Podcasts about maurier

Story: Anthemoessa Author: Aloysia_Virgata Rating: NR Site link: https://archiveofourown.org/works/4758428 Read by: XP Summary: A show like Orphan Black where Gillian Anderson plays Dana Scully, Stella Gibson, and Bedelia du Maurier and they all go around not putting up with nonsense. Used by the author's permission. The characters in these works are not the property of the Audio Fanfic Podcast or the author and are not being posted for profit.

Date with a Debut is a podcast hosted by writer Nick Wasiliev: shining a light on debut authors, their incredible books, and their journeys to publication. While the main show is off for the next few weeks and will return in late June for the continuation of series four, to bridge the gap please enjoy a sneak peek of my new newsletter show, Second Date, where authors return for a second round of rapid-fire questions. Check out a romance special as I go spoiler heavy with Bridie Blake and Amanda Hewitt, and if you like it, sign up below! I have a special deal currently where if you sign up to the newsletter, you can have 50% off a monthly or yearly VIP subscription for the next twelve months. That's $3 a month, or $25 a year! Sign up to the newsletter here (you can also get a free version too!): https://nickwasiliev.substack.com/ Get 50% off a paid VIP subscription here: https://nickwasiliev.substack.com/subscribe?coupon=651cc6fe Enjoy the show? Drop us a review, it really helps the show out! Check out our brand new podcast website: https://dwad.podpixels.com/ Check out the 2026 sponsor of the podcast, Pod Pixels: https://bit.ly/4cbG1Zt Subscribe on Podbean to never miss an episode: https://www.podbean.com/site/podcatcher/index/blog/3mRME5IMoSJx Date with a Debut is featured as part of the Australian literary platform Words & Nerds. Check out all shows on the platform here: https://danivee.com.au/podcasts/ MAIN EPISODES: Bridie Blake: https://www.podbean.com/ew/pb-9rath-1a98846 Amanda Hewitt: https://www.podbean.com/ew/pb-gr9zq-1a9a11e BOOKS: Debut Features: The Boyfriend Clause / Bridie Blake: https://booktopia.kh4ffx.net/QYKVaz The Last Resort / Amanda Hewitt: https://booktopia.kh4ffx.net/QYOB1P Other Books Mentioned: An Academic Affair / Jodi McAlister: https://booktopia.kh4ffx.net/aNAL1N The Love Contract / Steph Vizard: https://booktopia.kh4ffx.net/GbVQjn What Did I Miss? / Holly Brunnbauer: https://booktopia.kh4ffx.net/Vx5MZj The Good Part / Sophie Cousens: https://booktopia.kh4ffx.net/JkVjr2 Melina Marchetta Collection: https://booktopia.kh4ffx.net/X4nrxG Jane Eyre / Charlotte Brontë: https://booktopia.kh4ffx.net/enEQ11 Wuthering Heights / Emily Brontë: https://booktopia.kh4ffx.net/5kZq51 Rebecca / Daphne du Maurier: https://booktopia.kh4ffx.net/1GPg9z Persuasion / Jane Austen: https://booktopia.kh4ffx.net/VOYQxj PRODUCTION NOTES: Host: Nick Wasiliev Guests: Bridie Blake & Amanda Hewitt Editing & Production: Nick Wasiliev Podcast Theme: ‘Chill' by Sakura Hz Production Code: 4:X1 Additional Credits: Dani Vee (Words & Nerds), Aideen Gallagher, Fruzsi Gal (Text Publishing), Maeve Carragher, Cath Hayes (Echo Publishing) FOLLOW NICK WASILIEV (+ DATE WITH A DEBUT): A LITTLE IDEA PODCAST: Feed SUBSTACK: nickwasiliev.substack.com WEBSITE: www.nicholaswasiliev.com YOUTUBE: @NickWasiliev_Official INSTAGRAM: @nickwasiliev TWITTER/X: @Nick_Wasiliev FACEBOOK: Nick Wasiliev TIKTOK: @nickwasiliev © 2026 Nick Wasiliev and Breathe Art Holdings ‘Date With A Debut' is a Words and Nerds and Breathe Art Podcasts co-production recorded and edited on Awabakal Country, and we pay our respects to all elders past and present.

