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ABSTRACTOn 30 November 2021 Barbados transitioned from a constitutional monarchy to a parliamentary republic, installing The Most Honourable Dame Sandra Mason FB GCMG DA SC as its first President. This scholarly conversation examines how shifting definitions of culture — from colonial, to national, to sovereign Caribbean identity — influenced that constitutional change. Drawing on cultural theory, parliamentary records, and Barbadian public discourse, I argue that the Republic was not merely a legal act but a cultural declaration. As definitions of “Bajan culture” moved to center self-determination, memory, and service, the office of President became the symbolic vessel for those values. The transition from Queen Elizabeth II to a Barbadian Head of State therefore reflects culture as both the cause and content of republicanism.It should be noted that the social constructs  Barbados, republic, culture, postcolonialism, national identity, The Most Honourable Dame Sandra Mason FB GCMG DA SC was a legal change. But more importantly, it was a cultural one (Barbados Today, 2021). Four years later, the swearing in of His Excellency the Most Honourable Jeffrey Bostic FB MVO, and Caribbean governance underpin this conversation Dr. William Anderson Gittens, Doctor of DivinityHow the Definition of Culture Has Influenced the Barbadian Republic ©2026 ISBN 978-976-97997-6-9  Presented by Dr. William Anderson Gittens, Doctor of DivinityDevgro Media Arts Services Publishing®2015 In collaboration with iMovie present How the Definition of Culture Has Influenced the Barbadian Republic ©2026 ISBN 978-976-97997-6-9  Presented by Dr. William Anderson Gittens, Doctor of DivinityRECOGNITIONSAs 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 477 E-Publications and 304 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. ReferencesREFERENCES(Jamaica Observer. (2025, November 30). Barbados installs second president during Independence Day parade. https://www.jamaicaobserver.comAristotle. (2007). On rhetoric: A theory of civic discourse (G. A. Kennedy, Trans., 2nd ed.). Oxford University Press. (Original work published ca. 4th century BCE)Barbados Parliament. (2025a). Election of the President of Barbados. https://www.barbadosparliament.comBarbados Parliament. (2025b). Parliamentary proceedings concerning the election of the President. https://www.barbadosparliament.comBarbados Parliament. (n.d.). Member details: Jeffrey Bostic. https://www.barbadosparliament.comBarbados Today. (2021, November 30). Barbados becomes a republic. https://www.barbadostoday.bbBarbados Today. (2025, October 7). New President of Barbados elected. https://www.barbadostoday.bbCaribbean Elections. (n.d.). Caribbean Elections Biography | Jeffrey Bostic. https://www.caribbeanelections.comConstitutionNet. (2021, November 30). Barbados swears in first president, becoming a republic. https://constitutionnet.org/news/barbados-swears-first-president-becoming-republicGeertz, C. (1973). The interpretation of cultures. Basic Books.Gittens, W. A. (2026). How the Definition of Culture Has Influenced the Barbadian Republic ©2026 ISBN978-976-97997-6-9 Dr. William Anderson Gittens, Doctor of Divinity Devgro Media Arts Services Publishing®️2015 | Independent Scholar wgittens11@gmail.comGovernment of Barbados. (n.d.). President. https://www.gov.bb/Visit-Barbados/presidenthttps://www.barbadosparliament.com/bills/details/581 Mason, S. P. (2021). The President's address. Government of Barbados. https://www.foreign.gov.bb/?jet_download=69dd013d00496395a9eb23d6d08d6bd585f7eaeeMottley, M. (2020, September 15). Throne speech to Parliament of Barbados. Barbados Government Information Service.Nation News Barbados. (2025, September 16). Bostic nominated as Barbados' second president. https://www.nationnews.comPrime Minister's Office of Barbados. (2020, April 5). Press conference & COVID-19 update. https://pmo.gov.bb/2020/04/05/press-conference-covid-19-update/Tylor, E. B. (2010). Primitive culture (Original work published 1871). Cambridge 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

Servicio publicar un libro en Amazon ➡️https://www.letraminuscula.com/publicar-en-amazon/ SI deseas PUBLICAR escríbenos : contacto@letraminuscula.com Llama☎ o WhatsApp: +34640667855 RESUMEN: En este tutorial completo aprenderás paso a paso cómo publicar un libro en Amazon KDP. Descubre qué archivos necesitas, cómo configurar correctamente ebook, tapa blanda y tapa dura, elegir categorías, palabras clave, precios, regalías, ISBN, uso de IA y evitar los errores más comunes para publicar tu libro con éxito. ⏲MARCAS DE TIEMPO: ▶️00:00 Introducción al tutorial KDP ▶️00:55 Archivos necesarios para publicar ▶️04:12 Interior, ISBN y depósito legal ▶️07:29 Panel de Amazon KDP explicado ▶️09:59 Datos básicos del libro ▶️15:14 Descripción y derechos de autor ▶️18:22 Tienda principal y categorías ▶️24:43 Palabras clave y preventa ▶️29:49 ISBN y opciones de impresión ▶️34:40 Tamaño, portada y manuscrito ▶️40:02 Uso de IA y vista previa ▶️48:41 Precios y regalías en papel ▶️54:49 Publicación del ebook ▶️01:00:11 Texto alternativo y KDP Select ▶️01:04:13 Regalías y precios del ebook ▶️01:08:12 Publicación en tapa dura ▶️01:09:38 Diferencias con tapa blanda ▶️01:12:42 Publicar y cierre del tutorial

Rund ein Jahr nach der Publikation des Sammelbandes „Gütersloh - Geschichte einer Stadt (1945–2025)“ blicken wir zurück auf drei Jahre Stadtgeschichtsforschung. In der siebten und letzten Folge der Reihe „Zum Beispiel Gütersloh“ sprechen Projektleiter PD Dr. Christoph Lorke und Host Dr. Greta Civis darüber, was partizipative Stadtgeschichtsforschung ermöglicht und wie die Einbindung der Bevölkerung einen Forschungsprozess prägen kann. Begleitet wird die Folge von O-Tönen und Einblicken in zentrale Stationen des Projekts – ein Rückblick auf Forschung, Austausch und neue Perspektiven auf Stadtgeschichte.Links und Hinweise:Audiowalk „Zeit:Punkte“: Stadtarchiv GüterslohInstagram: Stadtgeschichten GTBegleitprojekt: ErzählcafésBuch zur Reihe:Gütersloh – Geschichte einer Stadt (1945–2025), herausgegeben von Christoph Lorke, Verlag für Regionalgeschichte, 2025, 603 Seiten, ISBN 978-3-7395-1527-4

The ALIA Graphic group with the support of library staff from all over Australia, who volunteered for the judging panel, recently announced the Notable Australian Graphic Novels of 2025. Three titles for each category (Junior, Young Adult and Adult) that represent the best of the best. Being already halfway through the year, we thought it was worth looking at what's been published in 2026 so far. Again, all these graphic novels have been created by, at least one key Australian creator (writer or artist), they're published in a library friendly format (they're either graphic novels or perfect bound trade paperbacks) and they are widely available through library suppliers.In this episode Iurgi, James and Marissa discuss the titles published in the first half of the year. You can find the full list of titles with the publisher blurbs, ISBN number and more information here: https://graphic.alia.org.au/new-graphic-novels-by-australian-creators-in-2026-first-half/ You can listen to creator chats with some of the creators mentioned in this episode in our archive. Episode 139 Aśka and the Frienship Paradox here.Episode 136 Gregory Mackay and Anders' Adventures here.Episode 135 Wendy Tyrer and The Curator here.Episode 134 Campbell Whyte and Luna Express here.Episode 131 Andrea Innocent and Lamington Left Behind here.Episode 128 Georgina Chadderton and Oh Brother here.Episode 82 Chris Gooch and In Utero here.Episode 76 Mat Groom and Inferno Girl Red here.Episode 58 Jon Sommariva and Neverlanders here.Episode 51 Jessica Walton and Aśka and Stars in Their Eyes here.Episode 40 Alyssa Bermudez and Big Apple Diaries here.You can also find the ALIA Graphic Notable Australian Graphic Novels of 2025 list here: https://graphic.alia.org.au/notables-lists/To stay up to date, for the full roundup of news, resources and new titles and our social media links visit our website: https://graphic.alia.org.au/ The ALIA Graphic Groove Theme 2025 courtesy of Clint Owen Ellis https://www.clintowenellis.com/ Hosted on Acast. See acast.com/privacy for more information.

Is There a Nexus Existing Between The Orchid Flower and The Elderly People? An Interdisciplinary, Theological, and Metaphorical Reflection. © 2026. ISBN 978-976-97997-3-8.mp3AbstractThis scholarly conversation explores whether a meaningful nexus exists between the orchid flower and elderly people. Rather than presenting a biological comparison, the discussion develops a metaphorical, theological, philosophical, and interdisciplinary framework informed by media arts, cultural theory, environmental appreciation, and Christian devotion. Orchids and elderly people occupy distinct kingdoms of life; however, both exemplify beauty, resilience, diversity, adaptation, and intrinsic worth. Through the integration of botanical history, gerontology, biblical theology, and cultural symbolism, this essay argues that orchids provide an illuminating metaphor for understanding aging with dignity. Ultimately, the comparison invites readers to reconsider cultural assumptions about age while affirming that every stage of life reflects God's creative wisdom. All things being considered it should be noted that the social constructs  orchids, elderly, aging, metaphor, theology, ecology, cultural theory, are media arts are critical to this discourse.Dr. William Anderson Gittens, Doctor of DivinityReferencesBoyce, W. T., & Ellis, B. J. (2005). Biological sensitivity to context: I. An evolutionary–developmental theory of the origins and functions of stress reactivity. Development and Psychopathology, 17(2), 271-301. https://doi.org/10.1017/S0954579405050145Duke Science & Society. (n.d.). Does race exist? https://scienceandsociety.duke.edu/does-race-exist/Ellis, B. J., Boyce, W. T., Belsky, J., Bakermans-Kranenburg, M. J., & van IJzendoorn, M. H. (2011). Differential susceptibility to the environment: An evolutionary–neurodevelopmental theory. Development and Psychopathology, 23(1), 7-28. https://doi.org/10.1017/S0954579410000611Gittens, W. A. (2026). The orchid flower and the elderly people. ISBN 978-976-97942-2-1.Harper, D. (2020).Online Etymology Dictionary. Retrieved from https://www.etymonline.comHistorical race concepts. (n.d.). Simple English Wikipedia. https://simple.wikipedia.org/wiki/Historical_race_conceptsHoly Bible, New International Version. (2011). Zondervan. (Original work published 1973)How many major races are there in the world? (2020). Academia.edu. https://www.academia.edu/40682024/How_many_major_races_are_there_in_the_worldKremen, W. S., Lachman, M. E., Pruessner, J. C., Sliwinski, M., Wilson, R., & Seeman, T. (2012). Mechanisms of age-related cognitive change and targets for intervention: Social interactions and cognitive reserve. Neuropsychology Review, 22(4), 466-475. https://doi.org/10.1007/s11065-012-9201-9Kremp Florist. (n.d.). Guide to the orchid flower family. https://www.kremp.com/pages/guide-orchid-flower-family-articlesOrchid. (n.d.). Wikipedia. https://en.wikipedia.org/wiki/OrchidOxford English Dictionary. (2023).Nexus. Oxford University Press.Pluess, M., & Belsky, J. (2013). Vantage sensitivity: Individual differences in response to positive experiences. Psychological Bulletin, 139(4), 901-916. https://doi.org/10.1037/a0030196Pridgeon, A. M. (2001).The Illustrated Encyclopedia of Orchids. Timber Press.Race and genetics. (n.d.). Wikipedia. https://en.wikipedia.org/wiki/Race_and_geneticsRoyal Botanic Gardens, Kew. (n.d.). Orchidaceae. https://powo.science.kew.org/Royal Horticultural Society. (n.d.). Orchid facts. https://www.rhs.org.uk/plants/types/houseplants/orchid-factsStearn, W. T. (1992).Botanical Latin. Timber Press.Stern, Y. (2012). Cognitive reserve in ageing and Alzheimer's disease. The Lancet Neurology, 11(11), 1006-1012. https://doi.org/10.1016/S1474-4422(12)70191-6Theophrastus. (1916). Enquiry into plants (A. Hort, Trans.). Harvard University Press. (Original work written ca. 300 BCE)World Health Organization. (2024). Ageing and health. https://www.who.int/news-room/fact-sheets/detail/ageing-and-healthSupport 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

