to readers everywhere. I use the Kobo promos, I use Kobo Plus, I use Draft2Digital to get digital books into libraries. I'm always running — if they have a library sale anywhere, I sign up for it and I just do these occasional things. It's not every day, and I like doing things in phases. I like doing a special edition and working on that and then being done with that and putting that away and going back to writing or whatever. I don't mind doing promo for a little bit, but then I don't want to do it every day. A project-based approach to the author business Jo: We are similar in so many ways. I also have this project approach to life and business. If I'm writing a first draft of a new book, pretty much everything else goes out the window. Sara: Yes. Jo: Exactly. I just don't have the bandwidth. I'm not in that head space. And then, as we record this, I've got a Kickstarter coming up for Bones of the Deep and yesterday I did the book trailer, and I'll do the push for the Kickstarter and then I'm just going to stop. Sara: Well, the positive way to look at that is it's focus, right? We can focus for two weeks or a month or whatever — two months doing a Kickstarter or whatever — and then we're done with it, and then we move on. Jo: That just seems more sustainable to me. I didn't like doing everything every day or every single week. Sara: Me either. I like switching it up, and I do enjoy the different phases of writing. I like the research and then I like doing the — well, I don't like the drafting that much, but once I get a draft done, I like the editing. And then when it comes time to promote it or do a special edition or whatever, I enjoy that part. Finding whatever I'm going to use for the interior photos and stuff — just things like that. I enjoy each phase and I like switching it out. Jo: I think that's really good. Some people think this writer's life is you write new words every single day and you manage your ads every single day. That seems to be what some people do, but that's certainly not us, is it? Sara: No. And that's great if you want to do that. I just don't want to. And I think we've come to the point now where each person can do this as they want. Hopefully people don't feel the pressure to meet these self-imposed deadlines or parameters that don't exist. There's no rules for writing or publishing. You can do whatever you want. Social media — or not Jo: Let's just mention social media then. What are you doing for that? Sara: Not much! Jo: Nor me! Sara: I'm dabbling in Pinterest because I think that could have the longer tail. I do a little Instagram, but that is about it. And I really considered just leaving it altogether. I'm never on Facebook. We were talking earlier about saying no, and I don't want to join any more Facebook groups. I don't care what information they have. I figure I'll hear about it on a podcast if it's great. I think social media has changed so much. In the beginning, it was great — you could find readers. Now it's just much harder to connect with readers there. I want to have a presence so that if people go look for me, they'll find my books and hopefully find a link to download a free book and read it or an audiobook and listen to it. Then they can get on my newsletter and connect with me there. That's my philosophy. Jo: I think so too. I am on Instagram @jfpennauthor in that I do post pictures there, and even very recently I've discovered how to do a reel, which is just hilarious — I'm only about seven years late. But I don't check my DMs, so if anyone messaged me on Instagram or Facebook, I'm just not getting them. Sara: I know. And I feel like there's so many places people can connect with you. I put up a post on Facebook and said, I'm not going to be here much anymore. If you're looking for me, you can find me on Instagram maybe, or sign up for my newsletter to really stay in touch. Jo: I think that's what we have to do. But our idea of this project-based approach to the author life and the author business doesn't suit social media, because the people who are really good on social media are on it multiple times a day, creating content multiple times a day. It just suits some people and not others. Sara: I do things and I take pictures and think, oh, I'll put this on Instagram. And then I don't ever do it. One time we went on a road trip and I took a bunch of paperbacks and dropped them off in the free little libraries. I took a picture at each one and I never posted those ever. I ran across them years later and thought, oh yeah, I did it but I didn't post it on social media. That's just not my thing. Special editions and physical design Jo: Although you did just say that you like doing the art and the photos, and you've done some beautiful special editions. You've done letters, you do a lot of physical design for your books. So talk about that — why you're doing that, why it's fun, and the pros and cons, because it can be a time suck and a money suck. Sara: Yeah. I think you have to figure out where your gauge is for that, because you can go all in and do everything for the special editions. I've come to the conclusion I'm going to survey my