Podcasts about Monster

This is The Zone of Disruption! This is the I AM RAPAPORT: STEREO PODCAST! His name is Michael Rapaport aka The Gringo Mandingo aka  aka The People's Pickle aka The Jewish Brad Pitt aka Captain Colitis aka The Disruptive Warrior aka Mayor Rapaport 2029 and he is here to discuss: So much smoke in the air on the East Coast Champion New York Knicks honored at The ESPYs Fantasy Football season approaching I Play Rocky Trailer excitement & what Rocky means to me Reality TV being a great escape The State of NYC Under a Smiling Monster & a whole lotta mo'. This episode is not to be missed! CaptainPicks To Win In Sports Betting: https://www.winible.com/checkout/1357777109057032537?store_url=/captainpicks&c=kickoff Rate & Review on Apple Podcasts or Spotify Send questions & concerns to: iamrapaportpodcast@gmail.com Subscribe to Rapaport's Reality Feeds: iHeartRadio: https://www.iheart.com/podcast/867-rapaports-reality-with-keb-171162927/ Apple Podcasts: https://podcasts.apple.com/us/podcast/rapaports-reality-with-kebe-michael-rapaport/id1744160673 Spotify: https://open.spotify.com/show/3a9ArixCtWRhfpfo1Tz7MR Pandora: https://www.pandora.com/podcast/rapaports-reality-with-kebe-michael-rapaport/PC:1001087456 Amazon Music: https://music.amazon.com/podcasts/a776919e-ad8c-4b4b-90c6-f28e41fe1d40/rapaports-reality-with-kebe-michael-rapaport Stand Up Comedy Tickets on sale at: MichaelRapaport

On Monday's Mark Levin Show, the Iranian regime's ballistic missiles have caused more American casualties -this regime must be destroyed with no further timeouts, negotiations, or delays, as it's their nature is to string out conflicts while rebuilding just enough capacity to outlast the Trump administration and complicate matters through the midterms via Democratic impeachment threats. The Army identified two soldiers killed in from Iran's attack at Mufuak Salti Air Base in Jordan—1st Lt. Tyler James Freean, and Private Isabella Gonzalez. President Trump has directed that Iran will pay many times over for every American killed. Also, an armed lunatic set off an incendiary device in an apparent anti-ICE attack outside a federal building housing FBI and ICE offices in NYC. Violence against ICE is up 1,300%. This is what happens when Democrats repeatedly demonizing ICE as Nazis who “disappear” people, along with similar rhetoric against Trump, Republicans, Netanyahu, and Israel.   Later, the Tate brothers, once celebrated and applauded by figures in the Woke Reich like Tucker Carlson, and Steve Bannon, are now detained on a UK provisional arrest warrant seeking extradition for dozens of rapes, human trafficking, and related charges. These are scumbags running a slave sex operation and are not conservatives or people to promote or defend. These thugs and their enablers should be rejected - MAGA supporters want nothing to do with them. Afterward, the ICC is a complete political setup job that the United States and Israel do not recognize. No, Zohran Mamdani cannot arrest Benjamin Netanyahu while he's at the UN in NYC – it's a crime to attempt to arrest an elected head of state. Mamdani is hypocritically targeting only Netanyahu while giving a pass to mass-murdering dictators and leaders from Arab, Muslim, and other regimes. Finally, the growing cabal of Marxist Islamists, who want to destroy America, will swallow the Democrat leadership. They continue to claim they are for the “working people.” Marxist polices enslave the working people. The mass grave in in communist China, the Soviet Union, and North Korea were all filled with hardworking people who rejected those systems. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Retired FBI agent and criminal profiler Candice DeLong examines the horrifying case of Jeffrey Dahmer, one of America's most infamous serial killers. Between 1978 and 1991, young men and boys began disappearing from Milwaukee, Wisconsin, many from vulnerable communities whose disappearances drew little attention. When police finally uncovered the truth inside Dahmer's apartment, they found evidence of unimaginable brutality that shocked the nation. By the time he was arrested, 17 victims had been murdered. Candice explores how Dahmer's compulsive fantasies, profound emotional isolation, and escalating need for control evolved into increasingly gruesome crimes, and how missed opportunities by law enforcement allowed one of history's most notorious killers to evade capture for years.Audible subscribers can listen to all episodes of Killer Psyche ad-free right now. Join Audible today by downloading the Audible app.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode, we begin our three-part Big 12 preview by taking a conference-wide look at the contenders, challengers and mystery teams shaping the 2026 season. Texas Tech enters as the defending champion and the clear center of attention, but does the conference’s best roster still have enough at quarterback and on defense to remain on top? We also examine why BYU feels like the safest alternative and whether Houston is ready to turn last year’s breakthrough into something even bigger. From there, we sort all 16 teams into tiers and work through a crowded middle class that may be deeper than either of us expected. How much should Utah’s infrastructure matter after major changes on the sideline and along both lines of scrimmage? Can Arizona, TCU or Kansas State stay in the championship race? Are we falling too hard for Oklahoma State’s potential, and how much faith should we place in Kenny Dillingham as Arizona State faces the conference’s most difficult schedule? We also identify the players we are most interested in watching, debate several new quarterback situations and make our early Big 12 Championship Game predictions. Plus, the Monster Energy sponsorship inspires a shady monetization strategy, Willie Fritz becomes the world’s most dependable roofing contractor, and one verbal stumble launches a questionable new Cincinnati business venture. Timestamps:0:00 - Intro3:01 - The Monster Energy Big 12?6:25 - The Basics & Big Themes17:05 - Surprise Observations20:09 - Contender TiersSupport the show!: https://www.patreon.com/solidverbalSee omnystudio.com/listener for privacy information.

