Podcast appearances and mentions of jamie ferguson

What's the difference between a bundle, a box set, an anthology, and a collection? How can being part of an anthology be creatively interesting and useful for marketing? With Jamie Ferguson In the intro, Amazon Kindle increases the 70% royalty share; audiobook marketing tips (Voices by InAudio); The Builder's Creed [Seth Godin]; Future Vision XPrize; Researching the dark side of travel [Anna Sayburn Lane]; Photos from Bruges @jfpennauthor; Bones of the Deep: A Thriller – J.F. Penn. Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it's delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Jamie Ferguson is a fiction and short story author, editor, and publisher, with over 20 anthologies and multiple ebook bundles through her own press. Her latest book for authors is Bundle Up! A Practical Guide to Anthologies and Box Sets That Sell. 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 The difference between bundles, box sets, anthologies, and collections Why a multi-author project means lots of people promoting the same book, not just you How to find and pitch for anthology opportunities, and what editors look for in a contributor Contracts, rights, and royalty splits explained for short fiction Why Kickstarter and special print editions are changing the anthology game Inkwren, the publishing management tool Jamie built for backlists and anthologies You can find Jamie at JamieFerguson.com. Transcript of the interview ith Jamie Ferguson Jo: Jamie Ferguson is a fiction and short story author, editor, and publisher, with over 20 anthologies and multiple ebook bundles through her own press. Her latest book for authors is Bundle Up! A Practical Guide to Anthologies and Box Sets That Sell. Just for context too, one of my short stories, “The Dark Queen”, is in the Amazing Monster Tales: Into the Briny Deep anthology. So I'm excited to talk about this today. Welcome to the show, Jamie. Jamie: Thanks for having me, Jo. Jo: Lots to talk about. But first up— Tell us a bit more about you and how you got into writing and self-publishing. Jamie: Well, I wanted to be a writer since I was at least six, maybe before then. So it was just something I always wanted to do, but I always did it on the side. I had a year, many years ago, where I was really busy with work, and I just felt like I didn't write anything the entire year, and I thought, “I'm going to give it up.” Then the next year—that was 2011—I started seeing more about self-publishing, and that really invigorated me and made me feel like, “No, why am I giving up something I've wanted to do since before I went to school?” So I got back into a novel I had worked on years before. I went to a writing workshop with Dean Wesley Smith up in Oregon, back in the day, and then I had my energy back. I've been writing ever since. Still on the side, unfortunately, but someday. Jo: Hopefully! Tell us a bit more about what kind of genres you write. Because balancing your own books with also doing these anthologies and things is quite difficult. Jamie: Yes, it definitely is. I'd say I primarily write contemporary fantasy, but I'll write anything in any genre if I'm really excited about it. I also have a soft spot for Westerns. They take a little more time because I like to research all the facts, but those are really fun to write. Creating anthologies on your own is actually quite a bit of work. One of the things I also do is work with two other authors, DeAnna Knippling and Tami Veldura, and create more anthologies with them. That's really fun because then we can each take a different piece. There's also always somebody to talk to, as opposed to doing it on your own. Jo: Let's start with the terminology, because I definitely struggled with this, and I think people still do. We've got bundles, we've got box sets, we've got anthologies, we've got collections—and are these in ebook, audiobook, or print? Can you start by explaining what all of these words actually mean? Jamie: Yes. In my book I actually use the term “multi-author collection” or “multi-author project”, because there are so many different permutations and it does get confusing. From my perspective, I think of a bundle as a collection. It could be a collection of ebooks. Technically it could be a collection of print books, although people generally use “box set” for that—but then a box set can also be a box set that's all ebooks. An anthology, I usually use for something that's a collection of short stories where there's an editor who's actually edited all the stories. I have had stories in anthologies where somebody didn't edit them, and they would technically be called a curator. So it is definitely confusing. I have not done anything with audio collections, but that certainly is another area that I actually think is pretty interesting. Jo: I also think that a single author… so I've done a short story collection, but an anthology is multiple authors. Is that right? Jamie: Yes. Jo: I think when I came into the indie space, there were a lot more multi-author… we all called them box sets back in the day, when it was just ebooks, right? And now we can actually do boxed sets with boxes through things like BookVault. So it feels like the term “box set” has also gone out of fashion. So if people listening are thinking of doing any of this, you do have to figure out what is the thing you might be signing up for. So let's talk about the multi-author projects, as that's where you specialise. What are the benefits for an author to be involved in a multi-author anthology project? Jamie: The biggest benefit is that you are one of multiple people promoting the same project, whether it's print or ebook or whatever. If I put out a short story collection on my own, I'm the one promoting it, and maybe I can get a couple of other people to write about it, but it's really just me. If I'm part of an anthology with 15 other authors, that's 15 other people who are promoting the same project. That's more newsletters, more Facebook posts, maybe something on their Patreons, whatever it is. You get more synergy, and you get more touch points with potential readers. Then hopefully that translates into sales as well. So that's definitely the biggest part of it—the promotion. Then I also personally really enjoy these types of collections because it's just fun to work with other people. There's a nice energy when everybody's like, “Oh, I put this in my newsletter, and I put this here, and I put this here,” and you feel like you're part of something bigger than just your own piece. Jo: What about the creative benefits? Especially with short stories, often people will write them for a collection or for an anthology project. Jamie: Yes. I've definitely written some stories that I never would have thought I'd write, because somebody I knew asked if I would be interested in being in their collection—whether it's an ebook bundle or a print anthology. So at least for me, that's been really fun. One of the ones that stands out is that I was asked to be in a dinosaur collection once, and I was like, “I don't write dinosaur stories.” And then I did. I set a dinosaur story in London, and it was really fun to write, and I never would have come up with that in a million years. Jo: Let's say we've got 12 authors. They've all written short stories, and now it's in this anthology. But what is the market for these kinds of things? Have you found that there is a readership for short story anthologies that carries over to the author's longer work? Jamie: There is. I like to think of it as: if I have a story in a collection or an anthology—whether it's one I'm editing or somebody else is editing—that's one more place for people to find me. A lot of times anthologies will take reprints as well, like your story. “The Dark Queen”—that was a reprint. We asked if you'd be interested in participating in the Amazing Monster Tales series. And I actually really like printing stories again that have already been published, because there are a lot of stories out there that can be hard to find. Or if it's an older book. I have one author I've known for, like, 30 years. I reprinted one of her stories that was originally published in, I think, 1999, and the anthology it was in was out of print. You couldn't find it, and it was a fantastic story. So it's fun to be able to give new life to those stories and give them more opportunities, and also just have more ways for people to find you. Jo: Yes, I definitely think it's a long game. I don't think appearing in a short story anthology in one particular month is going to mean that your whole back collection just sells, right? Jamie: No, definitely not. It's more about avenues to be found. I know there have been some anthologies that have made quite a bit of money, but in general you're probably not going to make as much money, but you will have those extra places for people to find you. Jo: I always feel like yes, there is maybe a small amount of money, but it is more about almost a marketing thing in itself. So let's say an author is listening and they're like, “Do you know, this sounds like a great idea.” How can they pitch for things like this? How do they find out about opportunities, or get noticed to be asked? And what are the expectations for them? Jamie: The biggest thing is networking. There used to be a couple of opportunities where you could make people aware that you had stories that you were interested in potentially having picked up for something. I'm not aware of anything like that now. When I create a collection, I have a mailing list that I send out, and it includes authors I've published before. It includes a couple of extra people who somehow found my mailing list. And I'll publish, like, “Here's what I'm doing.” There are also authors I've met at writing workshops. I've been able to read some of their work, I'll approach them and say, “Hey, I really liked such and such a story. Would you be interested in writing for this?” Then there are a couple of other websites, like Duotrope, and places that advertise markets and calls for submissions. Jo: Yes, I've found them also on small presses that do these kinds of projects. They often put up one call for submission a month or something, and you can write for their particular thing. In general, the short story markets are the places to keep an eye on. Jamie: Yes, definitely. Jo: If an author wants to pitch to have their story as part of an anthology, do you want to know things like platform, or is it just the story itself? Jamie: I personally look at the author's platform. I do make exceptions—there are actually two authors I've worked with a couple of times who don't have websites. They are people I know personally and they are very, very good writers, so I'll make an exception for things like that. But otherwise, if somebody submitted a story to me and I didn't know that person, I would check out their website, I would check out their social media, I would see what else they had done. Part of what you're doing when you're creating a collection is thinking not just about how you, as the person organising this, will promote the collection, but how the authors who are participating will help promote it as well. If it's somebody who has a lot of fans, even if they're not very active on social media, that can help a lot too. There are a lot of different factors, though. Jo: So then talk us through the project timeline. How long do things take, and what sort of involvement do the authors have along the way? Because it's a lot to juggle. Jamie: Yes, it is a lot to juggle. I can give you an example with the Monster Tales series. We'll come up with an idea, and we also like to try to get the artwork done early on in the process. We don't need it that soon, but it's really great to have that taken care of. We'll contact authors. I think for this one we used my mailing list, but we've also contacted a number of people individually that we know who write the style of stories we like. Then, as the submissions come in, we usually wait until we have a nice chunk of them to start going through, and then we'll pick some right away. Sometimes it'll be like, “Oh my gosh, of course we want this story,” and we'll wait to fill out the other slots. Then we'll negotiate sometimes. Sometimes it's like, “I want this story.” “Well, I want this other story.” And we have to figure out how the word count works. Once we finalise the stories, then usually what happens with that anthology is that DeAnna—who is a very, very good editor—will make the first editing pass, and then I'll make the second. And now Tami's involved, so Tami will make the third, and then we'll iterate. Once all three of us have gone through the first time, then we'll send the