readers before I do another one and say, what do you really like about them? Because I do mine and release them on my Shopify store first — is it just that you're getting it first, or do you like all the bells and whistles? I enjoy doing the endpages and the ribbon, and I've done character art for them. But since my books are set in the 1920s, there's a lot of photos from that time period that are available. In Deposit Photos, you can go in and search for those. The last two books I did, I used photos that I thought captured what the characters would look like. That was a lot of fun to find and just include photos instead of character art. And it was a lot faster than waiting for character art too. The pros are that it's fun and you get to do things you don't normally get to do — finding beautiful illustrations for the endpages, doing the sprayed edges, just making it really special. Storytelling through letters Sara: I enjoy doing things that you can't do on Amazon. You just can't do letters on Amazon. With both Kickstarters, you could get three physical letters in the mail. They were a story told through letters, and they had art. The first one was black and white, and then the second set was colour. Since then, I've done colour, and it's a challenge to write those because it's a totally different type of writing. It's a 1,000 to 1,500 word little snippet, and where you end is important so that readers will be looking for the next one. Including art — whether it was a map, illustrations of what the view looks like, what the house looks like. Not that I illustrated it — I had somebody else help me do that. It's fun to think about how stories can be told in different ways. I love novels, but 70,000 words is a lot of words. That's a big project. Sometimes it's nicer to have a shorter project. The letters were shorter and a shorter time investment. I enjoyed them for that. For the cons — it's just a longer ramp up to get it going. If you want to do a special edition or letters or book boxes or anything like that, just estimate how much time you think you need and then multiply by three or five, because it's going to take so much longer than you think. Would you agree with that, with your special editions? Jo: Yeah. Although I think now I've got a process for it. Although, I did my book trailer for Bones of the Deep yesterday, and it reminded me — the book trailer is 30 seconds, and it took me nearly ten hours! Sara: I do believe that though. I completely believe it. Jo: Because I'm a bit of a control freak. I love working with Midjourney. I say I think I'm a control freak — of course I am. We all are as indie authors. But I'm a very visual author, and you sound like you are as well. I see the book, and if I'm generating pictures of the characters or the ship or what happens in the storm or whatever, then it needs to look like what's in my head. So I end up generating and generating, and then I did music and then — yeah, it's very creative, but it takes a heck of a long time. From Kickstarter to Shopify store Jo: Coming back to your letters and your Kickstarters — I did go check. It's been a while since you've done those. Have you changed to using your Shopify store, and will you do another Kickstarter? Sara: I may do another Kickstarter. I do feel like I found new readers on Kickstarter. That's a pro definitely — people will see your work that maybe would never see it on Amazon. It's a much smaller pool to stand out in. Whereas on Amazon there are thousands and millions of books, on Kickstarter there might be five historical mysteries or two at that moment. So it's easier to stand out. I'll probably do another Kickstarter, but to me it was difficult with the prep that went into it. Then the launch, and the launch kind of stressed me out. I know we talked to you on our podcast before your first Kickstarter and you were a little stressed, so I'm not as stressed as I would be with the first one. But it is a lot to prepare, and I do feel some pressure that I want this one to do well. And then the fulfilment — I like to do things in phases, so I felt like it was hard for me to move on to anything else while I was waiting for the books to arrive, because I didn't feel done with that until I had sent out the books. It just seemed like it took quite a bit of time. So with my next release, I thought, I'm going to launch this on my Shopify store and see how it does. I still did the special edition and I still did a lot of the things I learned to do with Kickstarter, like emailing my list a little more often and highlighting these special things. And coordinating with a couple of other authors in my genre to say, hey, I have a book out and it's a special edition — you might be interested. And then share their stuff when their book comes out. The first one I did, I had the book sent to me. I signed them, packed them, and sent them out. But the second one, I said, to save time and money, we were just going to do a digital signature. I had them shipped directly from Book Vault to the reader, and that just helped simplify things so much. Launching on my store, I didn't see quite as many sales or bring in