Zeitgeist #29 s Janem Pačesem o sílící epidemii eboly, přípravě na nebezpečné viry i umělé inteligenci nahrazující vědce.Epidemii eboly v Demokratické republice Kongo se podle Světové zdravotnické organizace bohužel stále nedaří dostat pod kontrolu a virus se v zemi dál šíří. Dva měsíce po vyhlášení epidemie evidovala WHO přes 1926 nakažených a více než 700 mrtvých (data z 11. července).  Vývoj zatím podle všeho směřuje spíše k pesimističtějším epidemiologickým scénářům s mnohanásobně větším počtech nakažených. Jde přitom o kmen filoviru s názvem Bundibugyo proti němuž zatím není vyvinuté očkování ani účinná léčba.Americké centrum pro kontrolu a prevenci nemocí (CDC) zvýšilo na konci června úroveň reakce na epidemii eboly na nejvyšší stupeň, jakkoliv rozšíření nemoci do USA zůstává nízké. Dobrá zpráva podle WHO je, že se podařilo přinejmenším proteď zamezit šíření v sousední Ugandě, kde nákaze také podlehlo několik lidí ale v době natáčení nebyl už více než dva týdny evidován nový případ nákazy. Ebola patří k nejsmrtelnějším nemocem a rizika spojená s jejím šířením nelze brát na lehkou váhu nikde na světě. Pomoc zastavit její šíření můžete například příspěvkem v krizové sbírce organizace Lékaři bez hranic, která zasahují přímo v ohniscích nákazy a posiluje zdravotnickou péči v postižených oblastech.Tento virus se naštěstí nešíří vzduchem a jde tak o spíše nepravděpodobného kandidáta na původce příští pandemie, která by mohla ochromit podstatnou část světa podobně jako covid. Vědci upozorňují na jiné patogeny. Navíc se ukazuje, že nezanedbatelné riziko může pramenit také od generativní AI, která je za jistých podmínek ochotná nabídnout podrobný plán na vytvoření biologické zbraně třeba ve formě nebezpečného viru.Zmíněné webové stránky o ebole a hantaviru, které Jan Pačes vytváří spolu s Michaelou Liegertovou a pomocí AI agentů najdete zde:https://titan.img.cas.cz/ebola https://titan.img.cas.cz/hantavirusDoporučená literatura k tématu epizody od Jana Pačesa:Jonathan Kennedy - Pathogenesis: A History of the World in Eight Plague (2023) ISBN: 978-0593182963 Evoluční a historický pohled na to, jak infekční nemoci formovalylidskou civilizaci – od neolitické revoluce po COVID-19. Autor jeepidemiolog na Queen Mary University of London. Kniha byla velmidobře přijata odbornou i populárně-vědeckou kritikou a představuje jeden z nejlepších titulů posledních let na pomezí evoluční biologie, historie a epidemiologie.⁠https://en.wikipedia.org/wiki/Pathogenesis:_A_History_of_the_World_in_Eight_Plagues⁠Michael T. Osterholm & Mark Olshaker - The Big One: How We Must Prepare for Future Deadly Pandemics (2025) ISBN: 978-0-316-58027-8 Osterholm patří mezi nejrespektovanější epidemiology světa, ředitel Center for Infectious Disease Research and Policy (CIDRAP), dlouhodobý poradce americké vlády pro pandemickou připravenost. Kniha je o tom, co jsme se (ne)naučili z COVID-19 a jak se připravit na příští pandemii, která může být výrazně smrtnější než SARS-CoV-2. Autoři rozebírají i výrobní řetězce léčiv, vakcíny a biologickou bezpečnost. ⁠https://www.youtube.com/watch?v=PakbsI6WjvE⁠David Quammen - Spillover: Animal Infections and the Next Human Pandemic (2012) ISBN: 9780393066807David Quammen je špičkový vědecký publicista, kniha vznikala nazákladě rozhovorů s předními virology a ekology. Nejlepší kniha ovzniku zoonóz a přeskoku virů mezi druhy.⁠https://davidquammen.com/spillover⁠

No episódio do podcast do PublishNews desta semana, conversamos com sobre a evolução do mercado editorial brasileiro na última década, abordando temas como digitalização, impacto da pandemia, de como foi 2025, crescimento de ficção, de como tem sido as vendas em 2026 até agora e tendências futuras. Uma conversa com Luiz Gaspar, diretor de pesquisas e Mariana Bueno, coordenadora de pesquisas, ambos da Nielsen BookData, essencial para entender os desafios e oportunidades do setor.O podcast é oferecimento da: MVB América Latina Um livro, Câmara Brasileira do Livro, Gráfica Viena e Nielsen BookData — referência mundial em dados que impulsionam estratégias.Indicações:Livro: A cidade e suas muralhas incertas - Haruki Murakami - Tradução: Jefferson José Teixeira (Companhia das Letras) Livro: A visão das plantas - Djaimilia Pereira de Almeida (Todavia) Livro: Parcelado: dinâmicas de consumo na periferia - Kauê Lopes dos Santos (Fósforo)Livro: A ameaça interna – Psicanálise dos novos fascismos globais - Vladimir Safatle (Ubu)Livro: Ensino à distância - Ana Guadalupe (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.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

Unsere tiefsten Sehnsüchte nach Bindung, Sicherheit, Selbstwert, Freude oder Sinn sind allgegenwärtig. Oft versuchen wir – und auch die Jugendlichen in unseren Gruppen –, diese Bedürfnisse durch Leistung, Anerkennung oder materielle Absicherung selbst zu stillen, was schnell in destruktiven Dynamiken endet. In dieser Folge spricht Oliver Last mit Junias Meurer über sein Buch „Mehr als du suchst“. Es geht darum, welche fünf psychologischen Grundbedürfnisse von Gott in uns angelegt wurden, warum diese Bedürfnisse wie ein Magnet funktionieren, der uns zu Gott ziehen will, weshalb unsere eigenen Erfüllungsversuche oft scheitern und Beziehungen belasten, wie wir durch echte Selbstwahrnehmung, Ruhe und radikale Ehrlichkeit vor Gott befreit leben können,und wie wir christliche Jugendarbeit so gestalten können, dass junge Menschen die Erfüllung ihrer Bedürfnisse bei Gott erleben.Shownotes:Das Buch „Mehr als du suchst“ von Junias Meurer hat findest du unter der ISBN 9783963625312. Den kostenlosen Kleingruppenkurs zum Buch findest du unter: https://www.steps-leaders.de/beitrag/unsere-sehnsuechte. Wenn du bis zur nächsten Folge des STEPS Leaders Podcast mehr Inhalte rund um Glauben und Leiterschaft suchst, findest du auf ⁠⁠www.steps-leaders.de⁠⁠ jede Woche Blogbeiträge und Artikel sowie Materialvorlagen und Andachten für die christliche Jugendarbeit. Dort findest du auch unseren monatlichen Newsletter, der dich immer kompakt mit den wichtigsten Infos und Artikeln von STEPS Leaders versorgt. 

Podcast 305The Chattel Window, the Human Eye, and the Camera Lens: A Comparative Analysis Through Photographic Theory© 2026 | ISBN 978-976-97942-2-1.mp3PrefaceThis text is predicated on a solid interdisciplinary foundation. However, I am positioning it more firmly within a scholarly context. In this discourse I am explicitly distinguish between (1) the empirical contribution, (2) the theoretical contribution, (3) the interpretive nature of the argument, and (4) your positionality as the scholar. In taking this position I am also aligning my literary work with expectations in the humanities, cultural studies, anthropology, architectural history, visual studies, and comparative religion.Dr. William Anderson Gittens, Doctor of DivinitySupport 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

A malevolent force is operating through every lever of power — government, media, finance, military — and for the first time in history, its reach is nearly global. Borders that once kept the damage in check are gone. Good has been inverted as evil. Most people feel it but can't name it.In this episode of Presbyter Chat, Darren Kelama names it — and traces it straight back to the Pre-Nicene Christians who fought the same enemy centuries ago. Drawing on scripture from the first Christian Bible of 144 AD, academic research from the Journal of Pre-Nicene Christian Studies, and the survival playbook of the most persecuted denomination in history — the Marcionites — this episode lays out:• Who the "sons of disobedience" are and how they operate through hijacked institutions • Why voting, politics, and the democratic path are now closed • The ancient Greek discipline of Apatheia — calm, detached clarity in the face of manufactured chaos • How persecuted Christians survived by becoming invisible to a system that feeds on fear • Practical steps to disconnect, go off-grid, and protect your family before the window closesScripture readings from the Evangelion and the Epistle to the Laodiceans. Referenced theologians include Thomas Römer, Walter Brueggemann, Peter Enns, and A.W. Mitchell's Theophanic Replacement Protocol.The enemy cannot crush an opponent it cannot see, cannot starve, and cannot terrorize. Your duty is to survive.Notes:Mitchell, A. W. "The Theophanic Replacement Protocol: A Forensic Reconstruction of Divine Identity Theft, Textual Erasure, and the Formation of Nicene Christianity." Journal of Pre-Nicene Christian Studies (2025). DOI: 10.5281/zenodo.17964659.Romer, Thomas. The Invention of God. Cambridge, MA: Harvard University Press, 2015Sorabji, Richard. Emotion and Peace of Mind: From Stoic Agitation to Christian Temptation. Oxford: Oxford University Press, 2002.The Very First Bible: The Evangelion and Apostolikon (144 AD). 2020. Marcionite Church (marcionitechurch.org). ISBN: 978-0578641591. LinkMarcionite Church (MarcioniteChurch.org)Podcast based largely on this paper: https://www.journal.pre-nicene.org/JPCS-July-2026.htmlExternal media: https://www.youtube.com/@PreNiceneTVFree PreNicene Bible ebook version: https://www.theveryfirstbible.org/ebook.html

Am 12. Juli 1776 - vor 250 Jahren - verlässt die HMS Resolution England. An Bord: James Cook, schon zu Lebzeiten der berühmteste Seefahrer der britischen Krone. Offiziell soll die Expedition einen Polynesier in seine Heimat zurückbringen. Doch der eigentliche Auftrag ist geheim: Cook soll die legendäre Nordwestpassage finden, den Seeweg nördlich um Amerika - und zwar erstmals vom Pazifik aus.Der Hafenkonzert-Podcast erzählt die Geschichte dieser dritten und letzten Reise: von Cooks Aufstieg vom Tagelöhnersohn zum gefeierten Entdecker und Kartografen, von den technischen Neuerungen wie dem Chronometer, das erstmals präzise Navigation ermöglichte, von der Begegnung mit den Menschen auf Hawaii, die Cook als ihren Gott Lono empfingen - und von seinem gewaltsamen Tod an einem Strand der Insel im Februar 1779.Im Gespräch mit dem Hafenkonzert-Podcast ist Rudolf Mast, der selbst erfahrener Segler ist und das Buch „Cooks letzte Reise" des amerikanischen Historikers Hampton Sides für den mare Verlag ins Deutsche übersetzt hat. Er spricht über Cooks rätselhafte Wesensveränderung auf der letzten Fahrt, über das Aufeinandertreffen völlig fremder Kulturen und über die Frage, wie man den umstrittenen Entdecker heute bewerten sollte.Buchtipp: Hampton Sides: „Cooks letzte Reise - Die fatalen Folgen eines geheimen Auftrags". Aus dem amerikanischen Englisch von Rudolf Mast. ISBN 978-3-86648-756-7. mare Verlag, Hamburg, 512 Seiten.Alle Ausgaben des Hamburger Hafenkonzerts gibt es unter ndr.de/hafenkonzert, in der NDR Hamburg-App und bei ARD Sounds.Themen dieser Ausgabe in Sendereihenfolge:

Bright on Buddhism - Kōan Series Episode 15 - Unmon's KanshiketsuHello and welcome to a new episode of the Kōan Series. In this series, we will read and discuss real Buddhist kōans to try and better understand them. We hope you enjoy.Resources: Episode 10 - https://anchor.fm/brightonbuddhism/episodes/What-is-Zen-Buddhism-e1a2sm2Episode 18 - https://anchor.fm/brightonbuddhism/episodes/What-is-the-Buddhist-philosophy-of-speech--language--and-words-e1dgqu9Episode 32 - https://anchor.fm/brightonbuddhism/episodes/What-are-kans-e1j5sclEpisode 33 - https://anchor.fm/brightonbuddhism/episodes/What-is-emptiness-e1jc31iHori, Victor Sogen (1999). "Translating the Zen Phrase Book" (PDF). Nanzan Bulletin (23).; Hori, Victor Sogen (2000), Koan and Kensho in the Rinzai Zen Curriculum. In: Steven Heine and Dale S. Wright (eds)(2000): "The Koan. Texts and Contexts in Zen Buddhism, Oxford: Oxford University Press; Heine, Steven (2008), Zen Skin, Zen Marrow; Bielefeldt, Carl (2009), "Expedient Devices, the One Vehicle, and the Life Span of the Buddha", in Teiser, Stephen F.; Stone, Jacqueline I. (eds.), Readings of the Lotus Sutra, New York: Columbia University Press, ISBN 9780231142885; Kotatsu, Fujita; Hurvitz, Leon (1975), "One Vehicle or Three", Journal of Indian Philosophy, 3 (1/2): 79–166; Lopez, Donald (2016), The Lotus Sutra: A Biography (Kindle ed.), Princeton University Press, ISBN 978-0691152202; Lopez, Donald S.; Stone, Jacqueline I. (2019), Two Buddhas Seated Side by Side: A Guide to the Lotus Sūtra, Princeton University Press; Pye, Michael (2003), Skilful Means – A concept in Mahayana Buddhism, Routledge, ISBN 0203503791; Watson, Burton (tr.) (1993), The Lotus Sutra, Columbia University Press, ISBN 023108160X; Patrick Olivelle, trans. Life of the Buddha. Clay Sanskrit Library, 2008. 1 vols. (Cantos 1-14 in Sanskrit and English with summary of the Chinese cantos not available in the Sanskrit); Stone, Jacqueline Ilyse (2003), "Original enlightenment and the transformation of medieval Japanese Buddhism" (PDF), Studies in East Asian Buddhism, University of Hawaii Press (12), ISBN 978-0-8248-2771-7, archived from the original (PDF) on November 5, 2013; Hakeda, Yoshito S., trans. (1967), Awakening of Faith—Attributed to Aśvaghoṣa, with commentary by Yoshito S. Hakeda, New York, NY: Columbia University Press, ISBN 0-231-08336-X; Jorgensen, John; Lusthaus, Dan; Makeham, John; Strange, Mark, trans. (2019), Treatise on Awakening Mahāyāna Faith, New York, NY: Oxford University Press, ISBN 9780190297718_________________________________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

Neste episódio do PublishNews, conversamos com Marília Mendes, gerente editorial da literatura, e Luara Almeida, editora de literatura para crianças e jovens, ambas da Via Lúdica, Editora do Grupo Multiverso das Letras. A conversa gira em torno da formação de leitores, da literatura infantil e do papel dos quadrinhos nesse processo. A partir da experiência das duas no mercado editorial, o episódio discute como a literatura para crianças e jovens vai além da função de ensinar conteúdos: ela pode formar leitores críticos, sensíveis e capazes de interpretar o mundo por meio da linguagem, da imagem e da experiência estética.O podcast é oferecimento da: MVB América Latina Um livro, Câmara Brasileira do Livro, Gráfica Viena e Nielsen BookData — referência mundial em dados que impulsionam estratégias e agradecer especialmente a Via Lúdica, que oferece este episódio. Indicações:Livro: Meu pé de laranja lima - José Mauro de Vasconcelos (Melhoramentos)Livro: Flicts - Ziraldo (Melhoramentos)Gibis: Turma da Mônica Livro: Lobinho na escola de enganação - Ian Whybrow - Ilustrador: Tony Ross - Tradução: Carlos Sussekind (Companhia das Letrinhas)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

Scholarly Discussion Questions and Model Answers Suitable for Undergraduate, Postgraduate, Seminary, and Doctoral Study 2026ISBN 978-976-97997-1-4.mp3PrefaceOne of the best teaching strategies in higher education is still scholarly discussion.(https://ctl.columbia.edu/resources-and-technology/resources/learning-through-discussion/) Discussion questions encourage students to go beyond passive information reception and toward critical engagement, introspective analysis, and original thought, whether they are studying theology, the humanities, social sciences, communication studies, media studies, or interdisciplinary scholarship.(https://teachers.institute/operational-dimensions-education/critical-thinking-classroom-discussion-strategies/)This book was created to give teachers and students real-world examples of scholarly debate questions and model responses appropriate for a range of academic levels. The path from undergraduate to doctoral studies reveals how intellectual expectations vary as learners grow via increasingly complex types of inquiry.(https://vinuni.edu.vn/do-you-need-a-masters-to-get-a-phd-degree-explained/)This volume's examples are based on multidisciplinary study, biblical scholarship, digital humanities, theological studies, cultural analysis, and communication theory.Dr. William Anderson Gittens, Doctor of DivinityPODCAST304Scholarly Discussion Questions and Model Answers Suitable for Undergraduate, Postgraduate, Seminary, and Doctoral Study Dr. William Anderson Gittens, Doctor of Divinity©️ 2026ISBN 978-976-97997-1-4 Devgro Media Arts Services Publishing®2015 In collaboration with iMovie present PODCAST304Scholarly Discussion Questions and Model Answers Suitable for Undergraduate, Postgraduate, Seminary, and Doctoral Study Dr. William Anderson Gittens, Doctor of Divinity©️ 2026ISBN 978-976-97997-1-4RECOGNITIONSAs 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 477 E-Publications and 304 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. ReferencesAnderson, L. W., & Krathwohl, D. R. (2001). A taxonomy for learning, teaching, and assessing: A revision of Bloom's taxonomy of educational objectives. Longman.Anderson, L. W., & Krathwohl, D. R. (Eds.). (2001). A taxonomy for learning, teaching, and assessing: A revision of Bloom's Taxonomy of educational objectives. Longman.Banks, R. (1999). Reenvisioning theological education. Eerdmans.Banks, R. (1999). Reenvisioning theological education. Eerdmans.Bloom, B. S., Engelhart, M. D., Furst, E. J., Hill, W. H., & Krathwohl, D. R. (1956). Taxonomy of educational objectives: Handbook I: Cognitive domain. David McKay.Bloom, B. S., Engelhart, M. D., Furst, E. J., Hill, W. H., & Krathwohl, D. R. (1956). Taxonomy of educational objectives: The classification of educational goals. Longmans.Carson, D. A. (1996). The gagging of God. Zondervan.Carson, D. A. (1996). The Gagging of God: Christianity confronts pluralism. Zondervan.Erickson, M. J. (2013). Christian theology (3rd ed.). Baker Academic.Erickson, M. J. (2013). Christian theology (3rd ed.). Baker Academic.Fee, G. D., & Stuart, D. (2014). How to read the Bible for all its worth (4th ed.). Zondervan.Fee, G. D., & Stuart, D. (2014). How to read the Bible for all its worth (4th ed.). Zondervan.Gittens, W. A. (2026a). Voices of the digital age: Democratising access. ISBN 978-976-97865-3-0.Gittens, W. A. (2026b). The etymology of Landis Cliffside Gardens. ISBN 979-8-90383-271-2.Gittens, W. A. (2026c). Revisiting Psalm 23: An interdisciplinary perspective. ISBN 978-976-97997-0-7.Gittens, W. A. (2026d). Scholarly discussion questions and model answers suitable for undergraduate, postgraduate, seminary, and doctoral study. ISBN 978-976-97997-1-4.Grudem, W. (2020). Systematic theology (2nd ed.). Zondervan Academic.Grudem, W. (2020). Systematic theology: An introduction to biblical doctrine (2nd ed.). Zondervan Academic.Osmer, R. R. (2008). Practical theology: An introduction. Eerdmans.Osmer, R. R. (2008). Practical theology: An introduction. Eerdmans.Vygotsky, L. S. (1978). Mind in society. Harvard University Press.Vygotsky, L. S. (1978). Mind in society: The development of higher psychological processes. Harvard 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

A multidisciplinary literature review and textual analysis of Moses and John the Beloved.mp3AbstractThis study examines the figures of Moses and John the Beloved as agents of cultural transmission, theological continuity, and communal identity formation within the biblical tradition through an interdisciplinary framework integrating biblical theology, cultural anthropology, sociology of religion, symbolic interactionism, and social learning theory. Particular attention is given to distinguishing John the Beloved from John the Baptist, whose prophetic ministry functioned primarily as preparation for the coming of Christ rather than the theological and ecclesial formation associated with the Johannine tradition (Bible Analysis, n.d.; Bibles.chat, n.d.). Whereas John the Baptist proclaimed repentance and inaugurated the messianic age through public witness, John the Beloved contributed to the development of early Christian identity through theological reflection, eyewitness testimony, and authorship traditionally associated with the Gospel of John, the Johannine Epistles, and Revelation (Bible Analysis, n.d.; Religion Answers, n.d.).Drawing upon anthropological understandings of culture as systems of shared meaning and symbolic practice (Geertz, 1973; Hofstede et al., 2010), alongside sociological perspectives concerning the social construction of reality and the institutionalization of knowledge (Berger & Luckmann, 1966), this study argues that divine revelation is transmitted not solely through doctrinal proclamation but also through ritual participation, language, narrative, education, and collective memory. Social learning theory further illuminates the mechanisms through which religious beliefs and practices are preserved across generations through observation, imitation, mentoring, and communal participation (Bandura, 1977).Within this framework, Moses emerges as the principal architect of Israel's covenantal identity, establishing the legal, liturgical, and ethical structures that shaped the religious consciousness of ancient Israel (Brueggemann, 1997). John the Beloved occupies a parallel role within early Christianity by interpreting the significance of Jesus Christ in ways that enabled the preservation and expansion of apostolic witness throughout the culturally diverse environment of the Greco-Roman world (Bauckham, 2006; Keener, 2003). Together, these figures represent complementary models of religious preservation and theological development: Moses as mediator of covenant formation and John as interpreter of Christian revelation.The study further evaluates contemporary interpretive approaches that employ media theory metaphors, including cinematography and photojournalism, as heuristic devices for understanding the production, transmission, and reception of ancient biblical texts. Such perspectives underscore the dynamic interaction between revelation and culture, demonstrating that enduring faith traditions depend upon intentional processes of cultural transmission that preserve theological truth while enabling adaptation to changing historical contexts. By integrating insights from anthropology, sociology, educational psychology, and biblical theology, this study contributes to contemporary discussions concerning the relationship between culture, memory, leadership, and divine revelation within Judeo-Christian history.Dr. William Anderson Gittens, Doctor of DivinityPodcast 303 Cultural Transmission, Ritual Practice, and Theological Narrative:A Multidisciplinary Literature Review and Textual Analysis of Moses and John the Beloved © 2026 ISBN 978-976-97942-0-7 Dr. William Anderson Gittens'Doctor of Divinity ,Devgro Media Arts Services Publishing®2015 In collaboration with iMovie present Podcast 303 Cultural Transmission, Ritual Practice, and Theological Narrative:A Multidisciplinary Literature Review and Textual Analysis of Moses and John the Beloved © 2026 ISBN 978-976-97942-0-7 Dr. William Anderson Gittens'Doctor of Divinity ,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 476 E-Publications and 303 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. ReferencesAssmann, J. (2011). Cultural memory and early civilization: Writing, remembrance, and political imagination. Cambridge University Press.Assmann, J. (2011). Cultural memory and early civilization: Writing, remembrance, and political imagination. Cambridge University Press.Bandura, A. (1977). Social learning theory. Prentice Hall.Bandura, A. (1977). Social learning theory. Prentice Hall.Bandura, A. (1977). Social learning theory. Prentice Hall.Bauckham, R. (2006). Jesus and the eyewitnesses: The Gospels as eyewitness testimony. Eerdmans.Bauckham, R. (2006). Jesus and the eyewitnesses: The Gospels as eyewitness testimony. Eerdmans.Berger, P. L., & Luckmann, T. (1966). The social construction of reality. Anchor Books.Berger, P. L., & Luckmann, T. (1966). The social construction of reality. Anchor Books.Bible Analysis. (n.d.). John the Beloved and biblical figures overview. Retrieved July 2, 2026, from https://www.bibleanalysis.orgBibles.chat. (n.d.). John the Baptist: Life and ministry overview. Retrieved July 2, 2026, from https://www.bibles.chatBourdieu, P. (1977). Outline of a theory of practice. Cambridge University Press.Brown, R. E. (1966). The Gospel according to John (I–XII). Yale University Press.Brown, R. E. (1966). The Gospel according to John (Vol. 1). Doubleday.Brueggemann, W. (1997). Theology of the Old Testament: Testimony, dispute, advocacy. Fortress Press.Brueggemann, W. (1997). Theology 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