How can horror writing help readers — and writers — work through psychological trauma? Why does cross-genre fiction take longer to find an audience, but pay off in the long run? Is running a direct sales store actually worth the inventory, postage, and learning curve? And how can SubStack work for fiction authors? With psychotherapist and award-winning author P.D. Alleva. In the intro, thoughts on why in-person conferences are still worth it, even when they are a challenge for sensitive introverts! and tips for making the best of conferences [Self-Publishing Show]. Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn P.D. Alleva is the award-winning author of horror, sci-fi, thrillers, and fantasy books. He's also a psychotherapist. 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 horror puts the human condition on display better than any other genre Emotional trauma as the silent psychological killer most people overlook The pros and challenges of cross-genre writing and finding your audience Practical lessons from running a direct store, including integration and signed-copy fulfilment How a 3 a.m. writing routine keeps the writing separate from the marketing and admin Serialising fiction on Substack, multiple newsletters, and avoiding paid subscriber promotions Why Facebook groups, TikTok Lives, and the three-to-one rule are working right now You can find P.D. at PDAlleva.com or on Substack. Transcript of the interview with P.D. Alleva Jo: P.D. Alleva is the award-winning author of horror, sci-fi, thrillers, and fantasy books. He's also a psychotherapist. So welcome, Paul. PD: Thank you very much. Thank you for having me. This is a great opportunity. I love doing interviews, and I love talking to great people. Jo: Oh, good. Well, first up— Tell us a bit more about you and how you got into writing and being an indie author. PD: So I've been writing since I was a kid, at least second grade and more than likely even before that. I've always had that creative itch. Getting into indie author publishing, I published my first book in 2011. At the time I was also operating my own business, which took up about 24 hours of my time every single day. Then I kind of got through that and sold that in 2016, and I'm like, you know what? The time has come. I'd always written books, poetry, short stories, but never really did anything with them because I just didn't have the time. So in 2017, that's when I really came out and said, all right, the time is now. Indie publishing was doing great. The one good thing I do love about Amazon is they allowed us to come out there and start showing our craft to people. So in 2017, I just started—let's do this. Let's write full time. Let's put books out there. Let's be creative. Let's really get those juices flowing. Plus, I was getting a little bit old, and I was like, now is definitely the time to do this. Since then I've been publishing consistently, and most of my books are horror books, but I dabble. I have a sci-fi series, and I'm starting to get into psychological thrillers too. I've got a new psychological thriller that'll be published in early 2027 called Girl on a Mission. For the most part, I'm definitely into the horror genre—books, short stories, all that good fun stuff. Jo: Right, so a couple of follow-ups. You said you're a bit old. Can you give us what decade you're in at least? PD: Well, I'm 51, so born in 1971. Jo: Oh, there you go. Same age as me. PD: All right, good. See that? So we're going head-to-head there. Jo: I don't think that's old at all. Also, you mentioned you sold your business in 2016. So what was your business before? Because I think business experience is so important. PD: Agreed 100%. So I'm a psychotherapist, and I had owned a treatment centre for mental health and addiction. That was started in 2011, and in 2016 is when it sold. Since then, my wife and I started a private practice. So I still, even to this day—well, about a year and a half ago is when I stopped. I specialise in trauma, PTSD, and addiction. Trauma mostly. Most of my caseload has always been trauma, PTSD, sexual abuse, psychological abuse, war-type trauma. I was doing that mostly individually since 2016 in private practice, and I'll still go into treatment centres and see patients there too, specifically for trauma. About a year and a half ago is when I started wanting to do writing 100% full time. I thought about becoming a professor, maybe going to college, but then I wasn't sure if I wanted to get into that full time, as far as a caseload and school and everything like that. So I decided to just do group therapy, group facilitation, and I've been doing that consistently since then. It may be 15 hours a week. I do love to give back, and to me, it's more what I teach. I specialise in neuro-linguistic programming, bilateral stimulation or EMDR, hypnotherapy, science of mind concepts, psychopharmacology, biological bases of behaviour—which is pretty much how your brain works—ancient wisdom, quantum physics. I do this in a drug addiction treatment centre mostly, also mental health. And of course, just living an addictive lifestyle is traumatic, too, in and of itself. So pretty much I'm teaching them. Behaviour modification is a big part of what I'm teaching during that time. You'll see that, too, if you read my books. There's two things you can figure out from my books. You can figure out how to murder people and get away with it, and two, you can figure out how to overcome trauma as well. The whole “murder people and get away with it” comes from my upbringing. I have a very sorted past, let's put it that way. My upbringing was very different than what most people grow up in. Jo: Oh, can you give us any more than that? Now everyone's like, “Oh.” PD: “What's going on with this guy, right?” So I grew up, let's say, quote unquote, “in an Italian New York family.” Jo: Okay. All right. PD: That might give people ideas, right? Jo: That's going to give people a lot of ideas. PD: If you've ever seen the movie Goodfellas, I kind of grew up in that atmosphere, and with even some of those people too. My family had connections to those people in that movie, which I find very funny. If you watch that movie with me, you get a very different perspective on what's going on in the movie. Jo: Wow. So you're an interesting guy with an interesting background, with a very interesting backstory job as well. Some people are like, “Well, of course he's writing horror because horror is just awful and full of slasher gore and all that.” I often have to say to people who don't read horror, “Look, it's not like that.” Maybe some of it is, sure. But most of it isn't. Could you talk about how reading and writing horror can also be psychologically healthy? How do these worlds intertwine for you? PD: Well, sure. It 100% can be healthy. Especially over the last few years, there's a trend going on out there right now where people are taking their trauma and putting it into a creative process through poems, short stories, and even novels. They're taking their trauma and giving it a face, like a monster, where people are overcoming that monster within the creative process. I always say that horror is the genre that puts on display, better than any other genre out there, the human condition. Why is that? When people are in a terrifying situation, you really see who they are. You get to the heart of the matter of who that person is by putting them in these horrific but undefinable situations where it's like, what are they going to come out as? That real true personality needs to come out, and that courage comes out. That's huge in horror, and I think horror gets such a bad name. Now, I know there's the extreme horror and the splatterpunk, and that has its kind of role too in what I'm saying, but that's where horror is getting its bad reputation out there with the over-the-top type of gore. For the most part, that's a small part of the horror genre. It's a subgenre for a reason. It has its readership, and that's fine. Nothing wrong with it. I read it all the time. I find a lot of joy in it, a lot of excitement. However, for the most part, any horror novel that is not completely with the gore and stuff like splatterpunk can be seen as a psychological thriller, and a lot of psychological thrillers can be seen as a horror novel. Look at books like The Silence of the Lambs, Red Dragon. That's horrific as well, but if you read the novel, it's in there. It just gets that bad rap right now, and it's not all gore. Most horror novels that I read today are psychological horror. It's tame on the gore, and the psychological aspect is there. I always see that psychological aspect—it's like psychological trauma. Most people, even in my industry, when people are out there and you mention trauma, PTSD, they're thinking about sexual abuse, physical abuse, or war-type trauma. The silent psychological one—I once wrote an article called “Emotional Trauma: The Silent Psychological Killer.” The one that's out there is the psychological trauma, the emotional trauma that is widespread. Most people go through that, and it could even be from parent to child, and most people don't understand that that's a traumatic experience. It's like a distortion of reality that you're experiencing that then creates a belief system in your brain, and you're constantly acting out that belief system. That's where the psychological component of horror really comes out. People breaking through that psychological belief system that was created through a traumatic experience by reaching courage and coming out through a horrific situation. Jo: Yes, it really annoys me, because with romance, of course people understand that romance is a huge genre. Something like a small town sweet romance is a world away from the bully romantasy, dark, or mafia. Mafia romance is a really big thing with very dark themes. I'm like, well, how can you understand that romance is a huge genre with all these different subgenres, and not think that horror or thriller or fantasy or sci-fi all have so many different subgenres within them? I personally read a lot of supernatural horror, but rarely the slasher gore kind of stuff. So I'm really glad you said that, and hopefully more people will open up a bit more. I did also want to ask you about what you write. You write all these different things. You write standalone—I mean, often horror is standalone—but you also have some series. How do you balance it? What are the benefits of cross-genre writing, but also the challenges of it? PD: Okay. So obviously I love cross-genre writing. To me, I use fantasy to explain the supernatural elements. I blend mostly a tad of fantasy to help explain the supernatural components in my supernatural novels. When I write sci-fi, specifically sci-fi, that has the fantasy element in it too, but there's also a tad of horror in there as well. It's just who I am. When I grew up, I had a lot of different influences. I had Star Wars on one side, and then I'm watching B-rated '80s slasher films on the other side. Those two mixes just kind of followed me throughout my life, and that's why I like putting them into my novels. As I tell my patients, don't limit yourself. Never limit yourself. If you're just limiting yourself to one genre, you're missing out on so much more that's out there. So I love the blend of mixing genres. It just gets my goat each and every time. It is a challenge though. I remember when I first started getting into indie publishing, I was never big into Facebook and social media up until I started becoming an indie author. Before that, with my type of upbringing, you don't advertise yourself. You don't advertise where you're going. That's a big no-no. So I always had this aversion to social media. I'll tell you a funny story. It was the late 2000s, probably 2006. I was a full-time single father at that time, and I was living in Florida. My family—brothers and sisters-in-law—were living in New York, and my sister-in-law said, “Get a Facebook account so we can see pictures of the kids.” I said, “Oh.” I didn't want to do it, but I said, “Okay,” so I did it. And I'm thinking, looking at this Facebook thing, “How do I put pictures on here?” So I figured out how to put pictures in folders. Then I phone called her, and I'm like, “Okay, so they're on there.” And they're like, “Well, where are they?” I'm like, “I put them in these folders. You can go and look at them.” She's like, “No, you've got to post them.” That to me was like, “I'm not posting pictures of my kids.” That was a big no-no. It didn't click. When I got on there finally in 2016, 2017, I'm like, “Okay, so I need to figure out social media. As an indie author, I need to be on there, so I need to get through this aversion and get on there.” I started noticing how people are so particular with their genres. If they're reading a romance, it had to be very specific with that exact type of romance, and if you deviated from it, they're not going to like it. So that was the challenge. I was like, “All right, number one, I'm not going to dilute myself” and say, “All right, take things out of my writing or out of my novel just so I could cater to a certain type of audience.” I'm like, “I'm not going to do that.” I know with me, myself, as a reader, I'll read everything. I don't limit myself to a specific genre. I'll read psychological thrillers. I'll read romance. I've been doing that all my life. So I'm like, if there's a person like me out there—and look at this, I just met like four other people who also read cross genres—then I know that there's at least another 30,000 people, and I know that at least then there's 300,000, then there's three million people out there. So just write the books that you're writing and find your audience. Now, that takes longer. So you've got to chip away. Chip away. You're going to find readers here and there, and then that reader kind of tells a few people about you, and then you've got a few more readers. Then you keep going, and you go on these Facebook groups, and you do a whole bunch of different things, and then you gather a few more readers. Then they're telling some friends, and then you've got more. The process takes a lot longer, yes, 100% agreed, but I would say be true to yourself and you can never go wrong. Jo: Yes, I agree. I write cross-genre as well, and I've browsed your collection. Golem was the one I was like, “Ooh, yes, I like that one.” I haven't read it yet, it's on my list. I think when you're cross-genre, my people come to my store as well, and it's like, “Okay, I'm interested in lots of things, but this is the one by this author that I'm interested in.” Whereas with other authors who only write one type of thing, then I might not like any of their stuff. So I think there are definitely pros and cons and different ways into our world. I also wanted to ask you about the differences in business. Obviously you ran this treatment centre and there were physical humans on all sides, and now you've got a business as an author. So what have you learned in business from what you used to do and what you do now? PD: Okay. You're right. The treatment centre industry is very different from what I'm doing now, but it's still people. Treat those people right, have integrity. If you say you're going to do something, follow through with it. My word is my bond type of thing. That definitely has fed into the writing and publishing industry that I'm in now in a huge way. Just connecting with people is, to me, the biggest part of it. I mean, treatment centres, you've got to connect with people. When I would market the treatment centre, where would I go? I would go to hospitals, residential facilities, detoxes, and talk to them about my programme and why they should be referring clients there. It's the same thing here. Why should you be reading my books? You get there through interviews like what I'm doing here with you. Other podcasts. You get there by doing Facebook Lives, TikTok. I haven't started TikTok Lives yet, but I actually love that platform. I'm falling in love with it. IG Lives, anything like that where you're talking to people and you're making a connection with those people. Through that, I've gathered so many different types of readers who are like, “Yes, I'll give this book a shot.” And then they read it and they're like, “Hey, this is really good, and I'm going to read another book.” With my books, I have very different books. Golem is my psychological horror novel. It's my slow-burn psychological horror novel, heavily inspired by Frankenstein and the Pygmalion myth. It's my first true horror book that I published. Then there's Jigglyspot and the Zero Intellect, which is inspired by B-rated '80s horror movies and the old grindhouse movies of the '70s, and it's mind manipulation. It's just wild and bizarre. And then The Sleepy Hollow Incident is my Gothic tale—it's like a dark romance mixed in with Gothic horror. So I always try to put something for everyone that's out there. To me, when I'm writing, it's got to be about depth, psychological depth. I always refer to my books to be like peeling layers off a Texas-sized onion. The more you read, the more in-depth you get into not only the characters, but the story. It's just something that comes out of me. It's part of me. That's the way I always have to do it. I always have to put that depth in there. To me, that's good storytelling. When I grew up, I read a lot of classic literature. Yes, Edgar Allan Poe, but also Dante's Inferno, Milton's Paradise Lost, The Hunchback of Notre Dame, the Brontë sisters. Keep going. Ray Bradbury, Ayn Rand, Daphne du Maurier, Shirley Jackson. Those to me are my books that I absolutely love. So there's a sweet science in today's fast-paced, social media type of world in marrying the depth of the old classic literature and the entertainment value that is required today for being an author. There's that sweet science behind it, and I love just hitting that nail on the head every time. Jo: So did you ever pitch traditional publishing, or have you thought about going that way? Because I also find that a lot of horror actually sits very close to literary. Like, I read a lot more literary horror than I do in some of the other genres. PD: Correct. So in the beginning, yes. Not in a long time. I maybe went to a couple of indie publishers, but as far as traditional, the Big Five publishers, I have an aversion to them for a big reason. I know people who have worked in that industry that have told me some pretty bad horror stories about those places. So I haven't sent anything to that type of place in a very, very long time. Maybe close to 20 years. Indie publishers, the small presses, yes, here and there, but even then, I'm always moving at a fast pace. So if I've got a book and I'm sending it out as a query letter, by the time that query letter is even read, I'm almost done publishing. I love that