quite as much money as I did on Kickstarter, but it took a lot less time. I feel that was a good trade-off. It simplified the time it took to do it, so I was able to get back to writing more quickly. The second one I launched on my store as well. I've done the spinoff series on my store — it's a three-book series — and I'll probably do the third book on my store too. Then maybe when I go back to my original 1920s series, which is the one that does the best and is my most popular, I may go back to Kickstarter with that one. I think it's nice to have the choice to launch on my store or Kickstarter. I can choose — do I have enough time to do it the way I want to on Kickstarter? Scarcity, direct sales, and training readers Jo: I feel like launching on my store, there's less of a time pressure. We don't really have scarcity in our business, and the only way to make it scarce is to have a limited-time offer. Which to me, Kickstarter by its very nature is a limited-time offer. Obviously it's easier for me because I'm near BookVault, so I go up there and physically sign the books, and I like doing that occasionally. But I hear you with the direct store, and I also presume it trains people to buy from your store. So how has your revenue shifted from the big stores like Amazon, Kobo, to Shopify, Kickstarter, direct sales? Sara: It's shifted a lot. I do the Shopify store just like I do everything else — in phases. I'm like, hey, I have a new release. Go buy it at my store. And I have a lot of sales. I also launched a third set of letters last year around October, leading into November. I said, you can get this series of letters — two a month all year in 2026. Go to my store, sign up for it, buy it there. They'll be launching in December. I push it, I talk about it. I do a podcast about the letters or the special edition on Mystery Books podcast. I ran a couple of ads, got the word out, saw some sales, got everything done, and then it just kind of tapers off. What I need to do is continue to market it, especially to my list — hey, did you know I've got these bundles? Did you know you can get bundles of paperbacks or audiobooks over here from me at a discount? I need to work that into my newsletter strategy. It's kind of like I use it in phases. I still have books on all the retailers and still promote those and link to them. But that's not my focus now. If I'm going to send traffic anywhere, I'm going to send it to my store. My mindset is more on direct sales and the special things I can do — the special editions, the unique things they can only get from me. I'll still do a BookBub if I can get one, and push that to the retailers. The smaller newsletter sites — I use those to reach readers there. But my focus is definitely on the special editions and doing things on my store that you can't get anywhere else. Beyond ebook, audiobook, and paperback Jo: A lot of people, new authors particularly, are thinking about ebook, audiobook, paperback. And all of those you can get anywhere — for both our books, you can get them in those formats anywhere. And large print as well. I have large print paperback, and I actually remember, it was probably five years ago when you were here and you mentioned large print hardback. And I was like, oh yeah, I should do that. Of course, I never did. You can't do everything. Sara: You can't do everything. Jo: You can't. But I think you probably can do a large print hardback on Amazon now with KDP Print — you can do hardback — but none of them are as good quality as the printing we get elsewhere. Also, as you say, all those special things — you actually can't sell them on Amazon. People can sell them secondhand or whatever, but you just can't do that. So I think that's the creative fun of having your own store or doing Kickstarters or selling direct — just all the other fun things that satisfy us creatively too. Because it's not all about the readers, is it? Sara: Right, because we want to be enjoying what we're doing. We don't want it to be a slog. Jo: What's the fun in that?! How long Sara has been an indie author Jo: Just remind us how long you've been doing this now. Sara: My first book came out in 2006. It was traditionally published, and I had a series of ten books with a traditional publisher. Then as that one was getting near the end, I was experimenting with indie — was a hybrid for a while. Then I went all indie pretty much. Jo: In what year? Sara: That was probably — I think my first indie book came out in 2012. So for a while I was trying to do indie and a traditionally published book, and that was very — I felt like I was torn in all kinds of different directions. I thought it was going to be so much simpler just to do this all myself. Maybe not, but — Jo: Pros and cons, as we said. Co-writing the Mystery and Thriller Trope Thesaurus Jo: One of the things you've done recently is co-written a Mystery and Thriller Trope Thesaurus with Jennifer Hilt, who's been on this show as well as your show. Tell us about co-writing, because I don't think you've done much co-writing. Sara: No, I hadn't. That was the first co-written book I'd ever done. And it was a great