Bright on Buddhism - Śrīmālādevī Siṃhanāda Sūtra - Part 3 - Chapters 11-15Join us as we read and discuss Chapters 11-15 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

"I write for myself, but I edit for the reader." — Liz Lazarus --- ABOUT THIS EPISODE Liz Lazarus is an engineer by education, a GE Healthcare executive by experience, and an author by calling. Her fourth novel, Dawn Before Darkness, is a psychological thriller about a vet tech named Dawn Smith who escapes a toxic relationship only to find herself stalked, harassed, and dragged into a guardianship battle for her aging mother. It's a story ripped from Liz's own life — she spent ten years and thousands of dollars fighting a stranger for legal guardianship of her mom in South Carolina. To build her supervillain, Liz interviewed ten women who survived stalkers and combined their experiences into one relentless antagonist. Mike and Liz talk about writing as therapy, journaling your way into a debut novel, the puzzle of twist endings, self-publishing as self-determination, and why you should sit down with your family and have the uncomfortable estate planning conversation before it's too late. --- KEY TAKEAWAYS 1. Writing began as therapy, not ambition. Liz's first novel, Free of Malice, started as a journal she kept after a man broke into her house in college at Georgia Tech. She didn't know she had PTSD — she just knew journaling was helping her process what happened. That journal eventually became a legal thriller about self-defense. 2. The four things she needs before writing. Liz won't start a novel until she knows the protagonist, the antagonist, the twist ending, and the opening hook. Once those are locked, she outlines, interviews experts, and writes when she has content — no rigid daily schedule. 3. Every book educates and entertains. All four novels carry social causes — self-defense law, stalking, guardianship abuse — but entertainment comes first. The education is baked into the story, never lectured. 4. A ten-year guardianship nightmare inspired the book. Liz fought a family member, then a professional guardian, for control of her mother's care. The judge recused himself; they moved counties; the costs were staggering. Dawn's story in the novel is actually a softened version of what Liz lived through. 5. Ten stalker survivors built one supervillain. Liz put the word out on Facebook asking women with stalker experiences to talk. Several came forward, and she combined their stories into a single antagonist so devastating that reviewers say they've never hated a character more. 6. Characters are real people — and sometimes they surprise you. Liz describes writing in a groove as watching characters on a screen and taking notes. Twice a character did something she didn't plan — including getting fired — and she kept it because human behavior trumps outlines. 7. Self-publishing is owning your destiny. Liz created her own publishing company, learned ISBNs, layout, Mobi, EPUB, and PR from scratch. She values the control — no risk of being dropped by a publisher, no lost say over covers or release dates. 8. A twist must be earned. Inspired by The Usual Suspects, Liz insists every twist must make the reader say "I should have caught that." No tropes, no lost phones — it has to follow from human behavior and planted clues. --- GET THE BOOK Dawn Before Darkness by Liz Lazarus Amazon: https://www.amazon.com/Dawn-Before-Darkness-Liz-Lazarus/dp/099093747X?tag=rettocasgra-20 Barnes & Noble: https://www.barnesandnoble.com/w/dawn-before-darkness-liz-lazarus/1146561497 Bookshop.org: https://bookshop.org/a/54587/9780990937470 Book Website: http://www.dawnbeforedarkness.com/ Also by Liz Lazarus: Free of Malice, Plea for Justice, Shades of Silence --- CONNECT WITH LIZ Website: https://lizlazarus.com Linktree: https://linktr.ee/lizlazarus --- CONNECT WITH YOUR HOST Mike Carlon | Uncorking a Story Website: https://uncorkingastory.com YouTube: @uncorkingastory — https://www.youtube.com/@uncorkingastory Instagram: @uncorkingastory — https://www.instagram.com/uncorkingastory/ Facebook: Uncorking a Story — https://www.facebook.com/uncorkingastory TikTok: @uncorkingastory — https://www.tiktok.com/@uncorkingastory Twitter/X: @uncorkingastory — https://twitter.com/uncorkingastory LinkedIn: Uncorking a Story — https://www.linkedin.com/company/uncorking-a-story/ SUBSCRIBE & LEAVE A REVIEW — It helps more readers and writers find the show! Apple Podcasts: https://podcasts.apple.com/us/podcast/uncorking-a-story/id563636205 Spotify: https://open.spotify.com/show/5HZiAEtFlhAzk60Z4eAkhY RSS Feed: https://feeds.megaphone.fm/uncorkingastory --- Uncorking a Story is produced by Mike Carlon. New episodes drop every Tuesday. --- HASHTAGS #UncorkingAStory #DawnBeforeDarkness #LizLazarus #PsychologicalThriller #ThrillerBooks #WritingCommunity #AuthorInterview #BookPodcast #Stalking #GuardianshipAbuse #ElderCare #SelfPublishing #WomenWriters #TwistEnding #WritersOfInstagram #BookRecommendations #AuthorsOfInstagram #Podcast #SuspenseNovel #TrueCrimeInspired Learn more about your ad choices. Visit megaphone.fm/adchoices