story back to the author for edits. So the most the author has to do for most of the process is just wait for us to edit their story, and then work on their edits and get them back. Then, once we get closer to launch, we'll give them information about what we're going to do. For example, we're going to launch the next issue with a Kickstarter. So our authors know that we have a Kickstarter coming, and we'll give them more information as we get closer to the actual launch date. Jo: So how long might an author expect before their work is out there? Jamie: It really varies. I've had some collections published very quickly—let's say a couple of months. Some have taken longer just because somebody ends up having some life issue and things get delayed. So I'd say ideally it would be more like three to nine months. Jo: Yes, I think… depending on the— Jamie: —collection and the complexity. Jo: Yes, exactly. Jo: And you did mention word count there. Just give us a range of what word count you like to get. Jamie: So these days I'm shooting for between 75,000 and 80,000 for the total word count for a collection. That includes the stories, but it also includes the opening, the introduction. For one we're working on now, we're going to have some interstitials, where we have little bits of things we're going to write in between each story. So that's the overall size of the collection. I'll keep track of the word count as the stories come in, and then as we edit the stories, sometimes they grow, sometimes they shrink. Sometimes that's a big enough difference where we're like, “Okay, we need one more story to fill it in.” But that's the target. Jo: And how much for each individual story? Jamie: That varies. I've done a bunch of different things. These days, what I'm advertising is between 3,000 and 8,000 words. I also always tell people: if you're outside this range on either side, just check with me, and if it's something that's really an excellent fit for the book, I'll make an exception. The one that's coming out, I think we have a 1,500- or 2,000-word story that was just amazingly perfect for what we wanted. There was another story, actually I think it was the issue that you were in, that was at least 12,000 words, but it also was a perfect fit for the theme. So I will make exceptions, but within reason. I wouldn't put a novella inside an anthology, because then you'd have a 22,000-word story next to a 3,000-word story, and I personally feel like that's really jarring for the reader. You don't want to go from something super short to something super long. It just doesn't feel like it flows well to me. Jo: No, absolutely. Jo: We'll come back to the making of it because you mentioned some really interesting things there. But just on the contractual side—a lot of indie authors don't necessarily do any publishing contracts for their work, unless it's signing the terms and conditions when uploading on Amazon or Kobo. So tell us a bit about the contract side. What rights are we talking about here? Any red lines in contracts around this kind of thing? Jamie: For contracts, I would recommend people read Kristine Kathryn Rusch's posts on this. She is way more informed about this than I ever will be, so when I have questions, I'll look at her posts. I've asked her a couple of questions. What we're doing for the Amazing Monster Tales… this is the first time that I've actually had authors sign contracts. Prior to this, I've used PubShare, which handles royalty splits and all of that, and that was really great. We want to do direct sales and Kickstarters and have lots of other options. So we did put together a contract this time. I'd have to pull it up, but I think we asked for first worldwide rights in English—I'm getting the terminology wrong here—but that was basically it. Jo: Or, I guess, reprint rights if the story's already been licensed. Jamie: Correct. We have two contract templates, one for original stories and one for reprints. We made sure to make that distinction, because it is definitely a distinction. In the book by Kristine Kathryn Rusch—it's called Closing the Deal… on Your Terms—I highly recommend that for anybody interested in learning more about contracts. Jo: Yes, that's great. And just for people listening: when you said you didn't have contracts before, you just used PubShare. So in that way, the author still retained the rights and you just split the royalties—it was more of a co-writing thing. Jamie: Correct. When you publish stories through PubShare, the author signs an agreement with PubShare, and then I, as the editor or organiser, would also sign a separate agreement. So each of us has an agreement with PubShare. We don't have agreements with each other, if that makes sense. Jo: Yes, so it's very different to move into Kickstarter. So tell us about what you're now moving into. Jamie: Well, Kickstarters are a new world for me personally. I have many friends who have had Kickstarters. I've supported Kickstarters. I watch them. But it's something where I'm very happy to have two partners who have done Kickstarters before. I'm not sure how many Tami's done—I think Tami's done the most at this point. So this is all new to me. But it's very exciting. At this point we have a backlist, so part of the plan, for the Monster series, is to offer issues one through four as part of the rewards when we launch issue number five. That's really exciting, because I never had a backlist like that before. Jo: Yes, and in fact the money is in the backlist, as ever, and those add-ons or bundles as part of Kickstarter are great. So are you going to do special print editions, or is it digital only? Jamie: We are talking about special print editions. You mentioned BookVault earlier—we've been looking at BookVault. Our other anthology series that hasn't come out yet will also launch with a Kickstarter. It's dragon-themed, and Tami actually did the cover work, which is beautiful. BookVault just gives you so many options that we never had before, so I'm very excited about that. Jo: Yes, I think it's a really good idea. I did gorgeous hardbacks for my solo author collection, so I think it's a great idea. So from the publisher side, let's come back to that. You've mentioned you have to write things like an introduction and interstitials, and you're trying to balance the stories. What are some of the other things that people might think about if they want to organise their own anthologies? Jamie: Oh gosh, where to start? There's the basic setting up of the anthology, so you have to define the table of contents. You might get a bunch of stories that are really awesome, and you might have to tell somebody who has a wonderful story—and maybe even who's a good friend of yours—that you're going to pass on it because their story doesn't fit with all the other stories. Every time I have to do that, I feel kind of bad. But being on this side, it's really interesting to see how you can tell which stories fit together and which don't. There's also the editing process, which can be a lot of work. Part of what I like about working with Tami and DeAnna is that DeAnna really loves editing. I feel like I'm a good editor, and I can do it, but for me it's more of a job. For DeAnna, she loves it, so she does the bulk of the editing, which is great. When I do it on my own, I feel like it's a task I have to do. There's lots of cat-herding. Sometimes people take a while to get their edits back. Sometimes they have life events, and you have to delay things because you're waiting on them. There are all the little tiny pieces of organising things—like, if you're reprinting stories, you need to make sure you get the copyright attribution correct. A lot of times I'll have to go and look up where something was originally published. An author might say, “Oh, it was published in this year,” and I'm like, “Okay, actually it was published in this other year, by this other publication first.” So I'm trying to be organised there. henT one of the things that very infrequently—I think it's only happened to me twice—every once in a while, you're in the middle of editing a story and you have to pass on it, even though you've already accepted it, because the editorial vision and the author vision for the story are not the same, and you can't reconcile that. Jo: I think that's really interesting, because so much of what you're talking about there—you mentioned vision—it's almost taste. You're saying which stories fit. It's not just a case of, I don't know, a pirate anthology and then picking 10 stories about pirates, right? You seem to be thinking about this in a more artistic way. So can you talk a bit more about that? How do you decide on a theme, and then how do you know that a story doesn't fit? Jamie: In the beginning, I was not this selective. In the beginning I'd say, for example, “Hey, I'm putting out a collection about fairies. Give me a fairy story,” and that was it. As I've edited the stories, it's become easier to see how things fit. So, for example, if I have 10 stories in an anthology and I have an 11th story, and they have different tones—let's say the 11th story is really funny and all the other stories are very serious—then that would be a fit thing. That's not necessarily taste; it's just that you don't want one funny story if everything else is really dark and scary or serious. As far as picking a theme, the theme could be very broad. With this dragon anthology we're working on, we decided we wanted it to be called A Hoard of Books. So the theme was: has to have dragons, has to have books, and that's pretty much it. And then we were like, “Let's just see what we get.” We were very surprised at what we got. We thought we'd have more serious stories, and it turned out most of them were very light-hearted and really fun. And we're like, “You know what? That actually changes the way we're looking at the whole series,” because we did not expect that. With the monster series, we'll pick a theme. So, for example, the next issue is Monsters in Love, and for those it's more like, let's just see what happens. Sometimes I'll have a more specific theme. The next anthology I'm publishing on my own is called Fairy Bargains, and I wanted people to obviously have fairies, but I wanted there to be something related to the mythology and lore of having a bargain with a fairy—and there's a lot of stuff about that. So for some things like that, when I put out a call, I'll provide information. I might say, “Here's a link to a Wikipedia article. Here's some mythology that might be helpful for you,” just because I want things to stick a little bit more to the theme itself. Whereas with Monsters in Love, there's a very wide range of stories, and that was very fun to work through. Jo: Oh, yes. There's a lot of monster, on the spicy side as well. But were you doing a clean Monsters in Love, as opposed to in lust? Jamie: Yes, this is a clean one. That's pretty funny. But boy, when you give authors the room for these types of things, you get all kinds of stories, and it is super fun to work with those collections. Jo: As you're talking, I definitely want to do more short stories. It's really interesting, because you can actually generally get paid more for a first print—first print rights on a short story—but I often want to just publish it myself. Then I was really happy to be in yours, because it was a reprint anyway. So I was like, well, there's absolutely nothing to lose if it goes in as a reprint. So these things can be really interesting. Talking of the finance from your side of things: you have a small press and you're doing this publishing yourself, but you're paying all these authors and doing a lot of work. So how does it work as the publisher, in terms of these anthologies, financially? Jamie: With the ones we've published so far, because we've gone through PubShare, it's been a royalty split. As the editors, we would take a percentage, and then we pay for the artwork, and of course all of our time. I think what we were doing there was saying 70% of the royalties would be split equally between all of the authors and the stories. So, for example, if I had a story as well, I would get part of the author split—the same percentage as everybody else in the collection—in addition to the editor split. For what we're doing now, we've changed this a little bit, and I believe we said 60% goes to the authors, and then we're going to keep a share of the proceeds for the business because we want to be able to pay for the artwork out of the business account. We want to pay for advertising, whatever we need to do—like setting up our store, or if we wanted to invest in anything, we want to be able to do that as the business, as opposed to it just being us doing this on our own. We're just