aspect of it. The control of my story, where I know where this character's going. And listen, I've got my beta readers, I've got my ARC readers. They're there to tell me, “Hey, maybe you should change this or change that.” Whether I take that advice or not, of course my editor too, is really up to me. I always put out the book that I know is the one I want to read. And to me, I haven't gone wrong in doing so. I know with traditional publishing, you sometimes get too many thoughts in the pot there. Let's put it that way. Jo: Okay, so coming back to being indie then. You mentioned Amazon earlier, but you have a store where you sell direct. Many authors are doing this now, but it can be a challenge. So what have you found are the pros and cons of your direct store? What's working? Any lessons there? PD: Okay. So I use a place called Big Cartel. They're the platform where the books are on. They're hosting my website, PDAlleva.com. The big challenge was actually just starting it. It was so overwhelming. How do I put this on there? At the time, I've got all these books, so how do I present them? I'm even going to be doing another revamp with it too, because I want better pictures—taking pictures of the books, stuff like that, instead of just having the covers on there. I also have a lot of shirts that I'm selling. So I think the biggest challenge is just getting on there and starting it. Then of course, you've got to learn a whole new platform, and the mechanics, and how people are going to be downloading, and how that's done on an e-book versus a print version of the book. So it's a huge learning curve that you've really got to put your focus on and give it time. What most people like in indie publishing is signed copies. It's a huge part of indie publishing, selling those signed copies. People love a signed copy, and that's primarily what my website is for. You can order signed copies from me. I also use a place called IngramSpark, and they're more like a distributor. They're used by everyone. They've been around for a very long time. Traditional publishing uses them too, and they're just distributing your novel. I'd say about a year ago, maybe two years ago, they started where you can sell your books on discount through them as well. So I have that on my website too, where you're just clicking on the book and you're pretty much going directly to their site and you're buying paperbacks and hardbacks at a discount. That's going well too. For the most part, people are definitely coming to my site because they want the signed copies. A good thing with indie publishing is limited editions, first print copies, special editions. That type of stuff really just takes off. People love to see that, especially in the indie community. You can sell them too. I go to a few different book conventions during the year, and the limited editions are there. Like I said, people love the signed copies. They love being a part of that and getting that signed copy. They treasure it, just like I treasure my books too. I'm not referring to my books that I've written, but books that I have as well. I love my e-reader, don't get me wrong, but I still prefer the physical copy—the paperback, and even more so than the paperback, the hardback. So people love those signed copies, and that's why I created the website, to sell on there for them. Jo: Yes, I mean, we're getting to a point now though where I think some people are questioning the pros and cons of it. For example, you doing the signed copies—I don't do that from my Shopify store because I don't want to hold stock and I don't want to deal with postage. So I only do it when I do a Kickstarter. I've just finished one recently, Bones of the Deep, and I'm going up to the printer, and I'm going to sign a couple of hundred copies and then they do the postage. That's the only way I'm willing to do it because of the pain of getting books to your house, signing them, getting them in the post. So how do you manage that practically? PD: Okay, so the inventory's there. I don't go and sign everything right away. I just keep the inventory. Once somebody buys the book, then I'll pull out the book, log it and all that good fun stuff, sign it, and then ship it out immediately. Here in my country, we get discounts at the United States Post Office because they're books. So they pass that shipping cost over to the reader too, so it's a little bit cheaper for shipping. I'll just take books once or twice a week over to the United States Postal Service and ship those books out. I don't sign them until I actually get that order. Jo: How many do you have in your house? It's the holding stock of all the backlist that is the problem. PD: Ooh, gotcha. All right. That's why I have a two-car garage. But here's the thing, I won't order 500 at a time. I'll order 20 at a time. Jo: Okay. Right. PD: When I see that inventory's getting low, I'll order another 20 at a time. Jo: And you get those from IngramSpark? PD: Correct. When the new one comes out, maybe at that time I'm just selling those, bringing those to conventions that I go to. Or maybe doing a sale on those books at that time to get rid of the inventory so it's not sitting around anymore. Jo: I think that's so important. Then like you mentioned, you do T-shirts or shirts. That is also really hard because of sizing. So is that all print on demand? PD: Yes. So I don't really hold the stock on the shirts. When I get an order, whatever the size is at that time, I go directly to the place and order it. I use a place called Sublimation Station that's here in Orlando. They do great all-over print T-shirts. They're fantastic. I just did one for The Sleepy Hollow Incident. So The Sleepy Hollow Incident is one long story, and it's broken up into four books. Each book has its own. The covers are fantastic. I use a lady named Cherie Foxley. She's a phenomenal cover designer. So the shirts are, like, book one is on the front of one shirt with book two on the back, and then the second shirt is book three on the cover and book four on the back. However, I can customise those. I just did a giveaway in my Facebook group and I let people know I could customise them, and she wanted book one and book four, so I just got that and sent it out to her. Now, if people go ahead and order that on the website, I can just order it right away from them, boom, and that place will get it shipped right then and there. Jo: Right, so they do the shipping. These are all sort of practical things that people need to answer because I feel like sometimes it's like, “Oh, yes, having a direct store is great,” but there's actually quite a lot of work that goes into it, isn't there? PD: There is. There's a lot of work. You're pretty much opening almost like your own brick-and-mortar store at that point. You just don't have walk-in traffic coming in—your traffic is all coming online. So there is a lot to it, but it's worth it. If you're a self-published author or even a small indie press, it's good to have. Because like I said, people love the signed copies. Jo: When you say it's worth it, is it worth it financially or just because you like to serve the customers in that way? PD: Both. Jo: Right. So it is financially worth it for you? PD: Yes. Jo: I was talking to a friend of mine and saying, are you valuing your time in terms of things like taking the books to the post office and stuff like that? Do you find it eats into your writing at all, or do you just manage it all separately? PD: No, I manage it separately. So I'm an early morning riser. I get up at 3:00 in the morning, and that's when I write my books or do editing or brainstorming. I'm about to write a new novella now called The Adam and Eve Story, which is actually based on a little-known CIA shelved book from the 1990s called The Adam and Eve Story as well. So I've been brainstorming that, and I was doing that this morning. I get up at 3:00 a.m. and I do my writing, and by the time the kids are up and by the time the wife is up, it's like 8:00 a.m. is rolling around and I'm pretty much done at that point. Then I have my days. Tuesday I'm completely working from home and I do my thing in the morning, and then the rest of the day is marketing, fulfilling orders, stuff like that. On the days when I'm going to do group facilitation, I'll of course still get up at 3:00 o'clock in the morning, and then I'll plan out the day. I've got an hour between this group and I can go ahead and do that, and I'm already there so it's not a problem. The post office is right around the corner. You kind of figure out all the logistics for yourself. There are some days, like on Monday, I don't facilitate groups until the afternoon, so I've got the whole morning to work on marketing and do other things, and fulfilment. Then of course Saturday's a big day for that too. Jo: Oh, that's good. I feel like people always need to know how to balance their time, but it sounds like you manage, because at 3:00 a.m., as you say, there's not much else to do other than write. You mentioned marketing, and you have a Substack, pdsalternativefiction.substack.com. Talk about that and serialising fiction and how Substack works. Because I feel like a load of people are jumping in but might not necessarily know how it works, especially for fiction. PD: Correct. It is becoming quite popular out there. I think the one before that was Patreon, and Patreon is pretty big for that too, kind of the same thing. I wanted to start something and just get the work out there. I was very interested when Amazon came out a few years ago with what was called Vella. They kind of started that. I was like, “This is kind of cool.” Couple chapters at a time. I'm writing the books anyway, so why don't we kick this off and see how it goes—a type of experiment. I had a lot of fun doing it. I started on October 4th, 2024. I've done four novels so far. One is still going, which is Volume 3 of my Dark Veil serie— that's a sci-fi series. I wrote three other novels. The Hypnotist, which is a thriller, heavy on the sci-fi and a tad of horror in there too. And then I wrote Girl on a Mission, which is my psychological thriller, and then Cat Fight, which is a horror novel—all within that time. I think I finished all three of those novels in January, and then the first week of February they were all pretty much done. Now what I'm doing is, I went paid recently on the Substack. It's like everything else that's out there—chip away, chip away. I fell into that hole where they say, “Hey, we can promote you and get people to sign up for your newsletter.” And I'll be honest with you, don't do it. It's not worth it. You spend money, and what happens is they're what I refer to as dead leads. They don't click. You wind up shuffling them off after three to six months, because they're just not clicking. Everybody gets a star rating, so you know—are they clicking, are they staying on, are they not? So I got rid of pretty much all of those people, and I'll never do that again. It's got to be done organically. That's why when you read my books, especially the new books, towards the end it'll say, “Sign up for my newsletter.” I do more with that newsletter too. If you're on the free tier, every month I do a monthly newsletter, which is just me talking about updates, things going on in the publishing industry, things going on with me. My daughter puts together a weekly Horror and Sci-Fi Chronicles newsletter, which gives what's going on in new releases in the industry—sci-fi, horror, books, movies, television. She does deep dives into industry tropes, historical tidbits, and a weekly quiz. I also do a monthly Terrors and Tales newsletter. I started this last year, and it was a quarterly newsletter. It's other authors who are new, upcoming, never been published before, looking to get published. It's a chance for them to be on the newsletter where they have a flash fiction story or poem or even a short story that I publish for them. It's called the Terrors and Tales newsletter. What happened is I would put out calls for submissions. And a place called Duotrope—I don't even know who these people are, but all of a sudden I got an email from them stating, “Hey, we found that you're looking for submissions, and we posted your link. We hope you don't mind.” I'm like, “No, of course I don't mind.” I got so many submissions from that one link. I'm like, “Okay.” Do I really want to deny people? I'm not like that. I want to help promote other authors. I know what it's like when you're new and upcoming, no matter what age you are, to say, “Hey, here's a platform for you to see your stuff in print.” Obviously, I read through them just to make sure they're up to a certain standard, but for the most part, if you submit, you're getting in there. With Duotrope, I'm like, I have enough here to put out one a month. So in May 2026, the first one goes out, and then I'll have one each month until December, and then who knows? In 2027 I might go back to quarterly. I might get enough submissions to just keep it going once a month. So that's the Terrors and Tales newsletter, and it usually comes out towards the end of the month—the last two weeks. I have nothing to do with it in terms of content. None of my stories are on there. None of my poems are on there. None of my flash fiction. It's all other authors, just for them to see their name in print, see their work in print, share it with their friends, and put something on their resume, and to encourage people to keep reading and keep the craft going. Jo: When you say in print, you don't mean in physical print? PD: Oh, I mean in the newsletter. I'm sorry. Jo: I think that's important, or you're going to get a lot more submissions, and you will need to do publishing contracts and all that kind of thing. I think that's the difficult thing with a Substack newsletter approach—it's difficult to know where to categorise it. Is it marketing? Is it publishing? It's all of these things, I suppose. A bit like this podcast, it's all kinds of things. In terms of Substack actually making money on its own or leading to book sales that make money, do you think it does serve that purpose? PD: I think I've gotten more book sales through it, and also ARC readers who are enjoying the books and giving reviews. As far as the paid tiers, that's kind of a little bit slow, and that's where I'm saying chip away at it. Keep it up there. Keep it going. Over time, you're going to build that type of audience where it's going to be like, “Hey, this is financially feasible for me to continue to do this.” That's the response that I'm getting out there. Jo: Yes. Before, you mentioned you were doing Facebook Lives and you're looking at TikTok, but— Is anything else working for you in book marketing? If people have a few books and they're like, “What is working for book marketing right now?”—what do you recommend? PD: Okay. For me, the thing that has made the most sense is making sure the reader knows the book is out there through some sort of social media. I've had really good success on TikTok since the beginning of this year especially. I started it about a year ago, year and a half ago, but then my father got sick and passed away, and it was a new venture and I put it off to the side. I really got the flavour going at the beginning of this year. February, March of this year. It seems to be going really well, and I've noticed an uptick in sales from just getting the videos out there and getting it in front of people's eyes. There's an event I'm going to in August called ShiverCon, which is a pretty big event. After that event, I'm going to look to see what type of inventory I have left over from the event, and I'm going to start doing TikTok Lives. I'm very comfortable being on camera. So I'm like, “Yeah, that seems like a good way to go.” I know there's a few other horror authors who are doing it and having good success with TikTok Lives as well. A guy named Jason Davis is doing really well with TikTok Lives, and a few other authors too. I'm like, “Yes, I could definitely do that.” I want to get up to a certain number of people, and I want these events. I'm going to one in July, and then ShiverCon in August. Once those are done, I'm going to have more time to do the TikTok Lives. As far as Facebook is concerned, what I've had really great success with on Facebook is being in the groups and meeting other authors. That's not always about my book per se, but whatever books I'm reading, I'm posting my reviews about those books in those groups and meeting readers. Then obviously, they always say the three-to-one rule. Post about three different books and then post about your own book, whether you're doing a sale or a new release or a re-release or whatever. I've found success through that just by interacting with readers. When they post a book, I'll comment, “Hey, I've read that book,” or, “Hey, that book looks really cool. I like the review.” Commenting on it so you start these relationships with people who are out there in these Facebook groups. I've recently started my own Facebook reader group. I kind of go with the same thing. Last night, we did a live reading for another author. I like other authors to be on there. I always like to think, what does the reader need? What do I want to see as a reader? I would love to hear live readings from authors. So I kind of learn about them, learn about the book, and get a live reading. To me, that's a good way to go. So I started that recently, and it seems to be going well. I've got a new folk horror coming out soon, and I put out a call for ARC readers and got a fantastic response from that. That kind of drives the sales anyway, because when you get those reviews, then people see it gives credibility to the book, and then other people see it, and then they're buying it too. So that comes from the groups. There's so many wheels to spin in this industry as an indie author when you're doing this, especially when you're doing 99% of it on your own. You've got to get out there. No one's going to know your book exists if you don't get out there and tell somebody about it. Jo: Brilliant. Well, tell us— Where can people find you and your books online? PD: All right. Perfect. So obviously I'm on Amazon like everyone. Most of my books are worldwide, so you'll find them in Barnes & Noble as well. And of course, if you want the signed copies or discount print books, I always lead people straight to my website, PDAlleva.com. Then, of course, if you go to my Substack, you'll get all the updates, and you'll get all the links to purchase or find out where they are on Amazon and Barnes & Noble and things like that too. Jo: Brilliant. Well, thanks so much for your time, Paul. That was great. PD: Thank you very much for having me. It was great chatting with you. The post Writing Cross-Genre, Selling Direct, And Serialising On SubStack With P.D. Alleva first appeared on The Creative Penn.