A life filled with curiosity can take you further than you ever imagined. I sit down with German journalist, author, entrepreneur and media expert Helmut Stapel to explore how childhood curiosity, world travel, creativity and a willingness to take risks shaped an unstoppable life. From growing up in a village of just 700 people to building an international media company, writing books, producing films and launching a global leadership initiative called The Center, Helmut shares why open-mindedness, passion and persistence matter more than fear. You will hear why he believes every idea deserves a chance, how meaningful relationships create opportunity, and why making the world better begins with each of us. I believe you will enjoy Helmut's thoughtful outlook and practical lessons on creating a life with purpose. Highlights: ·  03:05 - Early childhood curiosity becomes the foundation for a lifetime of creativity. ·  09:18 - Choosing passion over convention leads to a career that never feels like work. ·  17:33 - Building a business with almost nothing proves resourcefulness beats fear. ·  25:13 - The vision for The Center offers a new way to bring leaders together. ·  43:15 - A humorous book about the pandemic delivers a powerful lesson on questioning information. ·  54:31 - Every great achievement begins by protecting an idea instead of doubting it. About the Guest: After completing my training as a media designer, I finished my editorial traineeship at the Nordsee-Zeitung in Bremerhaven/Germany in 1997 and founded successful my media agency, “Stop press & public”, based in Bremerhaven. Through various trainings across all media sectors, I had the opportunity to build up my client base both nationally and internationally. These include contributions for the BBC as well as film work alongside the well-known producer Stratton Leopold (Mission Impossible, Captain America). My journalistic repertoire ranges from short news reports and podcasts to features in words and images. For over ten years, I have been sharing my expertise on the successful construction of narratives, stories and storylines in seminars at colleges and universities worldwide like the University of Cancún in Mexico and German Universities. The range of course content spans storytelling, digital marketing and social media strategies, journalism, photography and PR, as well as scriptwriting for novels and films. All seminars are held in English and German. As author I write fiction, travel, culture, fitness and business book. My works include the novel ‘The Day a Chinese Man Ate a Bat', lighthouse stories, the fitness guide ‘Couch Coach' and the international port book ‘Port City'. In 2024 I started my career as artist with my first internationally recognised concept series WorLds, which was curated for the exhibitions at ArtExpo Paris 2025 and the 24 International Art Fair Venice in 2026. The renowned Magazine FineArtNews published a multi-page feature about my new artistic approach in concept art. In autumn 2026 I will open my first solo exhibition in London with the aim, to let people benefit from the proceeds of my art. As part of the European Group “Speakers Excellence” I give keynote speeches at official events and charity events. With the project THE CENTER I have started together with my wife Daja a worldwide initiative, which will create a new basis of respect and a generation of leaders, with a new understanding of global interconnections in the spirit of a united humanity which takes responsibility for working together rather than against each other. The first events will be held in 2027 in Tuscany/Italy and Switzerland. Ways to connect with Helmut**:** Social Media: http://linkedin.com/in/helmut-stapel-5b3a60b6 https://stoppress.contently.com/ www.facebook.com/helmut.stapel #5000 www.instagram.com/stoppress Homepage: www.stoppress.de Article FineArtsNews: From Journalism to the Canvas of Conceptual Art - FineArtsNews About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset . Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes: Michael Hingson  00:03 One of the biggest things holding you back isn't what's in front of you, but rather what you believe. Welcome to Unstoppable Mindset, where inclusion, diversity, and the unexpected meet. I'm your host, Michael Hingson, speaker, author, and advocate for inclusion and possibilities. This podcast explores how the beliefs we carry shape the way we live, lead, and connect with others. Each week, I talk with people who challenge assumptions, face adversity head on, and show what's possible when we choose curiosity over fear. Together we focus on mindset, resilience, and the small shifts that lead to meaningful change. Let's get started. Well, hello everyone, wherever you happen to be in the world today, I want you to feel welcome at Unstoppable Mindset, that's our podcast name, and I'm your host, Michael Hingson, or if you want, you can call me Mike Hingson. Our guest today is Helmut Steppel, who is a media person, he's an author, he's an artist, he's a lot of different things, he's an entrepreneur, he started his own company. My gosh, I'm jealous, he's done a lot of different things, and I think we're going to have a great conversation over the next hour or so. So, Helmut, I want to welcome you to Unstoppable Mindset. We're glad you're here. Helmut Stapel  01:39 Thank you so much. Thank you so much, dear Mike, and thanks for having me. It's an honor to be here, because as your invitation popped up suddenly, I was a bit surprised about, I think oneself never looks at its own way of living or where we are in the way other people maybe do, and so thank you for having me and your podcast. Michael Hingson  02:02 Well, thank you. I think we'll, we'll have a lot of fun. We have a lot of things to talk about. I appreciate all the information that you sent me, and, and we'll, we got to keep it interesting because it's late where you are. It's after 9o'clock now in the evening over there, so we gotta, gotta make sure it, it stays interesting, so that you don't fall asleep. Helmut Stapel  02:24 Definitely, I try, I try to, I try to. Sorry, in another part of Germany, it's cold outside, it's not dark already, but it's getting to be dark, so it's bad time to say so. But I'm happy to be with you. Michael Hingson  02:39 How cold Helmut Stapel  02:41 is it 14 degrees, something like that. Should, should be more. Everybody's talking about El Nino, and looking at the guy in Mexico, showing pictures of red things. And we have some prognosis regarding summertime coming, some big heat from whatever it is at the moment. I must say it's quite normal and a bit too cold for this year of the time. Michael Hingson  03:05 Well, we'll see what happens. Well, why don't we start? I love to start this way. I ask people to start by telling me a little bit about, in your case, the early helmet growing up, and so on. Let's start with that. Helmut Stapel  03:18 Okay, we can do that question from my side, when does early helmet start, at which age? Because for me, for most fascinating is that for some reason I can remember, at least I can go back to, I think, as when I was one year old. Michael Hingson  03:35 Well, I'll let you start wherever you'd like to start, that certainly is early enough, but you, you tell us what it was like growing up, and all that, and if you remember back to one year old, that's great. Helmut Stapel  03:46 Okay, I grew up in a very, very beautiful landscape, a small village, 700 people living there, called Stuben in Germany, and what I remember is laying as a small child, not be able to walk, and just in a wagon, and staying at the blue sky, the clouds, tree leaves, sometimes people coming big faces. It was my aunt Helga would have figured out later on, and so I remember sounds of bees and hums and roses, the smell of roses. My mother loved roses about all around the houses, and as you see, in this way I grew up in a way where I got used to use all my senses, and I think that was some of the basis for all what followed up, because I started then to have a closer look at my environmental. When I was seven or eight years old in school, I wrote my first text. Later on, I became a journalist, but in this very moment, then I realized, and that, and also the grown-ups, that is maybe some kind of talent because. My first text got a one with a plus, so I think it was eight years old, and so I grew up in a very, very good surrounding. My father was a captain. He took me with his ship to Portugal, to Norway, to Russia in the summer time when we were out of school, so in this way somehow I got in touch with the world very early, very early. I was seven when I went the first time to Portugal, and so I think this was the basis for all what came afterwards till today. You know, I'm 60. Michael Hingson  05:35 What did you think of traveling, and how has that kind of shaped the way you look at life today, Helmut Stapel  05:44 and a lot of ways, and in a positive way, because to say so, I was not aware of how many prejudices I had in my head regarding society, media, whatever it is, since I met the people for real in the countries they were living in, and this is from the USA to Arabian countries to Asia, whatever it is, and suddenly all these influences came to my head regarding the fact, and also then the knowledge that we are all different, we all look different, and we come from different cultures, but at the end, we have all the same needs, and so there's no country where I have ever been to where I felt unsure. There is no country where I didn't met friends, for example, and it was always about being open-minded, and then meeting people who have been open-minded in the same way as I was, and so that's how everything developed. Michael Hingson  06:52 Do you have any countries that you haven't been to that you'd like to go to? Helmut Stapel  06:57 Yes, to turn upside down, where I have been to is from Alaska to Cape Horn, to go to then the Caribbean, the Atlantic, European countries, from Norway to South Africa, then to the Maldives, and go on to the beginning of India to say so. Australia is on my map. I was asked to go there, but then when the war with Ireland and USA popped up, that was so dangerous to go by Dubai by plane to go to Australia. So I will do this next spring, and somehow China is a bit too big for me, I would say, means that I would love to go inside the country to meet people that takes a lot of time, and travel journalism is a lot of people think travel journalism is something where you just stay for six months in the country, or whatever it is, it's different because of money and time, because it's all organized, and that means a big country like China would be great regarding culture, but it's would be a long part in before to have a closer look at where the stories and the people are, so I would be Australia and Japan, I think, and to say so the fastest thing I've ever had to do with Cape Horn, surrounding by zodiac with a dingy seriously, and I made 30,000 kilometers in six days coming from Germany, and I was on three continents and in six or seven different countries, and so this is travel journalism to say, so, Michael Hingson  08:43 wow. Well, I went to New Zealand in 2003 but I never got to Australia. But earlier this year, kind of, my, my wish was granted, and I'll be traveling to Australia later this year. Wow, to speak. It's the first time that I will have been to Australia. I've been to Japan, and I've been to South Korea. I've not been to China either. I think it would be fascinating to go if someday that will happen. I've not been to Germany, I've been to Spain. I'd love to come. Well, all I need are some speaking engagements to get me over there, so you know, if you know anybody who needs a speaker, we're always looking for opportunities to come and speak, but I Helmut Stapel  09:28 can have a closer look for that. Definitely, Michael Hingson  09:30 that would be fun. But anyway, I enjoy traveling. I appreciate that in reality we're all really the same. We may be raised in different cultures, and we think we're a lot more different than I think we really are, and in so many ways, but you, so you went, and you grew up, you went to school, then you went to university, right? Helmut Stapel  09:54 Yes, but in a way that I realized that in that I. Way, and at that time I was about worth 30 years old, because I did my A level at the evening school, while I was working at the same time, and then I figured out that I'm more the practical type of human being, I was not able to sit and to listen to someone and to analyze texts of other people, for I figured out that my brain was, as I was telling you, when I grew up and saw all these things with the sky and the clouds and whatever it was that my brain was meant to produce things by itself, and that it was full of ideas and pictures, and it all had to come out, and so in that way I stopped studying and made a, I was a volunteer, I made an apprenticeship at a newspaper, and became an editor, and so in that way I found my job 30 years ago, which I self employed now for 30 years due, and it's I'm blessed to do that, because since that time I don't work, I have spare time all the time. It's just doing something which I love. Michael Hingson  11:07 Well, and that's kind of important to do, and that that makes it so much more fun when you can do something that you love doing. It doesn't seem like a job anymore. It doesn't seem nearly so difficult to do, because you enjoy it, Helmut Stapel  11:22 definitely, definitely. Also, regarding writing novels, which I started then a few years ago, because sometimes my wife has to hold me back for sitting and writing, because I always love to do that. I do other things as well, but it's something which is really in my mind and my heart. Michael Hingson  11:47 Well, and you mentioned earlier that you and Daddy are getting into a new house. I hope she likes the house. Helmut Stapel  11:54 Definitely, it's our.. it's our.. thank you for asking. It's our dream house, because it's not too big. It's 160 square meters with a cellar and the roof and things like that, and there's enough space, and we have a fireplace, we have a garden, we will have a dog, and so it's like, like a dream came true, because it's a place which is silent, and for me the best thing is that we will have a fireplace in the working room as well, so I love to stay there in winter time, and then suggest to do my work, and she loves that, really, because she also says this is the house she was always looking for, and so we will then have our own home, and this is a dream. Also, Michael Hingson  12:36 do you have any children? Helmut Stapel  12:39 No, personally not. I grew up some children with the women I cared for for 12 or 15 years, but as it is sometimes when the when the young birds have grown up, the mother birds and the grown-up birds are leaving the nest without asking the father bird if he wants to fly with them, and so they flew away, and I stayed a bit concerned, but then I meet Daya, and so I knew where that comes from and what was the sense behind that, because since that time I'm absolutely happy, and I've never been that happy before in my life. Michael Hingson  13:20 Good for you and Daya, that'll, that's great. Well, it's exciting. I have lived in a number of homes. My wife and I got married in 1982 and then she passed away in 2022 And so we, we lived in various places, and we always figured out how to make it work. We had challenges because she was in a wheelchair her whole life, but we, we love to build houses when we could. There were, there were a couple times that we couldn't, but we love to build houses because that way we build accessibility into it, and it doesn't cost to do that. So, Helmut Stapel  13:54 yes, Michael Hingson  13:55 so we, we had a lot of fun with, with that. So, I, I, I can't complain a whole lot. It's worked out pretty well, but I'm glad you guys are getting into a house that'll be pretty exciting. That'll keep you busy, and while you're moving from one house to another, you'll probably find all sorts of treasures that you forgot you even had. Helmut Stapel  14:15 Can can be also some things in some cartoons or in wardrobes or whatever it is, all things I have books of my father as well, instance he was a captain, as I said, and some things are maybe hidden somewhere. Really keen on doing that, for example, as I have a past as a musician as well. When I was 23 I had a record contract with Sony Records, and somehow, regarding private things, this did not come out on the way I wanted it to be. It was for three or four years, but all this musician past is also in some draws line with things or songs. I, I started to compose and. Maybe I start this in our new home next to the fireplace again. There Michael Hingson  15:04 you go. Well, that'll be kind of fun, Helmut Stapel  15:07 definitely. Michael Hingson  15:08 So, when did you found, when did you start your own company? Helmut Stapel  15:12 Ah, that was almost 30 years ago, was in 1997 right? Directly after my apprenticeship as an editor, because I figured out that it's somehow my spirit to be more on my own track. This is also maybe founded because of my father being a captain, because when I was a young boy standing on the bridge, and he asked me if I like to be the captain of the ship, I was seven years old, and I was then asked to guide and to lead this big freight ship to the Biscaya near to Portugal in a stormy day, and I was this feeling of I can go everywhere, I could go everywhere, and so from this moment on, I had the feeling that the chances I create for myself are endless when I give them the chance to appear, and so this is why I decided to become self-employed. Michael Hingson  16:11 Wow, so that, well, it's kind of fun. So, do you, you've decided, though, you don't want to be a captain anymore? Helmut Stapel  16:18 Yes, I've became, I've become a sailor. I had a sailing boat, but I was not about to make this my profession to say so. Right, I'm a seaman as well. I do a lot of cruises, I write about cruises, I work for several magazines. I've just come back from the middle ocean with a nice trip, Explorer One from MSC, it's the Italian shipping company. I visited Sting, the international position, on his vineyard in Tuscany, which was quite an honor. And so there is a lot of connection to being a seafarer. I like cruising, and Michael Hingson  17:00 I've had had fun doing it, and would like to do more of it, even though it's just me now, but I, and I will, I think cruising for me is a great way to take a vacation, because I only have to unpack once, but, but more important than that, you know, unlike being in a timeshare where you, you go and visit places and drive, you know, I'm not going to drive or anything like that. So, I, I like cruising. I think that'll be kind of fun, and I'm looking forward to doing that in the next few years again. But, in the meanwhile, in the meanwhile, as I speak, I get to travel around and meet lots of different people, and that's kind of fun too. Helmut Stapel  17:40 Definitely, I think you're the same as I am regarding that the exchange with people is something which makes oneself feeling alive, because there are so many impulses and things one maybe has never been thinking about, and suddenly some ideas pop up out of this conversation, which is, which is quite great. Michael Hingson  18:06 Well, so tell me about your company that you started 30 years ago. It's been a been going a long time. Tell me about that. Helmut Stapel  18:14 My pleasure, because at it's also about thinking positive about life and not building your own barriers, because at that time I was, I was not a rich man, I'm not today as well, but I had so less money that I was not able to, at that time they were the starting time of computer, I was not able to have an old fax, so I had to ask some friends in the company if I could just creep in the, in the midday break into the office of their chef to send a fax to a company in Munich I wanted to work for, and so it was a bit adventurous, I really had not a lot of money. I found him affirming it in a two room apartment, and the financial department wanted not to give me the tax back, because I said it's not, it's not possible to live in a two room apartment, and in the same way found a firm, and I said, yeah, but I did it, I did it, and so in this way I worked on then working for radio because it did an apprenticeship as well then why I founded my firm and in this way it grew and grew and I did during the time all the work and apprenticeship and all kind of media you can imagine so I can work today for print for radio, I'm doing reportages for online, for TV, and in this way I ended up at the university at the end. Now, after 30 years, again, I think after 20, because since 10 years I work as a teacher as a lecturer at different university on German and English internationally as well. From South America to Japan, because online is a fascinating world where even there are no borderlines, and so I'm really happy that I was able to fulfill this dream, starting as I said, without fear. I always said I just try and never fail, I do it some other way. That's the point. Michael Hingson  20:24 You figure out a way to make it work, Helmut Stapel  20:27 absolutely, with the help of people. For example, that's always important that you meet people which feel some sympathy for you. That's right, just to help you, or they have some contacts. Most important is I think that the passion you feel for your work is readable, is hearable, whatever your media you work for, that people enjoy to follow you. And then the people who just are your employers say, 'Wow, we want to have more of that. So I think this is the point. How it works. So, what's the name of your company? It's Stop Press and Public, and it has a has a history behind that, because the part of Germany where I come from, as you see, my last name is Staple, S T A P E L, and we speak here flat German, which name means that staple is called Stoppel with an O instead of an A, right? And so I took the short form of Stoopel with an S T O P. It's like a stop sign you have in traffic, and so I said, okay, if I have stop, this is cool internationally seen for a marketing point, and I needed some things because I always, in the beginning, also as well thought, and I was sure that I wanted to work internationally, and so I thought that I need something which is short, which is international, and so I said I do it press, and there's something I do which is public, and then it will stop press and public, which is quite great, because I had no idea when I went the first time to the USA. I gave someone my business card. He said, "Whoa, this is the cool agency name, and say, "Why? And he said, "Yeah, regarding that, stop press as a synonym for latest news, stop the printing, stop the Michael Hingson  22:21 presses. Yeah. Helmut Stapel  22:22 Yes, I wasn't aware of that. And so there's really funny, yeah. And this is how that, how that figures out. Michael Hingson  22:30 And what do.. and what does the company do? Helmut Stapel  22:34 I do everything from all topics apart from ice hockey and soccer, because I, to say so, I could write or do some reports about that, but I have, you know, passion for this kind of sports, so I do everything apart from soccer and ice hockey, but also then I'm a photographer as well, so I do reportages all around the world regarding traveling as scientific journalists, as well. I do write for scientific magazines, which gives me a deep insight into topics I had never any idea before, which keeps my brain moving on and moving on, and also connecting different topics, which are maybe normally are not connected, and I do cultural reports as well. I do videos. I work for social media, and I develop social media and marketing companies as well, for big companies all around the wall, for example, the Q, not line England. I did some marketing, and there are others. So, everything which is connected with communication in what way ever is what I do. Michael Hingson  23:54 So, it's a marketing and communications company, which, which keeps you busy. How is it just you, or do you have other people in the company? Helmut Stapel  24:03 No, it's just me, and this is fascinating as well, because after I think 10 years, when I founded the firm, I was at a point from the mass of work, which came from all sides to me, to decide if I stay on my own or if I grew my firm, my company with some clerks regarding Dan becoming bigger, and when I was thinking about that, I had a closer look at my dog, which was a shepherd dog, a German Shepherd dog, and we were close friends, and he was my partner in triathlon, I did 10 years triathlon, and he was my running and my swimming partner as well, and so I looked at him, and at that time, at the day we wanted to go into the forest as we always did, and suddenly I was aware that if I have all this responsibility regarding all the people and getting all the work that they get their money at the. End of the month, and can feed their families, and things like that, that will be such a pressure for me and my small family as well. That I said, now, okay, I don't do that, because I will just lose my freedom, and so I decided to keep it small, and the way that I can normally live, and I'm not a poor man, but I'm not a rich man as well. But I have all the time of the world to organize myself. I can go to for a forest walk whenever I want. I can sleep midday on my couch whenever I want, and that was the point why I'm just on my own. Michael Hingson  25:38 And you can do podcast interviews whenever you want, and podcast conversations whenever you want. Helmut Stapel  25:43 Yes, definitely, Michael Hingson  25:44 that works out pretty well. Well, that's great. So, so what you have a project I think you're working on called The Center. Tell me about that. Helmut Stapel  25:54 Yes, thanks for asking, because this is something which is really on my mind and my heart, because dear Mike, as you asked before, regarding traveling the world, making experiences, meeting people over the years, it came to me and to my mind there are so many things where the world is not going in a direction where it should go just to be a good place for all the people that live on this planet, including all the nature which is on this planet, because without nature we cannot live on this planet, and so I developed the idea, and I'm working on this project, and I think in 2027 we will have the first, the first events is to found a place, which is called the center, because all the structures we were used to for decades, politically, naturally seen society, whatever it is, they are all breaking down, there are no, no, no roots anymore, and people are anxious that everything falls apart, and there's no center anymore, and so the idea was just to create a center where leading people from all kinds of areas, like it's economy, it's philosophy, it's a technical scene, it's astronomy, it's a religious whatever it is, just to take all this knowledge and all these different opinions and to make events for people which are in leading positions to create a feeling of that we are all in a network, because the earth is round, we cannot flee from here. We have to stay here, and we have to work with that. And the point is, when we all take something from the cookie plate and never give back anything on the plate, it will be empty, and if it's empty, no one is a winner, no one is a winner, and so the center is about then giving people the idea when they try to live a life where they give something, and it means not that they should give all their money, which they make to other people, it's about friendliness, it's about health, it's about clean water. It's about giving a warm word, and it's also giving more money as well. If someone's doing a good job, and so making the places where they live a better place, and the way they could do, and in this way giving more space for this message, because people have been treated better, they treat other people better, and it's like you throw a stone in the water, and small waves are coming, and just go. And this is the point. What the center is going to be about. If Speaker 1  28:54 you enjoy Unstoppable Mindset, and would like to help us continue bringing these conversations to you each week, we've created a way for you to support the show. Your contribution helps us cover production costs and continue sharing stories, insights, and ideas that inspire people to live with purpose and possibility. If supporting the podcast feels right for you, you'll find the link in the show notes. Thank you for being part of the unstoppable mindset community. Michael Hingson  29:28 Well, and when you throw a pebble into the water, the waves go out to the end, and then they come back, and, and it's a process. It's a process. You're Helmut Stapel  29:37 right, definitely. Michael Hingson  29:38 So, how far along are you with with this? You said in 2027 you think you're going to have the first event, and what, what, what kind of preparations are you making, and how is that going Helmut Stapel  29:50 from the first steps, writing an expose, getting my, and Daya is with me as well, because we like to found this together, just. Putting the first thoughts on paper, writing an expose, getting clear about what should it be about, having the first contacts, meeting people was like creating some kind of magnetic field, because suddenly when we started with that, things came by itself to us, that was fascinating regarding people offering sponsoring the website, for example, I have been to Zurich to an event where I met people I was not aware about, which fit to, for example, than the event character to other people, which one is the former director, the technical director of the NASA, the space agency, there's some kind of neurologist, we would say something, some people who work on brain artificial intelligence, whatever it is, and so I meet a lot of people since then who future researchers, whatever, who will be able, and would love to have events and a speech at the events of the center to be part of creating a horizon for all the people who come there to make sure and clear that in which position we are in the moment we look at earth in the space, because not many people are aware of that, how, how fragile this is, and so with all the knowledge and all the things like philosophy, which, as I said, we will try to implement a feeling of we have an at the people I have to do something, and in this way we are on the way. We have two places where we love to make the events. We came across that in the beginning we would think to concentrate on one place, but then we figured out it's better to have different places, just to have more atmosphere. One is in Switzerland, and the other is in Italy. And we are about to create, then, the program to make sure, as people have to pay for that. This is quite a point. We cannot do it for free, because there are some costs, but to create the program and sending invitations, making advertisements on Instagram, social media, whatever it is, and have a closer look on LinkedIn, how the feedback is, and the point is that without, as I work all my life like that, even if I write a novel or whatever it is, without setting a deadline for something, you will never reach your aim, because you say, yeah, maybe sometime someday. No, we do it in 2027 in summer, and in this way we have some time to move into a new home and our house, and in the same moment, just working with the people who already have said that they want to have a speech there, for example, we also are in touch with Laura Chaplin, which is a niece, you say, so from Charlie Chaplin. She lives in Switzerland. She, she loves to come there too, because she, she's a person who thinks that humor is an important point in life to create some kind of life feeling, and so in that way we are on the way to have then the first event in June or July 2027 and it will be in Switzerland at the Lake of Your Walsh Stetter Zie, near to Lucerne, or in Tuscany near to Lawrence Fierense, Michael Hingson  33:48 that sounds exciting. How large do you think the event will be? Helmut Stapel  33:52 We think about two events in the beginning in a year with maximum of 15 participants, maybe 10, because it will be very intensive, and it's not something to say so, which can be in Germany. We say inflation, inflation, or maybe this is the word in English. It's something that has to grow, as to say so. I have a friend. When I talked to him about that, he said that's too big. You will never, never see and realize how this will work. And I said, no, this is not the idea behind it, because someone has to start the process. All the things which can be big in history of humanity started at one point, and over if it takes centuries, I don't care. Someone has to start it, and if the idea works, it will work inside the people, which carry the idea to other people. And so we start with, I think, two events in a year, and maybe then 10 up to 15 people, max. Simon, Michael Hingson  35:01 well, so 10 to 15 people will be speaking. Is there an audience in addition to that, or it's just going to be an event with those people, and they're going to then take the message elsewhere? Helmut Stapel  35:13 No, the audience will be 10 to 15 people. Got it? Because the idea behind this, that also, because they were thinking about that every every change in society, if you look at human history, started on an unhealthy basis, which means that we're all people who were hungry, they were poor, whatever it is, and they were just fed up with the lives they were living, and said we have to change something, and this always meant war, this meant revolution, whatever it is, and at the end, most of the time, exactly those people became like the people they were talking about before, that they are the vicious people, so we thought about if we want to change something, the best thing is to talk to the people who are able, in their actual, in their current positions, to change something, which is their advantage as well. This is the concept of the center. It doesn't mean that you change when you change your mindset in this way that you lose something. No, it's about the advantage for everyone, and this is the idea behind the center. Michael Hingson  36:23 How did this come to your, to your mind? How do you, how did you create it? What, what caused you to think about doing this? Helmut Stapel  36:32 I have not really an exact idea. It was, it was a, it was a fusion of all the things I was talking about. There was one moment where suddenly all the things I mentioned in the beginning, regarding there's no center, everything is falling apart. I witnessed that, as everyone does on the TV and the radio, on social media, and when this witness, I talk to people, to friends, and also in other countries, and I figured out that this kind of anxiety creeps into the minds and souls of so many people that they got stuck in their lives, and that somehow all this beauty, which is around us, is not seen anymore, and it's just something that it's like the world is going to be getting dark, whatever it is, and we can stop that. And that was the point when that this, when I said someone has to stop that. And then I said, okay, then I'm the one, together with Daya. Michael Hingson  37:39 Well, that'll keep you and I are busy, you know, gives you, gives you something to do, and, and, and I'm sure you'll, you'll create an environment where there'll be a lot of good ideas that will come out of it, which is, of course, what it's all about, right? Helmut Stapel  37:53 Yes, yeah, definitely, because the way we treat each other is the basis for all that, regarding that we both have have an eye on each other, a closer look, that the other one feels good, just asking, do you need something, can I do something, and things like that, and that way we created a process which brings us with the positive energy forward in a very, very exciting and powerful way. Michael Hingson  38:23 Well, and that's, you know, that's always exciting, and it'll be interesting to see where, where this goes, and how the center grows, and how you can use that to influence people. We need to have more of that, I think the whole idea of helping to create and change, well, to change the world and make it a better place, there's always a good thing to do. Helmut Stapel  38:49 Yeah, I think you're definitely right, Mike. Also, then based on the idea that when we start with that in this on the small scale, it doesn't mean that not other people can do the same in other countries, you know. I registered the trademark just to, and the logo, and the and the and the sign, because it makes sense to have something which is steady, and if other people, then, for example, think that they are convinced by this idea, there's, there's nothing which is against the idea, then, that they do is in the country with the same concept as well. So, this is what we hope, that it's for example, I think there's always fascinating friend of mine, he, he's a scientist in mushrooms, and he's so keen on mushrooms, and he's telling about mushroom stories all day long, but the point is, this is the most fascinating living being, because it's under the ground, and it's just no one is seeing how it moves, and it's getting bigger and bigger, and what we eat is just what pops. Up right, and but but it's invisible, and when it comes out, everybody says I had no idea that it's that big, and I think this is the idea about sorry, the center creating a network which grows by itself and has more and more points where the idea pops up, that's the point, Michael Hingson  40:18 yeah, which, which makes sense. Tell me about some of the books that you've written, if you would. Helmut Stapel  40:25 I love to love to, because as I said, when I was eight, I wrote my first essay, which somehow astonished the teacher, and then I wrote my first poems, and short stories was 1312 or 13 years, and then I was aware of the fact that I want to become a writer. What happened was I became a writer in the way that I became a journalist, which took a lot of time, because I'm self-employed, but in the same way I was always keen on writing books, and I wrote several books, I think. Meanwhile, it's seven or eight. The first novel and short story thing, the first novel was 2024 and the short story mixed with with pictures. I'm doing pictures as well. I'm a painter as well, and so this was then 20 years ago, and so this is just the process of developing things. There's a poem book as well, it's called Lemon Land, which is quite interesting with funny poems, and as I'm interested in so many things, there are people asked me to write tourism things about lighthouses, for example. There were people, they asked me to write economic books about how a harbor works. For example, in Germany, we have one of the biggest, or some of the biggest container harbors of the world, the city where I live, Bremerhaven, for example, which is very connected to the USA. We had, I think, 6 million containers a year, and now we are somehow about 3.8 3.6 or whatever it is, and so this is some logistical thing, I wrote a fitness book as well, since I did triathlon 10 years and it was a vegetarian at that time, and so I figured out how that works, and suddenly I started to eat meat again, because then from one day to another it tastes good again for me, and so I wrote a fitness book, as well. It's called The Couch Coach, because I figured out that so many people sitting in front of the TV saying, "Ah, I would like to go to a studio, but it costs so much energy, and I would love to stay in front of my TV. And so I thought to develop a fitness program for people just laying on the couch and making sports, so it works with some, it's not a lot of weight, it's for your food and for your hands, and so within 15 or 20 minutes, you can just exercise your body from the food while you, while you eat pizza and eat Coca Cola. So I also have some diet program in the book, but you're not forced to do this, is this is not this. If you want to become a better man, just have a diet and do sport. No, a lot of people just stop them doing that, because it's exhausting. And so you can decide to change your life, but you can keep on lying on the couch, just having pizza and drinking Coke. It's just about bringing people into the mood of movement, and so I think this is the mixture. Actually, I wrote a travel guide, which maybe can now will come out this year, and it's the first travel guide one has written in this style on this planet. Honestly, there's no book like that. I'm very proud on this, and while I'm looking for someone that publishes it, I already work on my next novel with Willy, a criminal story, which plays on a lighthouse. Daya is very excited hearing the next things I have written, and so these are the writing projects I do work on. Michael Hingson  44:16 So, what's the name of the travel book? Helmut Stapel  44:19 I cannot say this is a secret, it's Michael Hingson  44:23 not out yet. So, yeah, you can't say what's the last book. Oh, go ahead. Helmut Stapel  44:28 The last book is also quite exciting, because it will be published next week on English, and will be available worldwide. It's called The Day a Chinese Ate a Bet, and so, as you can imagine, it's about Corona, and it's the very first book on a journalism basis written in a comedian style, apart from the fact that Corona was not really funny, that that takes all the things which has happened based. Based on a two year research on press releases from US government, the World Health Health Organization, whatever it is, articles, just to make an overview, what happened at what time, and who did say what, because of blaming whom, to bring some light into this chaos in a very funny way, regarding that, the theory and the rumor that Chinese eat beds are just based on one video from an influencer from Thailand who pretended to eat a bed, and so that was an ah, all Chinese eat bats, they produce corona, and so this is why it's called like the day Chinese ate a bad and the main point is the message in this book is not to believe everything people are telling you because they want to influence you and not to ask the question where's the source where's the basis for that and so yeah and it's in one day in Wuhan, a taxi driver who has all the people, there's a billionaire called Phil Bates, you can assume who I mean, and other people who are driving in this taxi one after another, and all this taxi driver gets all the stories and infos, and so he gets more confused and confused and nervous, and so it's a day in Wuhan where it pops up all the people who are connected, maybe with the with the existing of the coronavirus, and they all meet at the end in a final place to say so. And then we have the conclusion, but I won't, I won't spoil that. Oh, you don't want to do Michael Hingson  46:42 that? No, by no means. So, it'll be published in English next week, huh? Helmut Stapel  46:47 Yes, exciting! Wow, Michael Hingson  46:48 that's pretty cool. Helmut Stapel  46:51 I'm really proud on that. Michael Hingson  46:54 Well, so what publisher is publishing it, or how's that working? Helmut Stapel  47:00 I did this by myself. Okay, Helmut Stapel  47:03 yeah, with this book, for example, and have chosen the soil name Arthur Block because it was my grandpa, and I thought Arthur Block is more international than Helmut Staple. It's more, there's more speed behind it. Arthur Block, yay. And as I did my first apprenticeship as graphic designer, I decided, because I'm familiar with books and publishing with the newspaper, I have all the knowledge to publish my book by myself, and I try to, and it's working out good, because I have a lot of five star five five-star ratings on Amazon, and there are some kind of.. we have in Germany, for example, companies like Books on Demand, which then bring this with an ISBN number into all bookshops in the world, and so it was a kind of adventure. I still work on that. Regarding also, thank you for naming this in your podcast, doing some marketing on Google, and things like that. Normal, just have a closer look, how that that works. And so, with the with the travel guide, I'm in touch with Lonely Planet, which is quite known as travel guide, which young people love all around the world, and they are interested, and so looking forward if they really want to. If not, and if no one likes to, I publish it by myself again Michael Hingson  48:35 now. So, will the day the Chinese ate a bat, when that comes out in English form, will that also be available in places like Amazon? Helmut Stapel  48:45 Definitely, I figured out, and this is the exciting part of, at first I had no idea how that works with Amazon and Kindle, and whatever it is, and then I figured out, by it was incidentally, when I created this book at first in German, then I published it on Amazon, and they have an ISBN number as well. And I thought, okay, now I'm in business internationally, and a friend of mine said, okay, I like to buy your book, I go to a bookshop, and he had the title and asked for the book, and they looked into the PC and said there is no book like that, and there is no author like that, and he called me, and I said this is not possible, because I have the ISBN number here from Amazon, and then I figured out that Amazon has an own ISBN number, which doesn't pop up in the international catalogs of bookshops, you need a different ISBN number from the first three numbers, Michael Hingson  49:41 yeah. Helmut Stapel  49:42 Yes, and so I always have to use two channels, it's Amazon with Kindle and things like that, and also the normal book shops who like books on demand, as I said, with the international normal ISBN number. Michael Hingson  49:55 Will there be a an audio version of the book? Helmut Stapel  49:58 Yes, I work. That since I'm a radio moderator as well, and we have a studio at home, and we will have a really pretty studio, and on your house, I love it. I will produce the books as audio versions as well. Michael Hingson  50:13 Well, that'll be exciting. You'll have to let us know when, when the audio version, especially, comes, comes out. That'll be, Helmut Stapel  50:20 I will, Michael Hingson  50:20 that'll be easier for me to read. I mean, I can buy a print book, and I can use optical character recognition to read it, but I'm lazy. I'd rather have an audio version, and I know other people would too. So, that'll be, that'll be exciting when it, when it does come out. Helmut Stapel  50:34 I'll let you know, it's more personally somehow, if you just see the voice of than the author just reading something. Michael Hingson  50:40 Yeah, well, whether it's you reading it or someone, it'll still be good to have an audio version. Now, you have also made a movie. Tell me about the movie. Helmut Stapel  50:49 Yes, I work on that. It's not in the cinema, it's the process I'm still working on, and I'm really proud on that too. Yeah, because it's also, yeah. yeah, realizing what chance you can take to do whatever it is, and as I said, the borderlines you have are the borderlines you put by yourself, and when I figured out that I was going to go to Savannah, USA, and had the chance to have an interview with Stratton Leopold, who is the very, very well-known producer in the USA. He made movies like Mission Impossible, Star Trek. He was involved in Captain America, and things like that. I thought, when I have so many ideas in my head, I just can write two pages down and just ask him if he thinks it's a good story, and so when we had this interview, we're sitting on our own in an old cinema in Savannah, next to the ice shop he's running, he has taken that from his father, Leopold's ice cream, it's really cool because you have all the things from his movies into the ice shop, all the things from Mission Impossible, and this is really cool. And so I was asking him if you could maybe have a closer look at this two page, no, I think it was four pages, and what he thinks about the story, and he said, yeah, for sure, and was quite great a moment in my life, because in the interview he before mentioned how many people give him short things, manuscripts or text, and hope that he's doing something with that, and there, and he said there's so many things he's sorry to say that, but they are not good, and then he was reading my text, and at the end he was looking at me and was like one second, two seconds, three seconds, and then he said this is a good story, and I say, thank you. And then he asked me if he could take it home with him, just have a closer look. He asked me if I had already saved it. I said, no, I didn't. He said, just do. For example, now I'm a member of the American Writers Guild East, so that my text and my scripts are protected and I shifted all my dates behind with the travel journalism because he asked me if I can come back next day and we had a closer tour in Savannah to look for locations where we can just have this movie we were looking for people with money then for script writers and things like that but unfortunately in between, then Corona popped up, and it was then this 2021 22 and 23 in the middle, I think we started to work again on that, but unfortunately, the people who was were before able to give the money, they were gone, and so we are start, we have started from some new point, but with the same energy, and suddenly, because our movie should be named Wish, like the Wish, because it's about wishing something, and it's a mixture between the digital world and the fairy tale world and the reality, to say so, which is quite interesting, and suddenly I walked beneath a cinema in Germany, and I saw this Walt Disney movie, Wish, and I said no, impossible. So there was this title, and we had a conference as well. So we renamed the movie. I cannot tell you how it is named, but we found people with money. Again, we have a script writer, and so we're going in the next process. Then I'm going to contact different companies like Netflix, Walt Disney, and Paramount. At first, the three is enough. And we have in Germany an institution, it's called a Deutsche Film Ferderung. They give money by the state to people who create movies. I'm in touch with them. Helmut Stapel  54:45 The only point is that if you get money from the state of Germany, you have to integrate parts of Germany visual into the movie, so, and this is this is the reason why in Mission Impossible films. Tom Cruise starts from Berlin with a plane or a factory in Hamburg is going to explode, or whatever it is, because they got money from the German state for the production, and we worked on that already, and so this is the point I think. Also, 22 seven will be a very, very fascinating year for me, because we think about having the movie then on the market, it's Michael Hingson  55:27 exciting. Absolutely, well, so what, what, what would you say to someone to help them get motivated to achieve their goal, whatever that might be. Helmut Stapel  55:44 Whoa, as I also teach script writing, there's one point where we start in how this movie script starts. It always starts with an idea, and the idea is only there because you realize something, which has happened, and then you, you stuck to that, and you go on with that, and don't stop developing it till the script and the movie is done, and so it's the same in reaching your life goals. If you have an idea, maybe you have it by itself in your brain, or you are motivated by people, or you want to copy or cover whatever it is, but there are two chances, two channels to say, so you can go. The one is to demotivate yourself, because you say, 'Oh no, I don't think this is quite good. It could be better. There may be some people who might say it could be better, or they think about things what I think, and so then you lose your energy. The other channel is to realize that every everything you're thinking, everything you figure out is unique in the world and the universe, and if you just blow it away, it's gone. And this is such a waste, this is such a waste, and so just take the channel, keep the idea like a treasure, get energy, money, whatever it is, and think about that. Also, a tree is not a tree because it's grown up in 10 seconds, it starts small, and so start small, like I said, with the Savannah cinema thing with Stratton, have a closer look at my script. What do you think? And so then maybe in one and a half year, this movie will then be into the cinema, and also it doesn't matter what other things that are, if you stay to your idea, don't block yourself, and don't forbid you anything regarding thinking how something could work. Test it, as I said, and if it doesn't work, test another way. Thomas Alpha Edison, for example, before he, he was able to have electric light, I think he destroyed 1000 of the gluing, whatever, glooming, whatever, bomb, because the material wasn't right. And then he was asked by some journalist, wasn't that frustrating? And he said no, because then in this way I figured 1000 way out, how it does not work. You find 1000 Michael Hingson  58:36 things that didn't work, you don't have to worry about them anymore. Helmut Stapel  58:39 Yeah, and as I always say, even if you are going to be self-employed, looking for clients, whatever it is, if you are disappointed by yourself or by someone else, take it as a motivation. It's a motivation. It's not the end of the world, it's the start of doing something else. Michael Hingson  58:59 What do you think is the most important thing that you've ever Helmut Stapel  59:04 done. Meeting Daya, of course, I think that's Michael Hingson  59:08 a good answer. Helmut Stapel  59:09 This is one, and during my lifetime, I saved the life of seven people for real, biologically, financially, emotionally, so this is something I'm very proud on, regarding cost, cost a lot of energy to do that, but they are on their way, and they're still here, which is quite great. This is something I wrote, my first novel. Yeah, I saved my mother's life, which is quite a good thing, because she brought me to the world. This is something, and what else? Let me think, because it's such an important question. I think that this is something. Okay, and there was a day when I figured out that it's an important thing to love myself and. That I like myself, and even if there are things which are maybe not quite content with, but that I realized that I'm a worthwhile person in that way. When I give something to other people, and this way I have grown, because I don't expect people to give something to me back. If they do it, it's fine. Then I'm grateful, but in that way I can give a lot of things to other people, and this is, I think, a bit - this is a big gift. Michael Hingson  1:00:30 That's great. Well, if people want to reach out to you, how do they do that? Helmut Stapel  1:00:35 It could be on my homepage, as it maybe appears. Then, after our podcast it's www stop press, what could it be.de stop press or Michael Hingson  1:00:48 de, okay, Helmut Stapel  1:00:49 or even also on on WhatsApp on my mobile phone would work because I love fast conversation and writing emails as well, yeah. Instagram would be a good idea. It's also stop press on Instagram. There are a lot of channels, but I think these are the most important. LinkedIn, for example, also Michael Hingson  1:01:12 stop press again. Helmut Stapel  1:01:14 Yes, Michael Hingson  1:01:15 okay. Well, I hope people will reach out. This has been absolutely fascinating. I have enjoyed it. I hope you have, and absolutely. And it's time for you to go to bed. It's getting late there. It's 10 o'clock. Yeah, I Helmut Stapel  1:01:27 think I will not go to bed. I asked my wife if we have an hour TV watching from the couch and having couch coach training. Well, there you go. Well, Michael Hingson  1:01:36 maybe now she can watch TV again, since we keep the internet free. But I want to thank you for being here, and I want to thank all of you for listening and watching us today. If you'd like, if you'd like to talk to me, any of you, feel free to email me at speaker at Michael hinkson.com that's s p e a k e r at m i c h a e l h i n g s o n.com Hopefully, you will also reach out to Helmut, love to get a review from you, so wherever you're observing the podcast, please give us a review, and if you know of anyone who ought to be a guest, we'd love it if you'd introduce us. We're always looking for people to tell their stories, but Helmut, I want to thank you again for being here. This has been absolutely wonderful. Helmut Stapel  1:02:20 Thank you so much, Mike. It was my pleasure. Comes from the heart, and it was a very, very interesting and great time. And I hope we stay in touch to start some common projects that would be wonderful. Michael Hingson  1:02:30 Let's do it. But I really thank you for being here. Helmut Stapel  1:02:34 My pleasure, Mike. Michael Hingson  1:02:38 Thank you for being here with me on Unstoppable Mindset. I hope today's conversation left you with a fresh perspective, a new insight, or at least something worth thinking about. If you're ready to go deeper into the ideas that shape how we see ourselves and others, I have a free gift for you. Head over to Michael hingson.com and download my free ebook, Blinded by Fear. It explores the invisible beliefs that hold us back and shows you how to reframe them, so you can move forward with clarity and confidence. Be sure to subscribe to our podcast, leave a review, and share this show with someone who can use a reminder that growth starts with mindset. When people think differently, we all move forward together. Thanks again for listening. Keep learning, keep questioning, and keep choosing to live with an unstoppable mindset. 1:03:40 Thank