trying to treat it a little bit differently. Jo: And I know it's so much work—a crazy amount of work. How many anthologies and books do you have to do in a year to make it worthwhile financially? Jamie: Oh, I don't know. I would say, unless you get an opportunity—like, for example, to have an anthology in a story bundle or something like that—you may not break even. But if you're going to do this, do it more for the marketing, do it more because you enjoy it. Now, going forward, I think that will change, because we are looking at Kickstarters, we are looking at direct sales. We're very motivated to try to make this more of a business thing than a fun side project. So, ask me in a year. Jo: Yes, hopefully more. I do think Kickstarter is great for short stories. I actually buy quite a few collections on Kickstarter. I think they're actually really hard to discover through, say, Amazon—it's a place that is quite hard to identify short stories. Whereas I've found I've bought collections on Kickstarter because there's so much more of a sales page—there's so much more rich media that tells me how I'm going to feel about the stuff. I've bought short story anthologies and collections from people I don't know. So I think it's a really good thing to do. There is an audience there. Jamie: Yes, definitely. And it does feel like the anthologies on Amazon don't sell as well—you don't make as much as you used to. I've been doing this for, well, gosh, 10 years now, and I feel like the sales numbers on Amazon in the past year were noticeably lower than they would have been six or eight years ago. So I am very excited about Kickstarter. Plus, Kickstarter just feels really fun. You're not just throwing your book up; you also have all the extra stuff with the page, you have the rewards, and it just feels really exciting. Jo: No, I agree. I really love it. I didn't do it for a long time, and now I just love it. Jo: So, staying with the publisher side of things— Any practical formatting and production tips? Because in these types of projects, all kinds of people just send you different stuff. Jamie: I have a style guide. So whether it's me or it's the group project, once all the edits are complete, I'll do a formatting pass, and I'll make sure I use curly quotes and the same em dash format and everything, just so everything in the book is formatted the same way. Every once in a while there's an author who has something particular that they want, and I can work around that, and that's fine. I also work with a lot of Canadian authors, and I'll let them keep their Canadian spellings. I don't think everybody does that, but I feel like that's their voice in a way, so I don't correct those. I might check some things there. I think the formatting is important—it makes things look better if everything has the same style. Then I use Vellum, which makes things really easy. I love Vellum. Because I publish so many authors at this point, I have a Vellum file where I store their biographies and their links, so when I publish a new anthology I'll just go grab, say, Jo's “about the author” page from that collection and put it into the new file. Then I also track when the last time was that I checked with the author about their biography. If it's been more than a year, I'll check in with them and say, “Hey, do you have an updated biography you want me to use? Here are your links—do you have any different links now?” So that makes it a lot easier from the formatting standpoint. Jo: And you mentioned Vellum—having done box sets on Vellum, you can just drag a whole book in there if you want to do a three-book box set, or three short stories, whatever. It's much easier to just drag things in, and it makes it easier to format. So I would say to people: you don't need to worry too much about that. There are lots of things that can help you. But even with doing the print stuff for the Kickstarter—people have opinions, don't they? So in terms of authors' opinions and managing—you mentioned herding cats—how do you manage all of that side of things? Jamie: I haven't actually had a lot of trouble with that. The authors I've worked with seem to feel like they gave me their story, and then once the edits are out of the way… I haven't had anybody have any issues with the covers. Usually they love the covers, especially for the Monster series. So, no problems there. Jo: Oh, that's good. Well, I would say a tip would be to make sure you're communicating, if you're somebody who's organising. So talk a bit about communication. Jamie: Communication is very important. What I try to do is send regular updates, especially if I'm in the middle of edits or working on something and I'm not ready to launch. I'll send an update email out to the authors and just say, “Here's what's going on, here's what the plan is.” Or if the plan has to change, if the launch date has to change for some reason, I'll let the authors know about that. Actually, with the upcoming Monsters in Love issue, we were originally not going to do a Kickstarter. That was a late decision, so I contacted all the authors and said, “We've changed our plans. We're going to launch this with a Kickstarter. Please confirm that you're okay with this.” One author was not comfortable with the Kickstarter idea, so he pulled his story, and then we found a replacement story for that. But I just feel like the communication piece is really essential. It's really important for the authors to know what's going on. Jo: Yes, absolutely. So, we've talked about how marketing is a good thing, in terms of there being lots of people marketing. How are you effectively marketing these kinds of books, as the premise is quite different to a single author project? Jamie: Right. There's the usual—write a release post, write posts on social. I do additional things, so I'll publish what I call a story spotlight for each story in the anthology. That's just where I talk a little bit about the story, I provide an excerpt, and then I provide the author's bio and links to find them. Those are really great, because they're very quick to put together. The hardest part is getting a short excerpt that shows enough about the story to be engaging. But that really isn't that much time, either. Then those are also nicely evergreen. I've actually searched for authors before, when I'm trying to research them for an interview, and I've found my own spotlight posts and my own interview posts with authors come up at the top of the list, which is kind of funny. I also do interviews with as many of the authors in a collection as are willing to participate. Sometimes people just don't have the time—I don't make this required—but I usually get 80 to 90% of the authors participating. So, for example, this year I'm in a couple of bundles on StoryBundle, and I'm doing interviews for people there. It's also really fun, and you're not paying for advertising—you're just creating something that the authors are excited about and they want to share. So it promotes the collection, but it also promotes the author, which I find really nice. It's a nice networking thing too, and I'm happy if someone wants to interview me. It's like free publicity for each person, in addition to the collection. Jo: I love that you've used the word “fun” quite a lot, which I find amazing. You're obviously a super collaborative person. I've co-written a number of books— I've been part of some collections, and I really think that there are two personalities. One is like me, where we really love the creation stuff and the publishing stuff, but we're hyper-controlling. And then someone like you—you're very collaborative, and you're doing such a great job. To people listening, I would say: if you're more like me, don't organise an anthology. What you want is Jamie, or somebody who actually finds it fun to organise a big group of authors. Jamie: Yes. It is definitely interesting working with other partners in this, because when I publish an anthology on my own, I make all the decisions. I pick the artwork, I pick the theme, I do everything, I decide the table of contents. But when you're working with other people, you do need to negotiate. So we've had a couple of times where it's like, “I want this story.” “Well, I want this other story, I don't like the story that you want.” And so we have to barter, in a way. Aside from that, it is nice, because you get to split up the tasks. I could focus on things like the organising—I do the Vellum files, I do the final cover and everything. For the Kickstarters, actually, Tami's got more expertise, so Tami's going to be working on the Kickstarters for our collections together. If I had to do all this on my own, it's a ton of work. It's a ton of work. So it is nice to split it up. Jo: And of course, one of the things is managing so many moving parts—and you've actually built a tool to manage all this. So tell us a bit about that tool, and how it might be useful for people with big backlists as well as anthologies. Jamie: I built what I think of as a publishing management application. The original idea is that, for years and years, I wanted a software tool that would do catalogue management, because I was managing my own catalogue, and I was also managing—at this point I've published at least 20 anthologies, so that's a lot of authors. Then last summer, I had an author who I'd published a number of times, who was going to, I think, WorldCon, and she asked if I could give her covers for five anthologies she'd been in, so that she could make some promotional material. I was like, “Oh, sure, I can do that.” And then I was like, “Well, wait a second—is this in Notion?”—because I started trying to use Notion last year—”or is it in a spreadsheet?” It turned out her information was in, like, three different places, and I had to work to pull it together. And then I was like, “You know what? That's it. I'm just going to finally write this application.” So Inkwren manages your stories. As an author, I can manage my stories—I can track which are published, which are drafts, which are just ideas. I can track my publications. From the publisher standpoint, it's really helpful, because I can track each anthology I've published and what I'm working on. I can track the edits, I can track the contracts. I can upload contract templates—so we talked earlier about the original and reprint contract templates that I use. I upload those, and they have placeholders in them. When I generate the actual contract, the author's name will replace the placeholder—I'll have the text “author name” in the contract template, and it'll get replaced by, like, “Joanna Penn” or whatever. So that saves a lot of time. Then I also added in task tracking, because I started to feel like, well, now all my stuff is in one place, but my tasks are somewhere else. So now I can associate tasks with a publication. For example, for the book I'm working on right now, I know which tasks I need to do for the cover, and which for the interior, and everything. I have a template of tasks. Then I can also track tasks related to promotions. For example, the story bundle I'm promoting right now, I have a task for each interview I'm doing with the authors, and I have a calendar view. I can see when I'm going to publish them and know that they're all spread out. It saves me so much time, and it's so much easier. Jo: I do think building tools when you actually need the tool yourself is very useful. Just say the name again, and spell it out for people. Jamie: It's Inkwren. My own personal publishing company is Blackbird Publishing, and I wanted something related to birds and writing. So I came up with Inkwren, which is I-N-K-W-R-E-N, and it's just inkwren.com. Jo: And it is available for other people to potentially buy and use? Jamie: Yes, it is. Jo: Well, I think that's super useful, because it's very hard when people are starting out and they think, “Oh, I've only got one book—why would I need any kind of tool to manage it?” But over the years, your backlist grows, especially with short stories. So I love that you've built this, and there's probably more that you can add over time as you expand the business yourself. So much potential. So we are at the end. Where can people find you and your books and everything you do online? Jamie: My author website is JamieFerguson.com. And then, obviously, I mentioned Inkwren earlier. My publishing company is BlackbirdPublishing.com. And then the projects I'm doing with Tami and DeAnna—we have a couple of websites, but the easiest way to find us is our press, which is BorogrovePress.com. Jo: Fantastic. Well, thanks so much for your time, Jamie. That was great. Jamie: Thanks, Joanna.The post Bundles, Box Sets and Anthologies With Jamie Ferguson first appeared on The Creative Penn.