In this episode of Pagecast, South African playwright and novelist Nadia Davids joins renowned poet and scholar Gabeba Baderoon for a conversation about her latest novel, Cape Fever. Cape Fever follows Soraya Matas, a young maid who takes up a position in the beautiful, decaying home of the eccentric Mrs. Hattingh - not far from the Muslim Quarter where she lives with her parents. What begins as a practical arrangement slowly unravels into something far stranger: a ritual of dictated letters, restless spirits, and a bond between two women that threatens the sanity of both. Set in an unnamed colonial city and drawing on gothic themes, folk tales, and psychological suspense, Cape Fever has been compared to the work of Silvia Moreno-Garcia and Daphne du Maurier. It is a story of love and grief, class and power, and the long reach of history into the lives of those history forgets. Nadia Davids is an award-winning South African author and playwright. Cape Fever is her latest novel and is available now at all good bookstores.

Pobierz audycję w pliku mp3Wersja wideo - zapis panelu wraz z obrazem W sobotę 30 maja, o godzinie 12:00 w sali Paryż C, podczas Międzynarodowych Targów Książki w Warszawie odbył się panel dyskusyjny pt. „Niekończąca się historia… grozy: od Daphne du Maurier do Stephena Kinga i jeszcze o krok dalej”.Groza ma swoją genealogię, a Stephen King jest tylko jednym z jej ogniw. Podczas panelu zagłębimy się w fascynującą, nieprzerwaną ciągłość strachu: od nastrojowej, psychologicznej grozy Daphne du Maurier, przez paranoiczną precyzję Iry Levina i gotycką zwyczajność Michaela McDowella, aż po współczesne potwory tworzone przez Joego Hilla.To opowieść o tym, jak strach przechodzi z autora na autora, jak zmieniają się jego formy, a jednocześnie jak niepokojąco bliski codzienności pozostaje. Porozmawiamy o tym, dlaczego zwyczajne miejsca potrafią pękać pod naporem lęku, jak buduje się atmosferę niepokoju bez potworów i co sprawia, że horror jest jednym z najbardziej żywych gatunków literatury.Spotkanie dla wszystkich, którzy chcą zobaczyć, że groza nie tylko straszy – ona oddycha, rośnie i nieustannie się przekształca.Zaprasza Wydawnictwo Albatros, ekipa stephenking.pl i ich goście.Prowadzenie:Joanna Murawska – redaktorka portalu stephenking.pl, czytelniczka, która (dosłownie!) przemierzyła Amerykę śladami pisarza.W spotkaniu udział wzięli:Piotr Mąka (@the.bookking) – od zawsze związany zawodowo z promocją i współpracą z mediami. Twórca cyfrowy, promotor czytelnictwa, współtwórca podcastu Kulturalne Spięcie, autor ebooka „Weź to w nawyk”, miłośnik prozy Stephena Kinga.Katarzyna Puzyńska – jedna z najpopularniejszych i najbardziej lubianych polskich pisarek, autorka kryminałów, powieści fantasy i horroru, popularyzatorka czytelnictwa.Hubert Spandowski – założyciel portalu stephenking.pl, autor podcastu Radio SK, legenda fandomu Kinga.Robert Ziębiński – dziennikarz, znawca popkultury, pisarz, autor książki „Stephen King. Instrukcja obsługi”.Jeżeli podoba ci się to co robię to możesz mnie wesprzeć nahttps://patronite.pl/radiosk

„Az éjszaka álmomban megint Manderleyben jártam” – ezzel a baljós hangulatú mondattal kezdődik Daphne du Maurier eredetileg 1938-ban megjelent klasszikusa, amely azonnali sikert aratott, azután plágiumbotrányt kavart, majd adaptációk sorát indította útjára, 2019-ben a BBC pedig beválogatta a 100 leginspirálóbb regény listájára. A nő hétszer sorozat májusi olvasmánya A Manderley-ház asszonya.   A nő hétszer projekt Lány, feleség, anya, szerető, szingli, karrierista, elvált, özvegy, rebellis, alkotó, múzsa. Hányféle szerepet tölthet be egy nő élete során, és mennyiben rajta múlik mindez? Hogyan változnak lehetőségei attól függően, hogy mikor és hova született? És mit árul el mindez a környezetéről, a társadalmáról, illetve a korról, amelyben él és mozog? A nő hétszer című sorozatban Ruff Orsolya és Szeder Kata hét brit klasszikus, illetve kortárs női szerző regényén keresztül beszélget női sorsokról, választásokról, lehetőségekről – és azok korlátairól. A sorozathoz kapcsolódva könyvklub is indul, aminek a budapesti ISON ad otthont. A nő hétszer témái, olvasmányai, illetve a könyvklubos találkozók időpontjai:   február 25. – Maggie O'Farrell: Hamnet március 25. – Virginia Woolf: Mrs. Dalloway április 22. – Mary Westmacott / Agatha Christie: Távol telt tőled tavaszom május 27. – Daphne du Maurier: A Manderley-ház asszonya szeptember 15. – Jeanette Winterson: Nem a narancs az egyetlen gyümölcs október 13. – Helen Fielding: Bridget Jones naplója november 10. – Zadie Smith: NW A nő hétszer a British Council, a KultúrFlipper és az ISON közös sorozata a budapesti Brit Nagykövetség és a Könyves Magazin támogatásával valósul meg.

Hi! My name is Terry J. Aman, marking my 109th episode of VideoFuzzy titled "Luther, Earnest and The Doctor," reporting the progress I've made in cataloging thousands of VHS transfers and digital recordings, and as of this coming month, June of 2026, I'm marking nine years of VideoFuzzy! [2:20] I celebrate that milestone in part with Part 2 of my conversation with musician, media critic and longtime friend Mikey Heinrich from Minneapolis. Part 1 posted as part of sister podcast effort VideoFuzzy the Soundtrack "Ep. 17: Long Way Down" at https://bit.ly/3MJkPkK  In part 2, we chatted primarily about "Knives Out 3: Wake Up, Dead Man" and "Doctor Who." [IG] Mikey Heinrich can be found at his YouTube Channel: https://www.youtube.com/@MikeyHeinrich and blogs Doux Reviews: https://www.douxreviews.com/ and 42nd Vizsla: https://the42ndvizsla.blogspot.com/ [31:06] My Fuzzy Feature talked in some detail about the series premiere of BBC's "Luther," [IG] starring Idris Elba in the title role, Detective Inspector John Luther. CONTENT WARNING: Some discussion of animal cruelty was critical to the investigation and therefore unavoidable. I talked about the child abduction case he took on at the top of the episode, and the parents of astrophysicist Alice Morgan, played by Ruth Wilson. They were found shot dead in their home along with the family's dog. Luther's investigation loops in his supervisor, DSU Rose Teller, and his new partner, DS Justin Ripley, and coincides with developments in his separation from Zoe, his wife, played by Indira Varma, namely her lover Mark North, played by Paul McGann. [1:01:30] In Cross Connections, I trace connections for Idris Elba and Ruth Wilson through my media collection. I identify Stephen Root, Jon Curry and Ben Schwartz as Golden Threads. Also Colin Salmon, David Allan Grier, Robert Englund, Ken Jenkins, Rob Morrow, Maura Tierney, Tzi Ma, Patrick Fischler, Todd Stashwick, Caterina Scorsone, Frances Conroy, Diane Farr and Christian Clementsen. Fond Reflection to Eric Dane and his many years on "Grey's Anatomy." [1:14:14] In my Classic Collection [VHS-to-DVD transfers], I cataloged discs 2001 through 2025. Comments on "Grey's Anatomy," Chelsea Handler's appearance as host of the 2010 MTV Video Music Awards and comments at the recent roast of Kevin Hart on Netflix. Also, "The Simpsons," [IG] "Glee," [IG] "Mike & Molly," "Undercovers," "Castle," "Rubicon," "The Office" and "Community." [1:29:38] In my Current Collection [direct to digital], I archived the National Theatre presentation of Oscar Wilde's "The Importance of Being Earnest" [IG] starring Ncuti Gatwa, Hugh Skinner, Sharon D. Clark, Ronke Adoluejo, Eliza Scanlen and Amanda Lawrence. [1:31:28] In Book Reports, I chat about Charlotte Brontë's "Jane Eyre," Emily Brontë's "Wuthering Heights," Daphne du Maurier's "Rebecca" and Margot Douaihy's "Scorched Grace," all of which I can trace as recommendations at one time or another by the "All About Agatha" podcast. Quite enjoyable! SPREADING THE WORD! "VideoFuzzy: The Video - Celebrating 100 Episodes!" is posted at https://youtu.be/eWfcCDiOZ2I. Please share as you're able to with anyone you feel might enjoy this production. For PROMOS, scroll all the way down at https://videofuzzy.libsyn.com. Also, there's a "Top Fifteen" episode guide for people looking for a quick read-in on this blog and podcast effort at: https://videofuzzy.libsyn.com/about. Enjoy! [IG]  Reference featured in VideoFuzzy's Instagram page.

Before Alfred Hitchcock turned birds into cinematic terror, The Birds was a bleak, intimate apocalypse story from author Daphne du Maurier. In this special Now Playing Podcast Book Review, Arnie looks at the 1952 short story that inspired Hitchcock's classic film and finds something very different: a grim survival tale closer to War of the Worlds, I Am Legend, and Night of the Living Dead than the Hollywood thriller audiences know. From post-war paranoia to unexplained cosmic dread, hear why this short story still works over 70 years later, why its ending hits so hard, and why Hitchcock may have only borrowed the premise while leaving most of the original story behind. Plus, how gulls attacking a farmer became one of horror's most influential setups.

  In this episode I'm taking you backstage at Belvoir Street Theatre for a closer look at The Birds — not Hitchcock, but a tense, immersive stage adaptation of Daphne du Maurier's story. This striking one‑woman work, performed by Paula Arundell, is as much about sound and atmosphere as it is about narrative, pulling the audience into a world of unease and sensory intensity. I'm joined by writer Louise Fox and director Matthew Lutton to talk about how this adaptation came together — from shaping the text for a solo performer to building a sonic landscape that carries so much of the storytelling weight.  

Comédienne de théâtre et de cinéma, Claire Maurier s'est éteinte dimanche 3 mai à l'âge de 97 ans. De ses débuts sur les planches parisiennes dans les années 1950 aux Quatre Cents Coups de Truffaut, de La Cage aux folles de Molinaro au Fabuleux Destin d'Amélie Poulain de Jeunet, elle aura traversé plus de six décennies de cinéma français. Discrète mais marquante, elle restera l'un des grands seconds rôles du cinéma français.

Comédienne de théâtre et de cinéma, Claire Maurier s'est éteinte dimanche 3 mai à l'âge de 97 ans. De ses débuts sur les planches parisiennes dans les années 1950 aux Quatre Cents Coups de Truffaut, de La Cage aux folles de Molinaro au Fabuleux Destin d'Amélie Poulain de Jeunet, elle aura traversé plus de six décennies de cinéma français. Discrète mais marquante, elle restera l'un des grands seconds rôles du cinéma français.