experience. Jennifer Hilt made it so easy. She has several books in this Trope Thesaurus series, so she had a format and we just used her format. We took the tropes and divided them up. She took half and I took half, and we went off and wrote on our own and came back together and then we would trade. It was really easy. I don't know that this is the way co-writing usually goes, but we did have a contract and we started out with all the normal things — a plan and a contract. We had to decide who was going to coordinate everything for the cover and the copy editing and all that. When we got done, we used Draft2Digital and did the payment splitting, which made that part easy. It's been a great experience, and I think it's just because Jennifer has done this before and she's really easy to work with. I highly recommend co-writing if you can find somebody like Jennifer who's already done it and can take you through the system. Jo: I think that's the point — if you have someone like Jennifer who has a layout, it's a bit like the For Dummies series. I had an opportunity to do something with them at one point, and it's so formulaic in terms of doing it, and then you're filling it in. Clearly Jennifer's managing that really well. The co-writing I've done with various people has been pros and cons, but it's not been in an established series. I love that you say that, but just to warn people — that might not be your experience. Sara: Yes. And I think it's so much about personality and how you work together, how you each write, and your deadlines. If you try to set a really close deadline — we pushed our deadline out. We had planned to do a Kickstarter with the launch of the trope book, and then she ended up moving and I had a bunch of stuff going on. We were like, you know what, that's fine. We won't do a Kickstarter. And it was okay. You just have to figure out how it's going to go. And if you have someone that's flexible when you need to be flexible, that's so important. Jo: Adjusting is the reality of life, isn't it? And I feel like the Trope Thesaurus — it's not going to necessarily have a spike sale and then disappear. It is an evergreen book, right? Sara: Yes. People will find it when they find the series. It's not something that has to be pushed during a certain time period and then we're done. It's a long-term, evergreen type book. The role of series and bundles Jo: Talking of series, you've obviously got multiple series. People should definitely go look — you've got great branding and your series are so clear. What part do series and bundles play in marketing in general, and in your direct sales? Sara: I like to bundle them for my direct store because I figure I need something special about my store — a reason for people to go there. They can get the books on Amazon and Audible and Spotify and all these places, so why would they go to my store? I've really leaned into bundles for the store, so they can get a three-book audiobook bundle or the whole series in pretty much all my series. They can do the paperback bundling. I've done a paperback starter series bundle where they can get each book one in my first three series bundled together through Book Vault. I thought I really need to do that with the audiobooks. That's on my list — to create a starter audiobook bundle. Bundles do well on Kobo. They draw readers in over there. And for the rare times I can get a BookBub, I think bundles seem to appeal to BookBub. If I'm going to pitch something, it seems like they like bundles. Readers like them too. Part of it is the convenience. You've got the whole series together and you can just read one after another. You don't have to go find it and figure out what order they're in. Jo: They do. And I love offering bundles in the Kickstarter as add-ons and on my Shopify stores as well. Because I'm always surprised — somebody's just found me and then they order the 13 ARKANE thriller paperback bundle, and I'm like, okay, wow. That just feels like a win. Sara: Yes. I love to see those come in and you think, oh, I wonder how they found me. Why they would dive in with the seven-book series. That's fantastic. Jo: It is interesting. With the paperbacks and the shipping, you drop some money for a complete print series. And then obviously it's usually a bit less on things like audio and ebook bundles, but it's still a real commitment. So yeah, everybody, we love bundles. Sara: We do. What Sara is excited about next Jo: I wanted to come back to the podcast, Wish I'd Known Then, which is brilliant. I often refer to it on this show. Hopefully we share quite a few listeners, and you and Jamie talk about industry changes, personal things. Given all the stuff that's going on, what are you excited about? What are you experimenting with? What changes are you seeing that you're enjoying? Sara: We appreciate the shout-out. Every time you give us a shout-out — and I do think we share a readership. I think you are our most frequently mentioned other podcast. We are always referring to you on Wish I'd Known Then. What I'm looking forward to is — I like seeing what other businesses or industries are doing and seeing if I can apply