All this month we're looking at the ways we can use data to guide our decisions on how to get students the additional support they need sooner. There are some common decision rules your team can follow, but what does that look like in practice? Our guests today will share their experience. Joining us in conversation are Dr. Lisa Friesen from North Kansas City Schools and Jamie Ferguson from Oak Park High School, both in Kansas City, MO. Lisa has been with North Kansas City Schools for 22 years. She is a former elementary and high school special education teacher and currently serves as a District Instructional Coordinator for MTSS, organizing and supporting academic and behavior interventions and systems K-12. Jamie has been part of the North Kansas City School District for the past 16 years. She spent 11 years at Linden West Elementary co-leading Tier 1 interventions and served on the Tier 2 and Tier 3 support teams. At Oak Park High School, Jamie focuses her time on academic intervention and student success through programs like Missouri Options and Check-In/Check-Out. Listen in as they share how they learned the value of Tier 1 systems to support their efforts at the Tier 2 level and how getting students the support they need involves both personal relationships and consistent data. For more information on the resources shared in this episode, check out the following links:Missouri PBISCICO in Practice: A Proven Tier 2 Behavior Intervention That Builds Connections (Free PBISApps Webinar)An Overview of Targeted Interventions

Welcome to the next episode of our short-form podcast series, Shutter Stories Moments.  Being a part of the photography, filmmaking or content creation industry is a pleasure and a privilege but earning a living in the field isn't guaranteed, and there may be points in their career when creators may consider where else they can apply their talents and whether there are any other careers they could pursue.  We asked four established creators what they would be doing if they weren't working in this industry.  You will hear from: ●       Isabel Infantes and Phill Magakoe, sports photographers (S04E06, first released September 2023) > listen here ●       Jamie Ferguson and Cecilie Harris, men's fashion photographers (S04E08, first released November 2023)  > listen hereFollow us on Twitter: https://canon.sm/pro-twitter  Join us on Facebook: https://canon.sm/pro-facebook  Engage with us on Instagram: https://canon.sm/pro-instagram  Connect with us on LinkedIn: https://canon.sm/pro-linkedin  Watch us on YouTube: https://canon.sm/youtube

Join host Ilvy Njiokiktjien as she speaks to two creators, Cecilie Harris and Jamie Ferguson, who are challenging the traditions of men's fashion photography. As well as discussing the ways in which the men's fashion world is changing and how their work fits into it, Cecilie and Jamie share tips on working with models and which lenses to use for the most naturalistic shots. Cecilie Harris is the founder and editor of Boys by Girls, a multi-platform publication, where male subjects are shot exclusively by women. She's a photographer and also Head of Creative Services at Canon. Jamie Ferguson is a photographer who shoots under the moniker JKF Man. His unique style developed from a career in, and love of, men's fashion. His work is infused with a fun, relaxed sensibility which has won him contracts with iconic fashion brands including Polo Ralph Lauren and publications such as MR PORTER. Follow us on Twitter: https://canon.sm/pro-twitterJoin us on Facebook: https://canon.sm/pro-facebookEngage with us on Instagram: https://canon.sm/pro-instagramConnect with us on LinkedIn: https://canon.sm/pro-linkedinWatch us on YouTube: https://canon.sm/youtube

Join us for an extremely wholesome and illuminating conversation with genuine Canadian, Jamie Ferguson. We discuss BEING A REDHEAD, the Stan Ray Painter Pant, Intramural sports, Trial and Error, Bucket List Items, Imposter Syndrome, and “Bob's Your Uncle,” this time on Apocalypse Duds!