Every coastal people on earth knows the same rule: if something takes you in the water, you swim for shore. The shore is safety. The A-mi-kuk does not care about the shore. Four long arms. No legs. A body of slick, naked hide, like an animal that was skinned and never got the message. It rises up under kayaks off the Alaskan coast and drags men down into the silt. And when you claw your way onto the mud, certain you have survived it, it keeps coming. It swims through solid ground the way it swims through the sea. Under the tundra. Under the ice. Under the floor of your house. This week, Carman goes into the folklore of the Yukon-Kuskokwim Delta, separates the real ethnographic record from a century of cryptid encyclopedias copying each other, and tells the story of two brothers, a fishing net, and a thing that peels its victims out of their own skin. Because the A-mi-kuk was never a story about the sea. It was a story about the fact that the ground is a promise nobody ever actually made you. Content warning: graphic depiction of a fatal attack, including detailed injury and body horror. Freaky Folklore is part of the Eeriecast Network. Every show at eeriecast.com. Watch on YouTube for the full animated experience. More from Carman: Deadly Intent, Carman's Crypt, and Destination Terror.   #FreakyFolklore #Amikuk #AMiKuk #Amikuq #AlaskanFolklore #AlaskaCryptid #Yupik #Inupiaq #BeringSea #YukonKuskokwim #ArcticHorror #Cryptid #Cryptozoology #FolkloreHorror #IndigenousFolklore #SeaMonster #ScaryStories #HorrorPodcast #FolklorePodcast #Eeriecast #CarmanCarrion #CreepyPodcast #MythsAndLegends #MonsterFolklore #BodyHorror #FolkHorror   EXPLORE MORE SPINE-CHILLING CONTENT: Freaky Folklore: https://www.eeriecast.com/podcasts/freaky-folklore Carman's Crypt (Original Horror): https://www.carman-carrion.com/ Deadly Intent (True Crime): https://www.carman-carrion.com/ Destination Terror: https://www.eeriecast.com/podcasts/destination-terror ________________________________________ SUPPORT THE SHOW: Buy Me a Coffee: https://buymeacoffee.com/carmancarrion ________________________________________ CONNECT WITH CARMAN: Website: https://www.carman-carrion.com/ YouTube: https://www.youtube.com/@CarmanCarrion Twitter/X: https://x.com/CarmanCarrion Instagram: https://www.instagram.com/carmancarrion/ ________________________________________ SUBSCRIBE & REVIEW: Spotify: https://open.spotify.com/show/0uiX155WEJnN7QVRfo3aQY iTunes: https://podcasts.apple.com/us/podcast/freaky-folklore/id1550361184 Your support helps bring you more terrifying tales. ________________________________________ DISCOVER MORE HORROR: http://eeriecast.com/ https://www.carman-carrion.com/ ________________________________________ MUSIC CREDITS: Music and sound effects provided by: ElevenLabs Learn more about your ad choices. Visit podcastchoices.com/adchoices