that to writing and books. That's how I came up with the letter idea. I saw some people doing that. I found out later there were some mystery-related mystery letter subscriptions, but I didn't know about them and they weren't well known. I thought, oh, I could try that. So I'm looking forward to doing more creative things that we haven't had the opportunity to do, but now we are going to have the tech and the fulfilment to do. Merch could be fun. I haven't ever delved into that. Translations — I didn't even mention translations earlier. I've done a couple of languages in my historical series, and I think it's really interesting the options we have now in translation. The books could go into so many more languages, so much easier. So I'm looking into that. Just reaching out and trying some of these new things that are on the horizon. You're much more futurist than I am. I'm much more about looking back at the past and going, oh, that was cool. Maybe we can do something similar, but different now. Finding creative inspiration from other industries Jo: That's interesting. How are you finding out that information about what other industries are doing? Because the curation of the information stream is hard for all of us. Sara: I don't know. I seem to run across things. I'm always reading and browsing online and seeing what people are talking about. I did see a post years ago about a company that was doing special edges — limited-edition special edges. When I saw that, I thought, oh, I wonder if I could do that. And I hand-stamped snowflakes on a Christmas book. Jo: Oh, I remember that. I actually bought a stamp. I got a (skull) stamp made. Sara: Oh, awesome. Jo: I never used it! Sara: Well, it's a lot of work. It takes time. But they're very special. Each one is unique, just like a snowflake. Each book has all these different types of snowflakes and ink colours on it. I'll see something and think, oh, I wonder if I could do that. And then I'm always consuming really quirky media. I'm into Asian dramas — Korean dramas, Japanese dramas — and I'm seeing trends over there for storytelling. The vertical dramas they're putting out, super short. I just wonder what that's going to turn into in the future. I'm not a video person, but in the future I think there could be short little videos that we could make of our books. That would be just crazy. I don't know that I would have the skills to do that, but we might be able to hire somebody to do that for us. Korean dramas and new storytelling trends Jo: There are lots of AI apps that are already helping with that. I do love making book trailers. And I have also thought about my short stories particularly — turning them into short videos. I've written a few screenplays, so I'm also thinking about that kind of visual-sized content. I also watch a lot of Korean shows. Sara: Oh, do you? Jo: I love Korean shows. Sara: Oh, we have to talk later. Jo: They're very good. I also like the Korean sports stuff and the cooking stuff, and they're just so good at hooking you in. Sara: Yes, they are. Jo: They are so good. Sara: They're really good at blending genres. And I've noticed with their storytelling, they're doing a lot of these stories they call isekai stories, where the main character falls into a story. I heard somebody talking about it, saying they think that's popular because we're so familiar with media entertainment — we kind of know where the story's going. So that's a new way. If your character falls into a fictional mystery and knows who the bad guy is and is trying to prevent a death or something, that's a completely different story than just a straight mystery. Jo: That's interesting. In a way, the LitRPG genre where the character goes into a game, or the character is in a game — I suppose it's got some relationship to that. But I think K-Pop Demon Hunters is like the most successful film and music and all of this kind of thing. It's clearly coming to more Western audiences. Sara: Yes. It's becoming much more mainstream than it used to be, I think. Jo: That's really interesting given that you're mainly a historical author. Are we going to get 1920s Korea? Sara: Oh, maybe. That's an interesting time period. Maybe my character needs to travel there. Jo: You have a travel series, don't you? Sara: Yes. I have a modern, cosy kind of travel series, and then in my 1920s series, it takes place mostly in England, but I have a spinoff with a character who's gone to Egypt, and I have three books set in Egypt. Jo: Well, you never know. Sara: I know. Maybe they need to travel. Jo: I love it. Okay, where can people find you and your books and your podcasts online? Sara: Thanks for having me. This has been so much fun. You can find me at SaraRosett.com. My store is SaraRosettBooks.com. You can find the podcast with Jamie and me, Wish I'd Known Then — it's everywhere, Apple, Spotify. We're even on Substack now. Yeah, that's where everything is. Jo: Brilliant. Well, thanks so much for your time, Sara. That was great. Sara: Thank you.The post Special Editions, Seasonal Podcasts, and the Art of Low-Key Book Marketing with Sara Rosett first appeared on The Creative Penn.