From WEDI's 2023 May Conference, updates on standards, the 2023 roadmap and ICD-11 from Tammy Banks, NCVHS Co-Chair, Subcommittee on Standards and Jamie Ferguson, Co-Chair, ICD-11 Policy Workgroups. Tammy and Jamie will be presenting at WEDI's 2023 National Conference November 6-9 offering updates on a variety of NCVHS activities. Register to attend at wedi.org

Join host Mr. Jamie Ferguson from Oxford Bone Infection Unit, as he chats with guests Mr. Alex Wee and Mr. Anand Pillai about their clinical experiences in treating bone infections with CERAMENT G. Sponsored by BONESUPPORT. For case studies and more information on CERAMENT G, visit: https://www.bonesupport.com/en-eu/ For the CERAMENT G IFU, please visit: https://bit.ly/3RKYqka This is an orthopedic expert discussion on the use of BONESUPPORT's product CERAMENT G. Some of the uses discussed here may not be approved or cleared by FDA. The experts are independent, and the content is not in any way influenced by BONESUPPORT. Please refer to the Instructions for Use document for official indications, contraindications, and mixing information.  

Join host Mr. Jamie Ferguson from Oxford Bone Infection Unit, as he chats with guests Mr. Alex Wee and Mr. Anand Pillai about their clinical experiences in treating bone infections with CERAMENT G.  Sponsored by BONESUPPORT. For shownotes including case studies and CERAMENT G product information, download the ConveyMED Podcast App: Apple Store click here  Google Play click here or visit: https://www.bonesupport.com/en-eu/  For the CERAMENT G IFU, please visit: https://bit.ly/3RKYqka  This is an orthopedic expert discussion on the use of Bonesupport's product CERAMENT G. Some of the uses discussed here may not be approved or cleared by FDA. The experts are independent, and the content is not in any way influenced by Bonesupport. Please refer to the Instructions for Use document for official indications, contraindications, and mixing information. 

On this edition of Closer Look:Labor Day weekend in Atlanta is always bustling with national events taking place.DragonCon, Black Pride and the football Kickoff Classic are expected to bring thousands of people to the city.Rose speaks with Bishop Oliver Allen about the annual Atlanta Black Pride which has a focus that goes being entertainment, but a focus on health and wellness.Plus how the success of managing this weekend's crowds will influence those upcoming fall festivals and outdoor events. Jamie Ferguson with Atlanta Pride talks about the October festival.Also, longtime Atlanta journalist Portia Bruner is leaving the anchor desk and headed to a talk show host seat.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Sub Vets, Eric and Dave, are joined by Jamie Ferguson, who was a Sonar Tech aboard USS Darter, USS Louisville and USS La Jolla. Then, he became a specialist in human torture and pain... a... please don't make us say this... a... DENTIST!!!!!

The Sub Vets, Eric and Dave, are joined by Jamie Ferguson, who was a Sonar Tech aboard USS Darter, USS Louisville and USS La Jolla. Then, he became a specialist in human torture and pain... a... please don't make us say this... a... DENTIST!!!!! --- Send in a voice message: https://anchor.fm/plausibly-live/message

The Sub Vets, Eric and Dave, are joined by Jamie Ferguson, who was a Sonar Tech aboard USS Darter, USS Louisville and USS La Jolla. Then, he became a specialist in human torture and pain... a... please don't make us say this... a... DENTIST!!!!!

Known as JKF Man, photographer Jamie Ferguson is very well known in the menswear industry. His current book This Guy - Portraits of Modern Man's Style sums up how Jamie captures the most stylish Portraits of his work. https://www.jkfman.com/ If you have any feedback or would like to be featured on a future episode please feel free to email menswearbyawoman@gmail.com

Charles Shapiro, the president of the World Affairs Council of Atlanta and senior lecturer at Georgia State University, shares his thoughts about the situation unfolding in Afghanistan.Plus, Dr. Calvin J. Watts was recently named superintendent of Gwinnett County Public Schools. Dr. Watts discusses the district's back-to-school plan and shares his thoughts on leading Georgia's largest school system amid the pandemic. Lastly, Jamie Ferguson, the executive director of Atlanta Pride, discusses the Atlanta Pride Committee's decision to cancel the organization's festival and parade due to COVID-19 for the second year in a row.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Mike and Pete are joined by Jamie Ferguson, as they discuss the blues final pre season fixture against Man Utd, with a heavy defeat asking questions going into the new season; Fans return to Goodison for the first game of the Premier League season, with conversation turning to the importance fans will play in helping the team get off to a good start; The show rounds off with a preview of they game and visitors, Southampton Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode with Jamie we talk about his time in the United States Navy, how he was part of the first submarine crew to launch tomahawk missiles into Desert Storm. What life on a submarine is like and what his aspirations were. However, Jamie suffered a catastrophic accident that left him paralyzed, with brain damage and a bleak diagnosis. Through perseverance, stubborn mentality and the help of his amazing girlfriend. Jamie overcame it all and went on to live an extremely successful life as a dentist. Find Jamie: Jamie FergusonIf you enjoyed this episode of Always in Pursuit, please share with a couple of your friends and leave us a review on whatever platform you use. Also find out more about AIP and the team at www.alwaysinpursuit.org. Thank you for tuning in to the show!Check out our amazing Sponsors Adyton PBC and Learn more about MUSTR app which is streamlining systems for leaders across the Department of Defense! 

Matt catches up with Jamie, who was in attendance in Florida to watch the Toffees, hang out with Tim Howard and see James Rodriguez kick a ball in a royal blue shirt *live*.

Photographer, Jamie Ferguson is one of the most talented and successful people I know. Anything and everything that's thrown at him, he evolves. He's pretty much a Pokemon, now which one I don't know but probably the one that takes all the dope photos.He's an incredible photographer, and one of the recent things he did was turn his home into a photo studio during lockdown. A photo studio featuring himself as the subject. From bizarre poses to playing chess with stuffed animals. It's a breath of fresh air to the stoic mentality of fashion.Jamie and I chat about creating his home studio, the joys of being a creative, fighting burnout, the future of Pitti, and getting a fit off with Bill Nighy.It's Blamo! Extra Jamie Ferguson, MR JKF MAN, is back!**Listen to the entire episode on Blamo! Extra

In which we discuss per- and poly-fluoroalkylsubstances (PFAS) with Carol Kwiatkowski of the Green Science Policy Institute (https://greensciencepolicy.org), their properties, function, consumer products, toxicity, persistence, chemical analysis, and regulation both in the US and EU. Some companies, like Keen, are eliminating PFAS from their products. We then discuss a few green substitutes, including Solberg Co.'s firefighting foam, a fatty acid coated cellulose, and iron skillets. Host–Felicia Etzkorn of Virginia Tech, co-host–Jamie Ferguson of Emory & Henry College, with music by Wendy Godley of The Kind. PFAS review: Kwiatkowski, C. F.; Andrews, D. Q.; Birnbaum, L. S.; Bruton, T. A.; DeWitt, J. C.; Knappe, D. R. U.; Maffini, M. V.; Miller, M. F.; Pelch, K. E.; Reade, A.; Soehl, A.; Trier, X.; Venier, M.; Wagner, C. C.; Wang, Z.; Blum, A., Scientific Basis for Managing PFAS as a Chemical Class. Env Sci & Tech Letters 2020, 7 (8), 532-543. https://pubs.acs.org/doi/10.1021/acs.estlett.0c00255 EPA Reassessment: https://cen.acs.org/environment/persistent-pollutants/US-EPA-deems-two-GenX-PFAS-chemicals-more-toxic-than-PFOA/99/web/2021/10?utm_source=Newsletter&utm_medium=Newsletter&utm_campaign=CEN Alternatives: https://pfascentral.org/pfas-free-products/ Keen PFAS-free: https://www.keenfootwear.com/conservation/blog-article-20390.html Solberg Co firefighting foam: https://www.perimeter-solutions.com/class-a-b-foam/ PFAS in cosmetics: https://pubs.acs.org/doi/10.1021/acs.estlett.1c00240 PFAS in fracking: https://www.nytimes.com/2021/07/12/climate/epa-pfas-fracking-forever-chemicals.html Dark Waters, Movie about PFAS in WV with Mark Ruffalo: https://www.yidio.com/movie/dark-waters/210401 Binding of PFOA to human serum albumin: Maso, L. et. al., Unveiling the binding mode of perfluorooctanoic acid to human serum albumin. Protein Sci 2021, 30 (4), 830-841.https://onlinelibrary.wiley.com/doi/10.1002/pro.4036 Breaking down PFAS: Lockwood, D., Photocatalyst shreds drinking water contaminant PFOA. Chem & Eng News 2018, 96 (36). https://cen.acs.org/environment/persistent-pollutants/Photocatalyst-shreds-drinking-water-contaminant/96/i36 Vermont regulations passed: https://thehill.com/changing-america/well-being/longevity/554680-vermont-governor-signs-first-in-nation-restrictions-on