O Podcast do PublishNews recebe nesta terça-feira (30) Rita Palmeira, crítica literária e curadora da 24a Flip. A Festa Literária Internacional de Paraty deste ano vai homenagear a poeta paulista Orides Fontela (1940-1998), escritora de trajetória rara e específica, que agora deixa sua marca em um dos eventos literários mais importantes do Brasil. Orides tem sua obra completa editada pela Hedra, que já colocou nas livrarias as novas edições.Ieda Lebensztayn, pesquisadora e crítica literária, organizou as novas edições dos cinco livros publicados em vida por Orides — Transposição (1969), Helianto (1973), Alba (1983), Rosácea (1986) e Teia (1996). As novas edições da Hedra reúnem textos críticos clássicos e inéditos, ampliando o panorama da fortuna crítica em torno da autora.Na conversa, Rita falou sobre sua trajetória como leitora, mas também sobre como foi o trabalho de curadoria para a Flip — em contato com muitas editoras, sentindo a temperatura do mercado editorial brasileiro, sobre os segredos de encontrar a química entre os autores — entre outros assuntos.O evento fluminense ocorre entre os dias 22 e 26 de julho, de quarta a domingo. Uma das novidades são os horários das mesas. Na sexta e no sábado, o último painel do dia será realizado às 19h. No domingo, serão apresentadas três mesas: às 10h, às 12h e às 15h30. Dois dos nomes confirmados nesta terça são os da ministra do STF Carmen Lúcia e o da escritora inglesa Zadie Smith.Indicações:Livro: Claro Enigma - Carlos Drummond de Andrade (Record) Livro: O Morro dos Ventos Uivantes - Emily Brontë - Tradução: Stephanie Fernandes (Antofágica)Livro: Música do Mundo - Tarso de Melo (Fósforo)Eventos: Mesas sobre Orides Fontela na FLIPEste 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