Hey — let's talk Gothic. If you loved the Wuthering Heights episode but aren't sure what “Gothic” means, here's a friendly, no‑pressure rundown: it's a literary vibe that exploded in the late 1700s and early 1800s (part of Romanticism) and stuck around because people couldn't get enough of spooky mystery, big feelings, and weird houses. At its core Gothic mixes suspense and the supernatural with secrets from the past: ghosts (or things that feel like ghosts), hidden diaries or cursed heirlooms, murmured scandals, and the sense that history is still very much alive — and maybe angry. Stories often leave the door open between a rational explanation and the uncanny, so you're always wondering what's real. The setting matters: remote, isolated places—windy moors, stormy cliffs, spooky woods, and usually a grand but slightly crumbling manor. That atmosphere of beauty plus decay is basically Gothic's aesthetic fingerprint. Protagonists are frequently women, which made these books especially thrilling for female readers back when options for adventurous stories were limited. Other common threads: intense emotion over reason, troubled or doomed romances, the ever‑present shadow of death, and objects that carry memory or menace. Short stories work great as an intro (hello, Poe), and novellas are perfect if you want a quick, delicious chill. Gothic isn't one thing — it splinters into cool subgenres. Southern Gothic, for example, folds in religious hypocrisy, the legacy of violence, and heavy landscape feeling. Contemporary takes like Mexican Gothic (Silvia Moreno‑Garcia) remix classic Gothic tropes—isolated mansions, family secrets—with new cultures, histories, and anxieties. Other great touchstones: Jane Eyre, Wuthering Heights, Rebecca, The Turn of the Screw (Bly Manor), Shirley Jackson's Hill House, Daphne du Maurier, Edgar Allan Poe, and even films like Crimson Peak that lean into the look and mood. Gothic also shows up in real cultural practices and local histories: think of rituals that try to heal a place's memory or reckon with past violence. Those real world echoes are part of what keeps the genre alive and relevant — it's not just spooky houses, it's how communities remember and reckon with what happened there. If you want to dive in, try a Poe short story, a classic like Jane Eyre, or a modern pick like Mexican Gothic or a T. Kingfisher novella. And hey — if you've got favorites, tell us. I want to know what weird, moody books give you chills.

In this episode Miles discusses the mid-twentieth century gothic novel with a particular focus on Daphne du Maurier, Barbara Comyns and, of course, Iris Murdoch. An enduring subject of fascination, the gothic novel has undergone substantial change over the course of its history and the rise of the mid-century gothic – and how it interacts with other forms of fiction writing at this time – is one we know you'll be interested in. Joining Miles to discuss the mid-century female gothic is Avril Horner. Avril is Professor Emeritus of English at Kingston University and is the author of numerous books on the Gothic – most recently Women and the Gothic – with Sue Zlosnik (2016) – and the author of Barbara Comyns: A Savage Innocence (Manchester University Press, 2024) and of the forthcoming Rebecca: Biography of a Novel (MUP: 2026). Murdoch aficionados will know her as the co-editor of Iris Murdoch and Morality and Iris Murdoch: Texts and Contexts both from Palgrave – and the co-editor of Living on Paper: Letters from Iris Murdoch 1934-1995 from Chatto and Windus (2015). Long-time listeners of the podcast will remember that Avril was one of my guests on ‘Iris Murdoch for Beginners' so who better to be today's guest as we discuss mid-twentieth century Gothic fiction and put Murdoch into conversation with both Daphne du Maurier and Barbara Comyns.

The face we give to our monsters says much about our anxieties as a culture. But birds? Two classic works of 20th-century horror featured a violent avian army. This podcast looks at why a Daphne du Maurier short story, and the Alfred Hitchcock thriller inspired by it, imagined “The Birds” as humanity's mortal enemy. Seeded with fears of technological overreach and environmental disaster, and terror at the rise of the violent irrational, our reality was anticipated. *This episode originally aired on Sept. 6, 2023.Guests in this episode:Lynn Kozak is an associate professor in history and classical studies at McGill University and editor of Scapegoat Carnivale's Tragic Trilogy.W. Scott Poole is a professor in the department of history at the College of Charleston. He is the author of Dark Carnivals: Modern Horror and the Origins of American Empire.Catherine Wynne is a reader in English, and an associate dean for Research and Enterprise at the University of Hull. Her most recent book is on the war artist, Lady Butler. She wrote about The Birds for The Conversation.

Nearly 10 years before Hitchcock brought this thriller to the silver screen, the radio anthology series, “Escape,” adapted Daphne du Maurier's short story, “The Birds.” This adaptation is closer to the original story (Hitchcock took the concept and completely reworked it). Set in the rural seaside of Southern England, Deborah Hawkins and her two young children, along with hired governess, Madison, (okay, we reworked it, too) try to adapt to life away from London's high society. Deborah's husband makes few visits anymore, pushing Deborah into a fragile mental state. Oh, yeah, then outta no where, birds start attacking. Narrated by our favorite voice of horror, Edward October, join us for this chilling thriller classic! Learn more about your ad choices. Visit megaphone.fm/adchoices

Nearly 10 years before Hitchcock brought this thriller to the silver screen, the radio anthology series, “Escape,” adapted Daphne du Maurier's short story, “The Birds.” This adaptation is closer to the original story (Hitchcock took the concept and completely reworked it). Set in the rural seaside of Southern England, Deborah Hawkins and her two young children, along with hired governess, Madison, (okay, we reworked it, too) try to adapt to life away from London's high society. Deborah's husband makes few visits anymore, pushing Deborah into a fragile mental state. Oh, yeah, then outta no where, birds start attacking. Narrated by our favorite voice of horror, Edward October, join us for this chilling thriller classic! Learn more about your ad choices. Visit megaphone.fm/adchoices

Best-selling and award-winning author Henrietta McKervey will talk about her new gothic thriller inspired by Daphne du Maurier's Rebecca

On Sunday afternoon—just hours before the Super Bowl and Bad Bunny's electrifying performance— Vogue's book club members gathered at the SVA Theatre in Chelsea for a special preview of Wuthering Heights. The screening was followed by an insightful conversation for The Run-Through between director Emerald Fennell and Chloe, in which they compared Emily Brontë's gothic novel with Fennell's film adaptation.Drawing on literary scholarship and her own childhood memories of the book, Fennell explained why she chose to lean into its sadomasochistic undercurrents. “There's a quote from Daphne du Maurier in which she describes Wuthering Heights as a kind of sexless book. But I've never experienced it that way. That's part of the novel's magic—everyone who reads it takes away something slightly different. For me, the sexual power dynamics are extremely explicit.”Fennell's version makes several notable departures from the classic text. Isabella Linton emerges as a more dynamic character (Fennell joked that she's “more of an Isabella than a Cathy”), and the adaptation omits both Nelly's first-person narration and the novel's second half (William Wyler did it first!). Perhaps the most memorable addition, however, is the inclusion of crushed eggs beneath bed sheets – an “inside joke” between lovers Heathcliff and Cathy. Fennell revealed that she volunteered to sit on them herself during filming. “Somebody has to do it, and I don't want my crew to have to sit on a bunch of eggs, so I'm like, I'll do it,” she said.Earlier in the episode, Chloe and Chioma catch up on their two iconic covers released this week: powerhouse pop star Rosalía (Chloe's first print issue for Vogue) and Bhavitha Mandava, the newest model taking over the fashion industry. Chloe also previews the NYFW schedule, highlighting Rachel Scott's Proenza Schouler show as one to watch, while Chioma recounts her morning, which included breakfast with Jill Biden. Learn about your ad choices: dovetail.prx.org/ad-choices

Send a textWe close out our “Criterion” theme with 1973's Don't Look Now, spine number 745 in the Criterion Collection. This Nicholas Roeg adaptation of a Daphne du Maurier short story stars Donald Sutherland and Julie Christie as grieving parents who are mourning the accidental drowning of their daughter. While working on restoring a historic church in Venice, they are approached by a pair of sisters, one of whom claims she is a psychic, and she has a warning from the spirit of the deceased daughter. We also discuss whether we believe in psychics, and Karl tells a story of a visit his mom made to a psychic that made an impression. I'm getting a message from beyond…that you will give this episode a listen! 

Cornwall, in the eighteenth and nineteenth centuries, was best known for its smuggling. The combination of an insular and impoverished countryside, a rugged coastline characterized by numerous inlets and coves, and price hikes caused by the ongoing wars between Britain and France—played out in high tariffs and embargoes—created the perfect conditions for people desperate to make a living to defy what they saw as an unfair law. Over the years, those same characteristics have appealed to novelists from Daphne du Maurier to the present day. The Sea Child (Ballantine, 2026)—which takes place in an isolated village in Cornwall, although on a river leading to the sea rather than the coastline itself—certainly dips into the long and contentious struggle between Cornish villagers and the British Crown. But at the heart of the story we find Isabel Henley, a young woman who, as a child of four, was plucked from the sea with no knowledge of her parents or her home. Adopted by local landlords, Isabel has grown up, moved away, married a naval man, and, following his death at the Battle of Trafalgar (1805), returned to her childhood village. There she discovers that the legend surrounding her—that she is not entirely human but a daughter of the Sea Bucca, a merman who haunts the waters of the Cornish coast—survives and thrives. Isabel discounts the locals' tale, but she can't deny that the river calls to her as she strolls along its banks at twilight … Linda Wilgus—a former bookseller, knitting pattern designer, and writer of short stories, many of which have been published in literary magazines—lives in Cambridge, England, with her family. The Sea Child is her debut novel. Website here C. P. Lesley is the author of two historical fiction series set during the childhood of Ivan the Terrible and four other novels. Her next book, Song of the Silk Weaver, will appear in the second quarter of 2026. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Cornwall, in the eighteenth and nineteenth centuries, was best known for its smuggling. The combination of an insular and impoverished countryside, a rugged coastline characterized by numerous inlets and coves, and price hikes caused by the ongoing wars between Britain and France—played out in high tariffs and embargoes—created the perfect conditions for people desperate to make a living to defy what they saw as an unfair law. Over the years, those same characteristics have appealed to novelists from Daphne du Maurier to the present day. The Sea Child (Ballantine, 2026)—which takes place in an isolated village in Cornwall, although on a river leading to the sea rather than the coastline itself—certainly dips into the long and contentious struggle between Cornish villagers and the British Crown. But at the heart of the story we find Isabel Henley, a young woman who, as a child of four, was plucked from the sea with no knowledge of her parents or her home. Adopted by local landlords, Isabel has grown up, moved away, married a naval man, and, following his death at the Battle of Trafalgar (1805), returned to her childhood village. There she discovers that the legend surrounding her—that she is not entirely human but a daughter of the Sea Bucca, a merman who haunts the waters of the Cornish coast—survives and thrives. Isabel discounts the locals' tale, but she can't deny that the river calls to her as she strolls along its banks at twilight … Linda Wilgus—a former bookseller, knitting pattern designer, and writer of short stories, many of which have been published in literary magazines—lives in Cambridge, England, with her family. The Sea Child is her debut novel. Website here C. P. Lesley is the author of two historical fiction series set during the childhood of Ivan the Terrible and four other novels. Her next book, Song of the Silk Weaver, will appear in the second quarter of 2026. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Cornwall, in the eighteenth and nineteenth centuries, was best known for its smuggling. The combination of an insular and impoverished countryside, a rugged coastline characterized by numerous inlets and coves, and price hikes caused by the ongoing wars between Britain and France—played out in high tariffs and embargoes—created the perfect conditions for people desperate to make a living to defy what they saw as an unfair law. Over the years, those same characteristics have appealed to novelists from Daphne du Maurier to the present day. The Sea Child (Ballantine, 2026)—which takes place in an isolated village in Cornwall, although on a river leading to the sea rather than the coastline itself—certainly dips into the long and contentious struggle between Cornish villagers and the British Crown. But at the heart of the story we find Isabel Henley, a young woman who, as a child of four, was plucked from the sea with no knowledge of her parents or her home. Adopted by local landlords, Isabel has grown up, moved away, married a naval man, and, following his death at the Battle of Trafalgar (1805), returned to her childhood village. There she discovers that the legend surrounding her—that she is not entirely human but a daughter of the Sea Bucca, a merman who haunts the waters of the Cornish coast—survives and thrives. Isabel discounts the locals' tale, but she can't deny that the river calls to her as she strolls along its banks at twilight … Linda Wilgus—a former bookseller, knitting pattern designer, and writer of short stories, many of which have been published in literary magazines—lives in Cambridge, England, with her family. The Sea Child is her debut novel. Website here C. P. Lesley is the author of two historical fiction series set during the childhood of Ivan the Terrible and four other novels. Her next book, Song of the Silk Weaver, will appear in the second quarter of 2026. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/historical-fiction