On this week's podcast, I speak with Jamie Ferguson (@JKF_Man),  Canadian born menswear and lifestyle photographer now living in the UK. He has shot for the likes of The Rake, Robb Report, WM Brown Magazine, MR PORTER, Polo Ralph Lauren, Drake's, and many more.    To add to his resume, Jamie is also a published author. His book This Guy - Portraits of Modern Men's Style was published in 2019 and is available in a variety of menswear stores around the globe.   Today on the show, I chat with Jamie about how menswear inspired him to pick up a camera, how he describes his style, and his approach to capturing a great street style shot.

Baseball, Basketball and Nate Oat's Hole in One (and we aren't talking about the SEC Championship win) all on Monday's Opening Kickoff Feat Mobile Christian's Jason Smith, Bayside Academy's Jamie Ferguson, the Rocket City Trash Panda's Josh Carey, Tre Wallace of Fox Sports Knocksville and Alan Lucky of South Alabama. --- Support this podcast: https://anchor.fm/david-schultz/support

This week on PSR, coach Rick and coach Mark are joined by guest Randy Burgan as they bring you up to date on everything happening in Alabama high school athletics. Featuring guests such as Jamie Ferguson and Adam Bame.

In which we discuss the recent development of a series of new blue pigments, the theft of catalytic converters for the rhodium, and the health effects of fracking chemicals. Hosted by Felicia Etzkorn of Virginia Tech, co-host Jamie Ferguson of Emory & Henry College, and music by Wendy Godley of The Kind. Blue pigments: https://chemistry.oregonstate.edu/content/story-yinmn-blue Catalytic converter theft: https://www.npr.org/templates/story/story.php?storyId=129047092 https://www.washingtonpost.com/world/africa/catalytic-converter-theft-south-africa-rhodium/2021/03/03/dc288192-777d-11eb-9489-8f7dacd51e75_story.html Fracking chemicals: https://www.ehn.org/fractured-series-on-fracking-pollution-2650624600/fractured-fracking  

In which we discuss the opportunities for substituting safer chemical alternatives for consumer products in current use with our guest, Joel Tickner of the University of Massachusetts, Lowell. We don't need to wait for green chemistry to come up with great alternatives, many have already been designed. We need to collaborate with businesses to turn towards better alternatives, rather than imposing regulations away from the bad stuff, risking drop-in substitutions that are just as bad. Host–Felicia Etzkorn of Virginia Tech, co-host–Jamie Ferguson of Emory & Henry College, with music by Wendy Godley of The Kind. Resources Joel A. Tickner, Rachel V. Simon, Molly Jacobs, Lindsey D. Pollard & Saskia K. van Bergen (2021) The nexus between alternatives assessment and green chemistry: supporting the development and adoption of safer chemicals, Green Chemistry Letters and Reviews, 14:1, 21-42, DOI: 10.1080/17518253.2020.1856427  https://www.tandfonline.com/doi/full/10.1080/17518253.2020.1856427 Tickner J, Jacobs MM, Mack NB (2019) Alternatives assessment and informed substitution: A global landscape assessment of drivers, methods, policies and needs. Sustainable Chemistry and Pharmacy 13:100161. https://www.sciencedirect.com/science/article/pii/S235255411930052X O'Brien M. 2000. Making Better Environmental Decisions: An Alternative to Risk Assessment, MIT Press Cambridge, MA. https://mitpress.mit.edu/books/making-better-environmental-decisions

In which we discuss sustainable, plant-based cleaning products, oxygen-bleached paper products, recyclable and recycled packaging, transparent labeling, and consumer education with Martin Wolf, Director of Sustainability & Authenticity at Seventh Generation. Host–Felicia Etzkorn of Virginia Tech, co-host–Jamie Ferguson of Emory & Henry College, with music by Wendy Godley of The Kind. Great resource for sustainability and environmental justice issues: https://www.seventhgeneration.com/home

In which we discuss the uses of lead in gasoline (and the temporally and geographically associated violence), avgas, pipes, and car paint primer, and the greener replacements for these products—ethanol as replacement for tetraethyl lead as an anti-knock additive in gasoline, potential plastic replacements for lead pipes, and yttrium as a replacement for lead car primer.Host–Felicia Etzkorn of Virginia Tech, co-host–Jamie Ferguson of Emory & Henry College, with music by Wendy Godley of The Kind. Abelsohn AR, Sanborn M (2010) Lead and Children, Canadian Family Physician 56:531. https://www.cfp.ca/content/56/6/531 EPA Final Revisions to the Lead and Copper Rule: https://www.epa.gov/ground-water-and-drinking-water/final-revisions-lead-and-copper-rule Angus Chen, Zapping Lead Pipes with Electricity Could Make Them Safer for Drinking Water, Scientific American, April 4, 2019. PPG Industries, Yttrium as a Lead Substitute in Cationic Electrodeposition Coatings, EPA  Green Chemistry Challenge Award 2001. https://www.epa.gov/greenchemistry/presidential-green-chemistry-challenge-2001-designing-greener-chemicals-award Grateful Dead, New Speedway Boogie excerpt, from What a Long Strange Trip It's Been, 1977.

In which we interview Anthony Flaccavento, organic farmer, author, activist, and local politician, about his sustainable practices to incorporate carbon, nitrogen, and other essential elements back into the depleted soil of his former tobacco farm in southwest Virginia. No-till agriculture not only sequesters carbon and nitrogen in the soil, it balances soil water content in both drought and flood times. Host–Felicia Etzkorn of Virginia Tech, co-host–Jamie Ferguson of Emory & Henry College, with music by Wendy Godley of The Kind. Resources Anthony Flaccavento Building a Healthy Economy from the Bottom Up: Harnessing Real World Experience for Transformative Change (University Press of Kentucky, 2016) https://www.kentuckypress.com/9780813167596/building-a-healthy-economy-from-the-bottom-up/ SCALE — Sequestering Carbon, Accelerating Local Economies https://www.anthonyflaccavento.com/scale-inc Savory Institute https://savory.global National Ecological Observatory Network https://www.neonscience.org How to Bury Carbon? Let Plants Do the Dirty Work in Nautilus http://cshl.nautil.us/article/657/how-to-bury-carbon-let-plants-do-the-dirty-work?mc_cid=5c3e66ab03&mc_eid=71fa1ec799 Crop innovations can protect yields and improve food quality in a changing climate https://cen.acs.org/food/agriculture/Protecting-harvest/98/i6 Climate Change Take 5 with Tony (S.2, Ep. 4) https://www.bottomupeconomy.org/climate-change-sustainable-farming/ Sustainable farming and social justice: Chris Newman of Sylvanaqua https://www.sylvanaqua.com Nina Ichikawa of the Berkeley Food Institute https://food.berkeley.edu Joel Salatin's Unsustainable Myth: His go-it-alone message made him a star of the food movement. Then a young Black farmer dug into what he was really saying. https://www.motherjones.com/food/2020/11/joel-salatin-chris-newman-farming-rotational-grazing-agriculture/  