In this episode of Varn Vlog, we sit down with Sam Badger to explore the moral philosophy hidden within Marxian theory. While Karl Marx is famously derisive of "moralism," this discussion unpacks how his work actually outlines a robust "Ethics of Human Flourishing"—a vision of human liberation rooted in the realization of our creative and social potential beyond the constraints of capital.We delve into Sam's latest research, comparing Marx's views on character development and well-being with Aristotelian ethics, while highlighting how Marx's focus on labor and class status creates a unique framework for modern social movements.Key Topics Covered:The Ethics of Character: How Marx defines the "good life" through the lens of historical context and labor.Alienation and Well-being: The impact of capitalist structures on individual development and freedom.Beyond Aristotle: Why Marx's version of flourishing is inclusive of the working class, unlike classical elite-focused ethics.Modern Social Movements: Using Marx's ethical framework to address today's economic and social inequalities.Referenced Work:Book Citation: Badger, Sam. Karl Marx's Ethics of Human Flourishing. 1st ed. New York: Bloomsbury Academic, 2026. (ISBN: 9798216251026).Connect With the Guest:Sam Badger's Substack: sambadger.substack.comSend us Fan Mail Musis by Bitterlake, Used with Permission, all rights to BitterlakeSupport the showCrew:Host: C. Derick VarnIntro and Outro Music by Bitter Lake.Intro Video Design: Jason MylesArt Design: Corn and C. Derick VarnLinks and Social Media:twitter: @varnvlogblue sky: @varnvlog.bsky.socialYou can find the additional streams on YoutubeCurrent Patreon at the Sponsor Tier: Jordan Sheldon, Mark J. Matthews, Lindsay Kimbrough, RedWolf, DRV, Kenneth McKee, JY Chan, Matthew Monahan, Parzival, Adriel Mixon, Buddy Roark, Daniel Petrovic,Julian, Drea, Free Beer 