Ron's Amazing Stories opens the door to one of radio's most celebrated suspense anthologies—Escape. Known for its tales of danger, obsession, and the darker corners of human (and animal) behavior, Escape rarely pulled its punches. In this double feature, we explore what happens when the natural world breaks its unspoken contract with mankind. Our first story, "A Shipment of Mute Fate," stars Jack Webb in a harrowing tale of obsession and deadly cargo. A hunt for the world's most dangerous snake—the legendary bushmaster—leads to a sea voyage where danger coils silently in the shadows. Our second story, "The Birds," is based on the chilling work of Daphne du Maurier. Set in post–World War II England, it tells the story of a quiet community suddenly and violently besieged by flocks of birds acting with terrifying purpose. The tale later inspired Alfred Hitchcock's classic film, but its radio version remains just as unsettling. Two stories. Two species. One warning. Nature is patient… until it isn't. In This Episode An introduction to the classic radio series Escape "A Shipment of Mute Fate," starring Jack Webb The deadly legend of the bushmaster snake A brief discussion on cats, reflexes, and snake encounters "The Birds," based on the story by Daphne du Maurier How both tales reflect the fear of nature gone wrong Ron's Amazing Stories Is Sponsored by: Audible - You can get a free audiobook and a 30 day free trial at audibletrial.com/ronsamazingstories. Your Stories: Do you have a story that you would like to share on the podcast or the blog? Head to the main website, click on Story Submission, leave your story, give it a title, and please tell me where you're from. I will read it if I can. Links are below. Music Used In This Podcast: Most of the music you hear on Ron's Amazing Stories has been composed by Kevin MacLeod (incompetech.com) and is Licensed under Creative Commons: By Attribution 3.0. Other pieces are in the public domain. You can find great free music at FreePd.com which is a site owned by Kevin. Program Info: Ron's Amazing Stories is published each Thursday. You can download it from Apple Podcasts, stream it on Stitcher Radio or on the mobile version of Spotify. Do you prefer the radio? We are heard every Thursday at 10:00 pm and Sunday Night at 11:00 PM (EST) on AMFM247.COM. Check your local listing or find the station closest to you at this link. Social Links: Main Podcast Site by LibSynThe Blog Site by WordPressFacebook LinkTwitter Link Contact Links: EmailStory Submissions Contact Ron

You control the shadows in your characters. This week we reveal how a negative shadow looms large despite being dead. Daphne du Maurier's ‘Rebecca' crushed everyone she came into contact with, even her allies. With our study of The Shadow drawing to a close, it's time to look at how suppressed emotions break free and cause chaos. The Hero's monologue is also treated differently in this film. See if you can pick where it is!"The shadow isn't always bad character traits." - Melanie HillRelated Story Nerd EpisodesThe IncrediblesThe Holdovers Acquire the power to write a bestselling story at storynerd.ca/courses For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.To learn to read like a writer, visit Melanie's website.

 Happy Halloween, kids!  What, it's not Halloween where you are?For an extra-long treat (rather than a trick), Rish presents Daphne du Maurier's 1952 story "The Birds," about an English village beset by flocks of avian killers almost as sick of humanity as you are. Apparently, they once made a film of it.Note: This very nearly was split into two episodes, and only the promise of the greatest holiday of the year kept them stuck together.Note 2: You're welcome.If you want to download the episode, Right-Click HERE.If you want to support me on Patreon, click HERE.Logo by Gino "The Nerds" Moretto.

I like to start off the new year with these adaptations by "The Lux Radio Theater."  We're going to get a little spooky this year.  "Rebecca" was first a great psychological thriller novel by Daphne de Maurier in 1938, then a great film directed by Alfred Hitchcock in 1940, and eventually this great, though a little shorter, radio adaptation for "Lux."  Though the Hitchcock film is visually stunning – it won two Oscars, one for Best Picture and another for Best Cinematography – this adaptation has the benefit of two of the best actors in Hollywood – actually in England, with Sir Laurence Olivier reprising his role as Maxim de Winter from the film and his real-life wife, Vivian Leigh, as the otherwise un-named new Mrs. de Winter. Episode The Lux Radio Theater November 6, 1950 "Rebecca" 2:11

Alfred Hitchcock's Rebecca (1940) is a haunting blend of romance, mystery, and psychological suspense. In this in-depth review, Chris and Gerry explore Hitchcock's only Best Picture winner, adapted from Daphne du Maurier's classic novel. We'll break down the film's gothic atmosphere, unforgettable performances by Joan Fontaine, Laurence Olivier, and Judith Anderson, and the powerful themes of obsession, identity and control. Is Rebecca Hitchcock's most unsettling film? Join the discussion and revisit one of Hollywood's greatest classic thrillers. If you enjoy classic cinema, Hitchcock films, and Golden Age Hollywood, be sure to like, comment, and subscribe!

Prepare-se, porque desta vez o terror vem do céu. Neste episódio Andreia D'Oliveira e Gabi Idealli mergulham no conto “Os Pássaros”, de Daphne du Maurier com um único intuito: falar pela primeira vez de uma obra de Alfred Hitchcock! Vem com a gente entender como Du Maurier constrói o medo na página, como Hitchcock traduz para o cinema, e por que essa história continua nos fazendo olhar pro céu com desconfiança. Então corre, fecha as janelas, afasta o parapeito e vem ouvir!

In this latest podcast episode, Keltie Maguire speaks with Helen Taylor — feminist, retired university professor, and writer — about her choice to live a childfree life and her new memoir, Childless by Choice: The Meaning and Legacy of a Childfree Life.  Keltie and Helen discuss: Helen's personal journey of childfree living, including the influences that shaped her decision.  The challenges of choosing the childfree path — and the freedoms it has afforded her. Helen's abortion experience in early adulthood, and whether she ever thinks about the child she could have had.  How life without children can lead to deeper adult relationships and friendships. The societal stigmas surrounding childlessness, and the difficulties and blessings of being childfree at age 77 The role that regret, meaning, and legacy play for Helen, as a woman without children. As mentioned in the show Find Helen online at www.helen-taylor.co.uk She's on Bluesky at bsky.app/profile/helentaylor67.bsky.social Find Helen at the following upcoming events: helen-taylor.co.uk/events About Helen Helen Taylor has published books on women's writing, American southern culture, and women fiction readers. Her latest much-acclaimed work is Why Women Read Fiction: The Stories of Our Lives. Her best-known works focus on popular writing and culture: Scarlett's Women: Gone With the Wind and its Female Fans, The Daphne du Maurier Companion, and Circling Dixie: Contemporary Southern Culture through a Transatlantic Lens. Her new book is Childless by Choice: The Meaning and Legacy of a Child-free Life.  She taught English and American literature at three universities – West of England, Warwick and Exeter, where she was Head of English and is now Emeritus Professor. She has published widely on the literature and culture of the American South, as well as British and American women's writing. For many years, she has been a Chair, Curator and participant in many literary festivals, including Bath, Cheltenham, Oxford, Fowey, Budleigh Salterton and Clifton, and she was the first Director of the Liverpool Literature Festival. She is currently writing a book on Daphne du Maurier for the series 'Writers and Their Works'. She lives in Bristol. __ Join an upcoming Kids or Childfree workshop here: kidsorchildfree.com/workshop Check out our free resources here, or at kidsorchildfree.com/free-resources And don't forget to subscribe, rate, and review The Kids or Childfree Podcast if you love what you're hearing! You can leave a rating and review on Apple Podcasts, or a rating on Spotify. Find us online at www.kidsorchildfree.com. Instagram: www.instagram.com/kidsorchildfree TikTok: www.tiktok.com/@kidsorchildfree

Send us a textRepublished this year by Valancourt books, Rosalind's Ashe's 1976 gothic thriller Moths is a spine-chilling tale of supernatural seduction featuring a femme fatale who lures men to their deaths like lepidoptera to a flame. Gothic lit expert Lisa B. Kröger joins us to discuss Ashe's knack for channeling female rage in a novel that's been compared to Daphne du Maurier's Rebecca.Mentioned in this episode:Moths by Rosalind AsheMonster, She Wrote by Lisa B. Kröger and Melanie R. AndersonToil and Trouble: A Women's History of the Occult by Lisa B. Kröger and Melanie R. AndersonOriginal 1976 cover art of MothsLost Ladies of Lit Episode No. 58 on Monster, She Wrote with Lisa B. Kröger and Melanie R. AndersonLost Ladies of Lit Episode No. 240 on Angela CarterLisa TuttleRebecca by Daphne du MaurierHurricane Wake by Rosalind AsheLiterary Houses by Rosalind AsheDark Runner by Rosalind AsheSinister AffirmationsMidnight Movie clipSupport the showFor episodes and show notes, visit: LostLadiesofLit.comSubscribe to our substack newsletter. Follow us on instagram @lostladiesoflit. Email us: Contact — Lost Ladies of Lit Podcast

En este episodio especial de Halloween, analizamos la carta de Kelly, quien confiesa no poder superar al "fantasma" del pasado de su novio Saúl. Hace unos años Saúl estaba enamorado de Frida, a quien él escribió cartas y poemas que todavía tiene guardados.Entre celos, comparaciones e inseguridades, reflexionamos sobre los llamados “celos retroactivos”, la idealización del pasado y cómo nuestras propias distorsiones cognitivas pueden sabotear el presente.Inspirada en el libro Rebecca de Daphne du Maurier, Isa cuestiona el mito del “amor de tu vida”, desmonta la romantización del sufrimiento amoroso y nos invita a aceptar que amar también implica aceptar el pasado del otro.Envíanos tu carta a: laverdaddelascosas@somosproceso.mxSíguenos en redes:⁠⁠⁠⁠⁠Isa Canales - Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Isa Canales - Tiktok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠La verdad de las cosas - Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠La verdad de las cosas - Tiktok⁠⁠⁠⁠⁠CONTACTO: somosproceso@em.agency