In which we discuss the effect of synthetic nitrogen fertilizer on feeding the world, and the synthesis of ammonia from nitrogen in the air and hydrogen generated from methane, first by the Haber-Bosch process and then by electrochemical processes with our guest, Dr. Michael Stoukides from the Aristotle University of Thessaloniki, Greece. Electrodes, catalysts, yields, rates, and the potential for energy storage are discussed for the electrochemical synthesis of ammonia. Host Felicia Etzkorn of Virginia Tech, co-host Jamie Ferguson of Emory & Henry College, with music by Wendy Godley of The Kind. Kyriakou V, Garagounis I, Vasileiou E, Vourros A, Stoukides M (2016) Progress in the Electrochemical Synthesis of Ammonia. Catalysis Today 286. https://www.researchgate.net/publication/304537323_Progress_in_the_Electrochemical_Synthesis_of_Ammonia Kyriakou V, Garagounis I, Vourros A, Vasileiou E, Stoukides M (2019) An Electrochemical Haber-Bosch Process. Joule 4. https://www.researchgate.net/publication/337041764_An_Electrochemical_Haber-Bosch_Process

In which we discuss the relative merits of burying, recycling, or composting plastic waste, in particular, packaging. We distinguish biodegradable from compostable. Jamie describes Eastman Chemical Co.'s new process to take any plastic and break them down into their small molecule components and resynthesize new plastics, a true recycling process. We decide burying plastics is not so bad because it keeps carbon dioxide out of the atmosphere. Finally, we discuss the idea of geoengineering the atmosphere with sulfur dioxide to reflect sunlight back into space, which is terrible because sulfur dioxide becomes acid rain. Produced, edited and posted by Felicia Etzkorn, with co-host Jamie Ferguson. Music created and performed by Wendy Godley. Waste by Katie O'Neill:  https://earthbound.report/2019/08/19/book-review-waste-by-kate-oneill/ Eastman Unveils Recycling Solution to Combat Global Plastic Waste: https://www.waste360.com/plastics/eastman-unveils-recycling-solution-combat-global-plastic-waste

Fashion is fleeting, but style is eternal. That’s something Jamie Kerr Ferguson understands well. Better known as JKF Man on the ‘Gram, Jamie has had a long and varied career working in the men’s style world, you might have spotted his photography on, A Continuous Lean, Permanent Style or The Rake. We talk to Jamie about how he broke into the competitive world of style photography, his advice to newcomers in an increasingly democratic and digital medium, as well as what sort of planning and prep goes into shooting HRH The Prince of Wales. We got some of his top fit tips too. And of course, we talk watches; how his love affair with a Dirty Dozen Omega led to a larger love affair with vintage watches, and why the classic Rootbeer keeps him up at night. This episode is made possible by our sponsor, eBay. Head to eBay.com/luxurywatches to check out their great range of watches and go to eBay.com/buyauthentic to learn about the service. https://www.ebay.com/b/Luxury-Watches/ OT: The Podcast is powered by Inglewood Coffee Roasters, use the code OT30 for 30% off your coffee order on checkout. On top of that Inglewood Coffee Roasters offer free shipping on all Victorian orders, and free Australia-wide when you spend more than $50.  ☕️ http://inglewoodcoffeeroasters.com.au/ >  https://www.otpodcast.com.au/show-notes/s1e55 Phillips Racing Pulse Auction Results Melbourne Watch Week at Monards Unimatic LAB Marine Jamie Ferguson ( @JKF_Man ) on Instagram JKF Man photography This Guy: Portraits of Modern Men’s Style by Jamie Ferguson Our episode with Jack Carlson from Rowing Blazers Trunk Tailors Drakes Bryceland’s & Co Alden of New England Trullo London Restaurant and Cookbook The Last Dance trailer How to follow us: https://www.instagram.com/ot.podcast/ https://www.facebook.com/otpodcastau https://www.instagram.com/andygreenlive/ https://www.instagram.com/fkscholz/ Submit an application to our quasi-professional watch matchmaking service, by email: otthepodcast@gmail.com If you liked our podcast - please remember to like/share and subscribe.

In which, with our guest, Dr. Arlene Blum (www.arleneblum.com) of the Green Science Policy Institute at the University of California, Berkeley, we discuss the toxicity of flame retardants in children's products, furniture, and her success in changing the standards for these products so that flame retardants are unnecessary to prevent the most common smoldering fires. Flame retardants are still found in TVs. Then host Felicia Etzkorn and co-host Jamie Ferguson discuss a paper about the flammability of cotton and synthetic fabrics, including the limiting oxygen index (LOI), the heat release capacity (HRC), and the peak heat release rate (PHRR), as well as a potential less toxic flame retardant, sodium hypophosphite with succinic acid. Green Science Policy Institute: https://greensciencepolicy.org Six Classes Videos: https://www.sixclasses.org/videos Stapleton HM, Klosterhaus S, Keller A, Ferguson PL, van Bergen S, Cooper E, Webster TF, Blum A (2011) Identification of Flame Retardants in Polyurethane Foam Collected from Baby Products. Env. Sci. Tech.45:5323-5331. https://pubs.acs.org/doi/10.1021/es2007462 Blum A, Gold MD, Ames BN, Jones FR, Hett EA, Dougherty RC, Horning EC, Dzidic I, Carroll DI, Stillwell RN, Thenot JP (1978) Children absorb tris-BP flame retardant from sleepwear: urine contains the mutagenic metabolite, 2,3-dibromopropanol. Science 201:1020. https://science.sciencemag.org/content/sci/201/4360/1020.full.pdf Yang CQ, He Q, Lyon RE, Hu Y, Investigation of the flammability of different textile fabrics using micro-scale combustion calorimetry, Polym. Degrad. Stab. 95 (2010) 108e115. www.sciencedirect.com/science/article/pii/S0141391009004108 Post-note: N-methylol containing flame retardants like MDPA are associated with formaldehyde release. https://ui.adsabs.harvard.edu/abs/2017SRL....2450114Y/abstract

In which we discuss vitamins to sustain ourselves, fat-soluble and water-soluble, and the foods rich in certain vitamins. Then we take a deep-dive into Vitamin D3––the 7-dehydrocholesterol precursor, the UVB light required to synthesize it in our skin, dosage recommendations from the Institute of Medicine vs. the US Endocrine Society, health effects of not enough and too much. Finally, we talk a little about the biochemistry and testing methods. Stay for the haiku reading at the end! Felicia Etzkorn and Jamie Ferguson, with music written and performed by Wendy Godley. Most of this information can be found on Wikipedia and the references therein. US Endocrine Society Vitamin D Recommendations: https://academic.oup.com/jcem/article/96/7/1911/2833671 Testing methods: https://www.mayocliniclabs.com/articles/vitamind/

Staff Sergeant Jamie Ferguson served as a combat medic with the British Army, deploying to multiple operational theatres including Iraq and Afghanistan. He also spent a significant period of his career supporting Special Forces. On 18th June 2020 he took his own life. His widow, Sammi, requested to appear on this podcast in order to help others avert, or cope with, the most severe impacts of mental ill-health.

Milad Abedi has to be one of the biggest personalities in European menswear. Young, energetic and fiercely opinionated, the Stockholm based photographer has a clearer view than most of where menswear’s at right now, thanks to his frequent travels shooting throughout Europe and beyond for a mixture of magazines and clothing brands. He took some time out to chat to Aleks about his street style photography, his own personal take on what makes for a great photo, and some of the thorny issues that creatives and brands are experiencing with Instagram today. ***HandCut Radio is proud to be sponsored by Thomas Mason, an historic mill that’s been supplying famous designers, shirtmakers and tailors with world class shirting fabrics since 1796.***Show Notes:Milad Abedi | Instagram[13:40] Spencer Hart[22:48] Sergio Guardì of Barbanera[31:17] 18 East[31:22] Antonio Ciongoli[31:29] Glen Allsop[31:46] Fred Castleberry[32:22] The heist of Dog with Lipstick[32:39] Drake’s[33:58] Samanamel on HandCut Radio[34:04] Stòffa on HandCut Radio[34:07] All Blues[40:23] Jamie Ferguson[40:31] The Rake x Omega[40:48] Orazio Luciano---HandCut Radio is produced by Birch, a London based creative agency. Our theme music is by Joe Boyd.