Bright on Buddhism - Episode 142 - What was the haibutsu kishaku movement in Meiji Japan? Why did it happen? What was the result?Resources: Breen, John and Mark Teeuwen. (2000). Shinto in History: Ways of the Kami. Honolulu: University of Hawaii Press. ISBN 978-0-8248-2362-7; ISBN 978-0-8248-2363-4; OCLC 43487317James Ketelaar: Of Heretics and Martyrs in Meiji Japan: Buddhism and its Persecution, Princeton 1990Grapard, Allan G. (1992), Review of: James Ketelaar, Of Heretics and Martyrs in Meiji Japan: Buddhism and Its Persecution, Princeton 1990. In: Japanese Journal of Religious Studies 19 (4), 390-395_________________________________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

Send us Fan MailThink publishing your book is the finish line? Think again.Many authors unknowingly make small publishing decisions that lead to poor discoverability, lost sales, rejected bookstore submissions, or even leave their work vulnerable to theft. The good news? Most of these costly mistakes are completely avoidable—if you know what to look for.On this episode of Talking Book Publishing, Kathleen and Adanna welcome Juliet Clark of Superbrand Publishing to discuss the publishing and marketing mistakes she sees every day, from copyright protection and metadata to author branding, Amazon optimization, and the scams targeting today's authors.In this episode, you'll learn:Why registering your copyright mattersThe difference between ISBNs, Library of Congress registrations, and Amazon product codesHow cover design affects discoverability and salesWhat makes effective back cover copyWhy every author needs a consistent brandHow Amazon A+ Content helps readers understand your bookWhy metadata and categories are critical for discoverabilityThe importance of building your author platform before launchHow lead magnets grow your email listHow to recognize and avoid common publishing scamsWhether you're publishing your first book or looking to improve the performance of an existing one, this episode is full of practical advice that can help you publish smarter and market with confidence.Connect With UsKathleen: kathleenkaiser.comAdanna: maddannastudio.comPodcast listeners receive a special 20% off all ProBookLaunch products. Use code TBPLISTENER20 at checkout.Have a topic or guest suggestion?Email us at podcast@talkingbookpublishing.todayJoin the conversation on Instagram: @writerspubsnet

In this episode, you discover research-validated ways to harness the power of kind words to lift others and yourself. Study citations shared in this episode: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/brainsci14070637The added segment was taken from: "Bible Verses for Better Living", Episode: "The Hidden Power of Your Words - Proverbs 16-24". Link: https://www.spreaker.com/episode/the-hidden-power-of-your-words-proverbs-16-24--71964504---Host info: Stephen Carter - Website: https://StressReliefRadio.com - Email: CarterMethod@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: love, kindness, emotional well-being,

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.

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 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—————————

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

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

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

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.

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.

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.

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

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

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.

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.