The Birds is a 1963 American natural horror-thriller film produced and directed by Alfred Hitchcock, released by Universal Pictures and starring Jessica Tandy, Rod Taylor, Suzanne Pleshette, and introducing Tippi Hedren in her film debut. Loosely based on the 1952 short story of the same name by Daphne du Maurier, it focuses on a series of sudden and unexplained violent bird attacks on the people of Bodega Bay, California, over the course of a few days. The screenplay is by Evan Hunter, who was told by Hitchcock to develop new characters and a more elaborate plot while keeping du Maurier's title and concept of unexplained bird attacks.   Watch The Birds: https://www.amcplus.com/movies/the-birds--1063949    Out this Month: Psycho The Birds Patreon: Hot Take: Shelby Oaks      Get in Touch:  Support us on Patreon: https://www.patreon.com/TheFilmFlamers  Visit our Store: https://the-film-flamers.printify.me/  Instagram: https://www.instagram.com/thefilmflamers  Facebook: https://www.facebook.com/TheFilmFlamers/ Letterboxd: https://letterboxd.com/thefilmflamers/  (NEW!) SCANS Movie Rating Calculator: https://scans.glide.page/  Our Website: https://www.filmflamers.com  Call our Hotline: 972-666-7733     Our Patrons:    Alex M Andrew Bower Anthony Criswell Ashlie Thornbury BattleBurrito Benjamin Gonzalez Bennett Hunter BreakfastChainsawMassacre Brittany Bellgardt Call me Lestat. Canadianmatt3 Christopher Nelson Dan Alvarez Dirty Birdy eliza mc Gia Gillian Murtagh GlazedDonut GWilliamNYC Irwan Iskak James Aumann Jessica E Joanne Ellison Joe Criswell Josh Young Karl Haikara Kimberly McGuirk Kitty Kelly Kyle Kavanagh Laura O'Malley Lisa Libby Lisa Söderberg Livi Loch Hightower M Hussman Matt Walsh Matthew McHenry Nicole McDaniel Nikki Niko Allred Nimble Wembley Pablo the Rhino Penelope Nelson random dude Richard Best Robert Eppers Rosieredleader Ryan King SHADOW OF THE DEAD SWANN Sharon Sinesthero William Skinner   Sweet dreams...      "Welcome to Horrorland" by Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ Includes music by Karl Casey @ White Bat Audio

This week's spooky season offering dives past the whole haunted house experience to go deeper. What if the haunting was more specific? An attic or cellar is well known trope, but what about a playground? A nursery? A clock or a mirror? What do those things say about the state of the main character's mind in storytelling? And what exactly is the quiet terror of the mundane more effective than dripping gore and howling monsters? Jules and Madeleine tackle these questions and more.   On the slab this week: Rebekah - Daphne du Maurier, The Yellow Wallpaper - Charlotte Perkins Gilman, The Scald Crow - Grace Daly and many more

Did Daphne du Maurier design the paratroopers' maroon beret? Why was the defence of Malta so poor? What do the Army Air Corps do? Join James Holland and Al Murray as they discuss a broad range of topics in this show, including the hagiography of RAF ace, Sir Douglas Bader, and some top WW2 book recommendations. Start your free trial at ⁠patreon.com/wehaveways⁠ and unlock exclusive content and more. Enjoy livestreams, early access to podcast episodes, ad-free listening, bonus episodes, and a weekly newsletter packed with book deals and behind-the-scenes insights. Members also get priority access and discounts to live events. A Goalhanger Production Produced by James Regan Exec Producer: Tony Pastor Social: @WeHaveWaysPod Email: wehaveways@goalhanger.com Membership Club: patreon.com/wehaveways Learn more about your ad choices. Visit podcastchoices.com/adchoices

Daphne du Maurier, autora de Rebeca y heredera de una dinastía teatral británica, fue mucho más que una novelista gótica de éxito. Bajo la fachada de “dama inglesa” y esposa ejemplar escondía un mundo secreto: el del chico en la caja, esa identidad masculina interior con la que se permitía amar a mujeres como Ellen Doubleday, su amor imposible, o Gertrude Lawrence, la actriz que sí correspondió a su pasión. En este episodio nos adentramos en la compleja sexualidad de du Maurier, marcada por deseos no heteronormativos que influyeron en su vida, en sus relaciones y en sus obras más célebres. Descubriremos cómo Rebeca, Mi prima Rachel o September Tide esconden claves de sus amores prohibidos, y cómo la escritora vivió dividida entre la obediencia social y la libertad interior. Con humor, ironía y reivindicación, sacamos a la luz a una de las grandes narradoras del siglo XX como lo que también fue: una gran marica de la historia. La música del episodio: https://open.spotify.com/playlist/4DoXxSqWI1kN6WIQFilpqZ?si=dc2901f97f104022

Daphne du Maurier (1907-1989) was an English novelist and playwright whose gothic romance works have been described as “moody and resonant." Many of her novels and short stories have been adapted into films including: Rebecca, Frenchman's Creek, My Cousin Rachel, The Birds, and Don't Look Now.For Further Reading: Daphne du Maurier Mistress of menaceDaphne du Maurier, 81, Author Of Many Gothic Romances, DiesHow Daphne du Maurier became Hitchcock's favourite author For the past six years, we've been telling the stories of women you may or may now know– but definitely should. This month, we're bringing back our favorite Womanica episodes from across our back catalog. These are women throughout time and around the world who made their mark. Hosted on Acast. See acast.com/privacy for more information.

This time on The Good Old Days of Radio Show, we're looking at another rare take on Daphne du Maurier's The Birds. This is an hour-long version from 1953, a year earlier than the Escape version we presented last week. The story here follows John Waite (played in this version by Herbert Marshall), a writer living with his family on the Dover coast, as the birds go from being a minor annoyance to a terrifying, organized threat that forces the family to barricade themselves inside their home.  Visit our website: https://goodolddaysofradio.com/ Subscribe to our Facebook Group for news, discussions, and the latest podcast: https://www.facebook.com/groups/881779245938297 Our theme music is "Why Am I So Romantic?" from Animal Crackers: https://www.amazon.com/dp/B01KHJKAKS/ref=cm_sw_em_r_mt_dp_MK8MVCY4DVBAM8ZK39WD

On this episode we bring you “More Monsters” with an early radio adaptation of Daphne du Maurier's classic short story The Birds. Long before Alfred Hitchcock turned it into a famous film, the story was produced on the radio series Escape, starring British actor Ben Wright. John sets the stage with some background on the show and the tricky business of preserving old recordings. The story is a chilling tale of a family on the English coast facing wave after wave of birds that seem to be growing more aggressive and more organized than anyone could have imagined. Visit our website: https://goodolddaysofradio.com/ Subscribe to our Facebook Group for news, discussions, and the latest podcast: https://www.facebook.com/groups/881779245938297 Our theme music is "Why Am I So Romantic?" from Animal Crackers: https://www.amazon.com/dp/B01KHJKAKS/ref=cm_sw_em_r_mt_dp_MK8MVCY4DVBAM8ZK39WD

Welcome to Episode 242! It's great to know we have some risk takers among us! We dared readers of our monthly newsletter to sign up for the fourth quarter readalong prior to knowing what the book was and a handful of adventurous readers took us up on it. Thank you for trusting us, and listen to this episode to hear the announcement about the Q4 readalong book. Some of the recent reads we discuss are: GOODBYE WITHOUT LEAVING by Laurie Colwin THE IMPROBABLE VICTORIA WOODHULL by Eden Collinsworth THE WEDDING PEOPLE by Alison Espach HOTEL SILENCE by Auđur Ava Ólafsdóttir (translated by Brian Fitzgibbon) THE PECULIAR GIFT OF JULY by Ashley Ream “The Lady's Maid's Bell” and “The Eyes” from THE GHOST STORIES OF EDITH WHARTON “Luella Miller” from HORROR CLASSICS edited by Darryl Jones “The Wind in the Rose-Bush” by Mary Wilkins Freeman from THE PENGUIN BOOK OF GHOST STORIES edited by Michael Newton In Biblio Adventures, we recap the fun talk we had with Patrons at our monthly Reading Salon about books we've wanted to throw across the room. Some of us resisted the urge, some did not. Emily watched a conversation about REBECCA by Daphne du Maurier between Ali Velshi and Jennifer Egan. We took a ride down to Bridgeport for lunch and a visit to Kindred Thoughts Books. We also do a quick recap of our #BigBookSummer reads. We don't go into great detail since we've talked about the books in recent episodes. If you're interested, we did a more indepth recap on our YouTube channel. (www.youtube/BookCougars) Big thanks to all of our patrons and financial donors who help keep the podcast going, and to those who spread the word and stay in touch with us. We literally couldn't do this without you! Happy Listening and Happy Reading! https://www.bookcougars.com/blog-1/2025/episode242

The tightening of Donald Trump's authoritarian grip on power is in evidence this week in a series of legally dubious firings of top officials. We'll talk about the state of these standoffs and the one guardrail that will be hardest for Trump to break past; Dr Jennifer Layden, one of the top officials that resigned in protest from the CDC this week, speaks out about how the recent chaos at the agency will endanger public health; and this week's Velshi Banned Book Club meeting features “Rebecca” by Daphne du Maurier.

Send us a textIn this episode, I chat with author Kendra Elliot about her new novel, Her First Mistake.Kendra Elliot has sold thirteen million books, hit the Wall Street Journal top ten bestseller list more than a dozen times, and is a three-time winner of the Daphne du Maurier award. She is an International Thriller Writers' finalist and a Romantic Times finalist. She grew up in the lush and rainy Pacific Northwest. Synopsis of Her First Mistake:Thirteen years ago, Assemblyman Derrick Bell was murdered in his home by an intruder. His wife, Noelle Marshall, was left for dead. The crime was unsolved, but it wasn't forgotten.Today the FBI is tackling a fresh perspective on the case and looking to Noelle, now a detective for the Deschutes County sheriff's office, for new clues. It is reopening everything Noelle thought was behind her. Memories of her escape from a traumatic childhood. A marriage that wasn't the perfect love story she'd been promised. And a husband whose charm and privilege hid a dark side. But Noelle has been hiding something too: a secret about the night Derrick died that she has never told anyone.As past and present and leads and misleads collide, one thing is frighteningly clear. Derrick's murder wasn't just unsolved. It's unfinished. And only the truth—no matter the risk—can save the next victim.Kendra ElliotHer First Mistake, Kendra ElliotJulia Quinn BooksStephanie LaurensKaren Marie MoningSupport the showThe Bookshop PodcastMandy Jackson-BeverlySocial Media Links