My guest this week is photographer, Jamie Ferguson.Jamie and I discuss his illustrious backstory and how he went from a working actor in the UK to become one of the most talked-about photographers in the industry. We also discuss his new book, This Guy.Follow Jamie on InstagramThis Guy: Portraits of Modern Men’s Style**This episode is sponsored by Skillshare -- Get two months free with promo code BLAMO

In this slightly shorter episode (which was initially intended to be a bonus episode for Patreon supporters of the podcast), Mark does a "reflections on other podcasts" show. He shares a clip from the Kobo Writing Life Podcast where Christine Munroe interviews Rakuten Kobo CEO Michael Tamblyn and then reflects on some of the things that Michael talks about. Prior to the interview, Mark reads some listeners comments from Pranathi and Chad Boyer and also thanks new podcast patron Linda Stirling for supporting the show via www.patreon.com/starkreflections and talks a little about this episode's sponsor. This episode is sponsored by BundleRabbit You can learn more about how authors can use BundleRabbit as a collaborative publishing tool over at www.bundlerabbit.com.   In the interview, which is a clip from Episode 153 of the Kobo Writing Life podcast, podcast co-host Christine Munroe interviews Michael Tamblyn. Michael shares an intriguing and meaningful response to the question Why Kobo? and also talks about other things that are important to this eBook and audiobook retailer that is focused on the reading experience. After the short clip, Mark reflects on the comments from Michael.   Links of Interest Kobo Writing Life Podcast - Episode 153 - Why Our CEO Loves Indie Authors Bundlerabbit Episode 9 of Stark Reflections - Interview with Chuck Heintzelman of BundleRabbit Episode 27 - Jamie Ferguson on Bundles, Curation and Collaboration Killing It On Kobo Stark Reflections Survey Patreon for Stark Reflections   The music for this podcast (“Laser Groove”) was composed and produced by Kevin MacLeod of www.incompetech.com and is Licensed under Creative Commons: By Attribution 3.0      

This week, Aleks sits down with an old friend, prominent street style photographer, Jamie Ferguson, better known on Instagram as @JKF_MAN.Jamie’s been shooting menswear for five years, following a few years spent as an actor, and a few more working in fashion marketing. Today, he’s known for his compelling editorial and street style photography, shooting for a wide array of independent brands that make, in his own words, ‘interesting, wearable clothes.’He talks to Aleks about his career path, plus what’s hot and what’s not in menswear today. He also explores the challenges of creating striking visuals in a market that’s obsessed with throwaway digital content, and highlights some brands that he rates for their originality.Listen in if you’re interested in discovering men’s style brands that are cutting through the noise on social media today.---HandCut Radio is produced in collaboration with Birch, a London and New York based creative agency. Our theme music is by Joe Boyd.---Show NotesJamie Ferguson — Instagram[01:43] Drake’s[04:20] GQ UK[04:25] Esquire UK[06:04] The Sartorialist[06:18] Pitti Uomo, Florence[08:32] DAKS[10:48] MRKET, New York[12:29] Drake’s AW16 Lookbook with Jason Jules[20:57] David Gandy on HandCut Radio[24:27] Stoffa, New York[24:35] Stoffa ‘House of Cards’ Campaign[25:46] Beige Habilleur, Paris[26:11] Husbands, Paris[28:01] Glen Allsop, Eidos FW16 Lookbook[28:16] BODE, New York[35:32] Ethan Newton, Brycelands[36:46] Ethan’s plum cords[38:49] George Cortina[38:52] Andy Spade[38:53] Michael Hainey on Blamo![39:29] Unbuttoned — G. Bruce Boyer’s Life In Clothes, Podcast

This week, HandCut Radio hosts British style icon and ambassador David Gandy.Gandy’s career is unparalleled in the fashion industry. He was talent-spotted during a televised modelling competition in 2001, and shot to global stardom as the face of Dolce & Gabbana’s iconic Light Blue campaign in 2006. Today, he’s transitioned from a world-famous model to a consultant, entrepreneur and philanthropist – making him an unorthodox figure in the fashion industry to say the least.In this episode, he reflects on his early career and how the advertising industry has changed since. He also shares his thoughts on social media marketing, takes influencer culture to task (for the second time this season – see episode one) and demonstrates how going against the grain gets results.---HandCut Radio is produced in collaboration with Birch, a London and New York based creative agency. Our theme music is by Joe Boyd.---Show NotesDavid Gandy — Instagram[1:55] Blacks Club[7:19] Dolce & Gabbana Light Blue Campaign[9:08] Armani 1980/1990s Campaigns[9:26] Tyson Ballou[10:32] Mario Testino[11:32] Christy Turlington[16:05] D and G David Gandy Book[17:40] Jamie Ferguson[18:02] Gucci Showtime: SS 2019 Campaign[19:10] David Gandy for Wellman Vitamins[21:40] The Jackal Magazine Instagram[22:02] British Airways Highlife Magazine[25:21] Private White[25:28] Marks & Spencers (M&S)[27:35] Henry Poole[28:46] Private White Pricing Manifesto[30:06] Golden Shears Awards 2019[39:20] Battersea Dogs & Cats Home’s First Ambassador[40:53] David Gandy’s Jaguar XK120[41:05] Jaguar Classic

The feature interview in this episode is a chat with Jamie Ferguson about her writing, the thing that made the difference in terms of kick-starting her writing productivity, and the various collaborations and curation she has done by leveraging BundleRabbit as a collaborative tool. Mark then shares a quick personal update, about the fact that there's nothing like screwing up to get views on a video. The Tongue Twister segment, sponsored by Findaway Voices includes Mark reading the following: I thought a thought. But the thought I thought wasn't the thought I thought I thought. If the thought I thought I thought had been the thought I thought, I wouldn't have thought so much. In the interview, Mark and Jamie talk about: How Jamie had wanted to be a writer from when she was a child and had started and stopped various projects, but that it wasn't until she joined a workshop started by Edward Bryant about fifteen years ago that prompted her to actually complete the projects How finishing something can actually be scary (“OMG, somebody could read it!”) The recent YA contemporary fantasy story by Jamie that appears in the new WISHES anthology from WMG Publishing The collaborative publishing project bundles & collections that Jamie has created using BundleRabbit that include: Fantasy in the City The Witches' Brew Haunted The Faerie Summer Bundle and more (see all the bundles here) The basic differences between curating bundles and creating anthologies (called collaborations) using BundleRabbit and the process that a curator goes through How BundleRabbit assists the curator by allowing the tools that make the curation, collaboration and payment distribution easier (and the time that has saved Jamie, who likely wouldn't have been able to budget the time for the aforementioned projects How the Faerie Summer Bundle has been the most successful, which has led to Jamie adapting it into an ongoing series Factors in bundles/collaborations Jamie has created that contributed to their success How an author's web and social media presence can make a positive difference in terms of curating their work into a bundle or collaboration The unexpected additional time required related to editing and formatting in the anthology collaboration projects Jamie's plan for a forthcoming non-fiction book sharing what she has learned Some of Jamie's favorite writing advice The forthcoming Amazing Monster Tales project Jamie is working on with DeAnna Knippling   Links of Interest Jamie's Website Jamie's Social Media Facebook Author Page Twitter Pinterest Goodreads Instagram BlackBird Publishing Website Facebook Twitter Blackbird Publishing Collections Jamie's Article on the differences between bundles and collaborations Findaway Voices Stark Reflections Patreon Page   Jamie Ferguson focuses on getting into the minds and hearts of her characters, whether she's writing about a saloon girl in the Old West, a man who discovers the barista he's in love with is a naiad, or a ghost who haunts the house she was killed in – even though that house no longer exists. She's curated 8 short story bundles and anthologies to date, and is working on several more, including a monster-themed anthology series she's co-editing with DeAnna Knippling. Jamie lives in Colorado, and spends her free time in a futile quest to wear out her two border collies, since she hasn't given in and gotten them their own herd of sheep...yet...  

Mark 14:32-46 - Pastor Jamie Ferguson

Mark 14:1-11 - Pastor Jamie Ferguson

2 Corinthians 11:16-33 - Pastor Jamie Ferguson

Matthew 5:14-16 - Dr. D. L. Lowrie

Proverbs 31:10-31 - Pastor Jamie Ferguson

1 Samuel 1:20-28 - Pastor Jamie Ferguson

Zechariah 2:1-13 - Pastor Jamie Ferguson

Mark 13:28-37 - Pastor Jamie Ferguson

2 Corinthians 10:12-18 - Pastor Jamie Ferguson

Mark 13:14-27 - Pastor Jamie Ferguson