In this episode of 13: A Taylor Swift Fan Podcast, we break down “Tolerate It”—the Track 5 on Evermore, and one of the most heart-wrenching songs in Taylor Swift's entire discography. From lyrical parallels to Rebecca by Daphne du Maurier to raw Eras Tour performance memories, we explore why this specific type of hurt still resonates with Swifties everywhere. We dive into Taylor's genius use of metaphor (“I made you my temple, my mural, my sky”), discuss the infamous Track 5 tradition, and reflect on the live Eras Tour performance—and speculate why “Tolerate It” was cut from later setlists. Plus: Easter eggs, hidden references to Joe Alwyn, the Aaron Dessner connection, and a Gilmore Girls prop surprise that'll blow your mind. Featuring the bittersweet farewell of our beloved intern Saahir, this episode is packed with Swiftie tears, fan theories, and listener love. Whether you're here for the Evermore storytelling or Track 5 therapy, this episode celebrates everything that makes Taylor Swift a lyrical legend. There are lots of ways to reach us, including our exclusive Lobster Lounge! Join in on the discussion there at https://station.page/13 , or let us know on the socials! CONTACT THE PODCAST! Voicemail Number- (689) 214-1313 Email- ⁠⁠the13podcast@gmail.com⁠⁠ IG- ⁠⁠https://www.instagram.com/the13podcast⁠⁠ TikTok- ⁠⁠https://www.tiktok.com/@the13podcast⁠⁠ Twitter- ⁠⁠https://twitter.com/the13TSpodcast⁠⁠ YouTube- ⁠⁠https://www.youtube.com/@13ATaylorSwiftFanPodcast⁠⁠ FOLLOW US! Ana - ⁠⁠https://www.instagram.com/anaszabo13⁠⁠ Lacey – ⁠⁠https://www.instagram.com/laceygee13⁠⁠ Amy – ⁠⁠https://www.instagram.com/amysnichols⁠⁠ Nick – ⁠⁠https://www.instagram.com/nickadamsonair⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode of 13: A Taylor Swift Fan Podcast, we break down “Tolerate It”—the Track 5 on Evermore, and one of the most heart-wrenching songs in Taylor Swift's entire discography. From lyrical parallels to Rebecca by Daphne du Maurier to raw Eras Tour performance memories, we explore why this specific type of hurt still resonates with Swifties everywhere. We dive into Taylor's genius use of metaphor (“I made you my temple, my mural, my sky”), discuss the infamous Track 5 tradition, and reflect on the live Eras Tour performance—and speculate why “Tolerate It” was cut from later setlists. Plus: Easter eggs, hidden references to Joe Alwyn, the Aaron Dessner connection, and a Gilmore Girls prop surprise that'll blow your mind. Featuring the bittersweet farewell of our beloved intern Saahir, this episode is packed with Swiftie tears, fan theories, and listener love. Whether you're here for the Evermore storytelling or Track 5 therapy, this episode celebrates everything that makes Taylor Swift a lyrical legend. There are lots of ways to reach us, including our exclusive Lobster Lounge! Join in on the discussion there at https://station.page/13 , or let us know on the socials! CONTACT THE PODCAST! Voicemail Number- (689) 214-1313 Email- ⁠⁠the13podcast@gmail.com⁠⁠ IG- ⁠⁠https://www.instagram.com/the13podcast⁠⁠ TikTok- ⁠⁠https://www.tiktok.com/@the13podcast⁠⁠ Twitter- ⁠⁠https://twitter.com/the13TSpodcast⁠⁠ YouTube- ⁠⁠https://www.youtube.com/@13ATaylorSwiftFanPodcast⁠⁠ FOLLOW US! Ana - ⁠⁠https://www.instagram.com/anaszabo13⁠⁠ Lacey – ⁠⁠https://www.instagram.com/laceygee13⁠⁠ Amy – ⁠⁠https://www.instagram.com/amysnichols⁠⁠ Nick – ⁠⁠https://www.instagram.com/nickadamsonair⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Agatha award nominee Jessica Estevao loves fountain pens, red convertibles and throwing parties. She lives in northern New England with her dark and mysterious husband, exuberant children and a precocious poodle named Sam. When away from her desk, she obsessively knits wool socks and enthusiastically speaks Portuguese with a shocking disregard for the rules of grammar. As Jessica Ellicott she indulges her passion for historical fiction and all things British by writing the Beryl and Edwina Mysteries and the WPC Billie Harkness Mysteries. Jessica's books have twice received starred reviews from Publishers Weekly as well as one from Library Journal. Her first novel won the Daphne du Maurier award for mystery. As Jessica Estevao she wrote the Change of Fortune Mysteries. When inspiration strikes she writes contemporary mysteries as Jessie Crockett. Her first stand-alone novel, written as Jessica Everett, Last Summer at Maine Chance will release in May 2026.Website: www.jessicaellicott.comFacebook Page: https://www.facebook.com/jessicaellicottInstagram: https://www.instagram.com/jessicaellicottauthor/LinkedIn: https://www.linkedin.com/in/jessie-crockett-31554218/*****************About SinCSisters in Crime (SinC) was founded in 1986 to promote the ongoing advancement, recognition and professional development of women crime writers. Through advocacy, programming and leadership, SinC empowers and supports all crime writers regardless of genre or place on their career trajectory.www.SistersinCrime.orgInstagram: https://www.instagram.com/sincnational/Bluesky: https://bsky.app/profile/sincnational.bsky.socialThreads: https://www.threads.net/@sincnationalFacebook: https://www.facebook.com/sistersincrimeTikTok:: https://www.tiktok.com/@sincnationalThe SinC Writers' Podcast is produced by Julian Crocamo https://www.juliancrocamo.com/

Welcome to Episode 239! Playwright Laura Thoma joins us to talk about her first commissioned play, Letter to My Soul, which will premiere at the GreenStage Guilford Live Arts Festival on August 10th. We discuss another story from THE PENGUIN BOOK OF GHOST STORIES, “At the End of the Passage” by Rudyard Kipling, which didn't seem very ghostly to us. Other stories we've read and discuss include BUCKEYE by Patrick Ryan (out 9/2/2025); SUMMER ON THE LAKES, IN 1843 from the new Library of American edition, MARGARET FULLER: COLLECTED WRITINGS, edited by Brigitte Bailey, Leslie Eckel, and Megan Marshall; NANAVILLE by Anna Quindlen; THE BELGIAN GIRLS by Kathryn J Atwood; HOW TO SAY BABYLON by Safiya Sinclair; and REBECCA by Daphne du Maurier. In BiblioAdventures, we had the opportunity to attend the launch event for the New Haven Memory Lab at the Ives Main Library in New Haven, Connecticut. The lab is part of the Beinecke's New Haven Community Archives Support program. It provides free resources for people to digitize their family history or their organization's records. We're reading some great books this summer and are excited about new releases and events on the horizon. Happy Listening and Happy Reading! https://www.bookcougars.com/blog-1/2025/episode239

Happy book club, everyone!! Today, we are talking about the beloved classic, Rebecca by Daphne du Maurier! We talk about it all, from the wild Mrs. Danvers, to the duality of womanhood, to the little freak our narrator is. Don't forget to stay to the end to find out what we're reading for August. :) Happy listening, and don't forget to check us out on Instagram and TikTok! Book Club Quiz: What Literary Heroine are You?

346 - Was suspense writer Daphne du Maurier's dream-filled short story, "The Happy Valley," really happy? And how does one explain that mysterious, missing grave?

This week we return once again to Manderley. We podcasted about Rebecca a while back during our Best Picture Oscar countdown, and now we encounter it again in our Hitchcock countdown. Tune in to hear us discuss how the film has held up for us.***SPOILER ALERT*** We do talk about this movie in its entirety, so if you plan on watching it, we suggest you watch it before listening to our takes.A Selznick International Picture. Released on April 12, 1940. Produced by David O. Selznick and Directed by Alfred Hitchcock. Written by Robert E. Sherwood, Joan Harrison, Philip MacDonald, and Michael Hogan based on the novel by Daphne du Maurier. Starring Joan Fontaine, Laurence Olivier, Judith Anderson, George Sanders, Gladys Cooper, Reginald Denny, C. Aubrey Smith, and Florence Bates. Cinematography by George Barnes. Edited by Hal C. Kern and James E. Newcom. Music by Franz Waxman. Ranking: 6 out of 52. Ranking movies is a reductive parlor game. It's also fun. And it's a good way to frame a discussion. We aggregated over 70 ranked lists from critics, fans, and magazines Rebecca got 2,730 ranking points.

Ever since Franz Anton Mesmer induced trance-like states in his Parisian subjects in the late eighteenth century, dressed in long purple robes, hypnosis has been associated with performance, power and the occult.  It has exerted a powerful hold over the cultural imagination, featuring in novels and films including Bram Stoker's Dracula and George du Maurier's Trilby - and it was even practiced by Charles Dickens himself.But despite some debate within the medical establishment about the scientific validity of hypnosis, it continues to be used today as a successful treatment for physical and psychological conditions. Scientists are also using hypnosis to learn more about the power of suggestion and belief. With: Catherine Wynne, Reader in Victorian and Early Twentieth-Century Literature and Visual Cultures at the University of HullDevin Terhune, Reader in Experimental Psychology at King's College LondonAndQuinton Deeley, Consultant Neuropsychiatrist at the South London and Maudsley NHS Foundation Trust, and Senior Lecturer at the Institute of Psychiatry, Psychology and Neuroscience at King's College London, where he leads the Cultural and Social Neuroscience Research Group.Producer: Eliane GlaserReading list:Henri F. Ellenberger, The Discovery of the Unconscious: The History and Evolution of Dynamic Psychiatry (Vol. 1, Basic Books, 1970)William Hughes, That Devil's Trick: Hypnotism and the Victorian Popular Imagination (Manchester University Press, 2015)Asti Hustvedt, Medical Muses: Hysteria in Nineteenth-Century Paris (Bloomsbury, 2011)Fred Kaplan, Dickens and Mesmerism: The Hidden Springs of Fiction (first published 1975; Princeton University Press, 2017)Wendy Moore, The Mesmerist: The Society Doctor Who Held Victorian London Spellbound (Weidenfeld and Nicolson, 2017)Michael R. Nash and Amanda J. Barnier (eds.), The Oxford Handbook of Hypnosis Theory, Research, and Practice (Oxford University Press, 2012)Judith Pintar and Steven Jay Lynn, Hypnosis: A Brief History (John Wiley & Sons, 2008)Amir Raz, The Suggestible Brain: The Science and Magic of How We Make Up Our Minds (Balance, 2024)Robin Waterfield, Hidden Depths: The Story of Hypnosis (Pan, 2004) Alison Winter, Mesmerized: Powers of Mind in Victorian Britain (Chicago University Press, 1998) Fiction: Thomas Mann, Mario and the Magician: & other stories (first published 1930; Vintage Classics, 1996)George du Maurier, Trilby (first published 1894; Penguin Classics, 1994)Bram Stoker, Dracula (first published 1897; Penguin Classics, 2003)In Our Time is a BBC Studios Audio production

Front Row Classics is taking a look at the only Best Picture winning film from Alfred Hitchcock's canon. Brandon is joined by Peter Martin to discuss 1940's Rebecca. The film remains a favorite due to its gothic atmosphere and stellar performances. Brandon and Peter discuss the similarities and differences from Daphne du Maurier's novel along with the battle of wills between Hitchcock and producer David O. Selznick. The two also praise the performances of Laurence Olivier, Joan Fontaine and Judith Anderson.