Over the years, we've had guests share the details of Bigfoot sightings they've had in some unexpected places. Tonight's guest, Norman Sollie, has to be close to the top of the list of most unexpected places for a Bigfoot sighting, however. That's because he had his sighting just 40 miles from downtown Chicago. He's had encounters with Sasquatch in other places too, like Alaska. We hope you'll tune in and listen to him chronicle all those experiences.If you'd like to purchase a copy of Norm's book, “Before Patty Volume I: Patrick-The Sasquatch/Human Hybrid & Our Genetic Inheritance,” which we hope you will, please visit…https://www.amazon.com/Before-Patty-Patrick-Sasquatch-Inheritance/dp/1948189100If you've had a Bigfoot sighting and would like to be a guest, on the show, please go to https://MyBigfootSighting.com and let us know. We'd love to hear from you. Premium memberships are now available! If you'd like to be able to listen to the show without ads and have full access to premium content, please go to https://MyBigfootSighting.com to find out how to become a premium member.If you'd like to help support the show by buying your own My Bigfoot Sighting T-shirt, sweatshirt, or tank top, please visit the My Bigfoot Sighting Show Store Page, by going to...https://dogman-encounters.myshopify.com/collections/mens-my-bigfoot-sighting-collectionShow's theme song, "Banjo Music," courtesy Nathan BrumleyI produce 4 other shows that are available on your favorite podcast app. If you haven't checked them out, here are links to all 4 channels on the Spreaker App...Bigfoot Eyewitness Radio… https://www.spreaker.com/show/bigfoot-eyewitness-radio_1 Dogman Encounters…  https://www.spreaker.com/show/dogman-encounters-radio_2 Dogman Tales…  https://www.spreaker.com/podcast/dogman-tales--6640134My Paranormal Experience…  https://www.spreaker.com/show/my-paranormal-experience Thanks for listening!

The team's first assignment has gone off the rails almost immediately. As Gary works alongside Sister Quarrel to investigate the threat plaguing Weft, the rest of the team begins following paths of their own. Pearl and Lune uncover unsettling signs in the depths of the Clutching Woods, while Sisna's search for her missing companions finds her swept away into a mystery of her own. With each Custodian uncovering a different piece of the puzzle, it becomes clear that the dangers of Weft extend far beyond a single stray god.-------If you liked this episode, please leave a rating and review to help us spread the word and don't forget to share with your friends. We love friends!Subscribe to our Patreon: Head to our ⁠⁠Patreon ⁠⁠for bonus content you won't want to miss out on. Support the Show: Follow us on social media, buy some merch, support us on Twitch, and check out our Wiki by heading to our ⁠⁠DirectMe Profile.⁠⁠Join us on Discord! Come hang out with the cast on⁠⁠ The Monster's Playbook Discord⁠⁠ server where we can discuss the latest episodes, trade theories, answer questions, and get to know you, our listeners, a little better. -------Cast:David as the Master of CeremoniesLauren as Lune Ward (Mr. Howl)Drew as Gary Fletcher (Pox Martyr)Emma as Pearl Frogsong (Trawler Man)Miah as Sisna Liora (The Beast That Stalks in the Tall Grass)This episode was edited by Miah and Lauren.Cover art by DavidTheme song and incidental music from Epidemic Sound.

Luister hier de volledige aflevering! Beul Franz Schmidt was de meest gevreesde man van de stad. Dagelijks werkte hij met pijn en de dood. Hoewel hij niets liever wilde dan met zijn beroep stoppen, voerde hij zijn werk met grote zorgvuldigheid uit en maakte hij van executies waren spektakels. Dankzij zijn dagboek krijgen we een uniek inkijkje in een van de meest gehate, maar misschien ook meest menselijke beroepen uit de geschiedenis. Tom en Mart de Kruif duiken in het wrede verleden van het strafrecht.Veldheren Historia is een coproductie van Corti Media en National Geographic Historia.See omnystudio.com/listener for privacy information.

From surviving one of the darkest childhoods imaginable to becoming one of the most feared knockout artists in the UFC, this is the remarkable and unflinching life story of Drew McFedries.In Episode #339 of the MMA History Podcast, MMA Detective Mike Davis and Joey Venti sit down with former UFC middleweight contender Drew McFedries for one of the most powerful and honest interviews in the show's history. Drew opens up about growing up in a home destroyed by addiction and prostitution, where drug dealers and violent strangers constantly came through the house. As a young boy he became the protector for his younger brother and two little sisters, learning early that if he could not fight, the people he loved would pay the price. He discusses his mother's murder, being stabbed himself, and how every statistic suggested his life should have ended in prison, addiction, or an early grave.Instead, Drew walked into a gym and transformed into a devastating striker. The conversation explores his early days at the legendary Miletich Fighting Systems, the brutal sparring sessions, training alongside Matt Hughes and Robbie Lawler, and his rapid rise through Midwest tournaments. He shares stories from his first fights, the Lee Murray bout with no formal training, his battle with Crohn's disease that sidelined him for nearly a year, and his UFC debut on just 17 days notice against Alessio Sakara. Drew also reflects on key moments with fighters like Nate Quarry, Claude Patrick, Steve Dao, Tim Sylvia in his corner, and the unique challenges strikers faced in getting booked.Beyond the cage, this episode delves into deeper themes of survival, making different choices than the environment around him, family trauma, fatherhood considerations, and finding peace later in life through fishing, biking, and quiet reflection.This is far more than a typical fighter interview — it is a raw masterclass in resilience, personal accountability, and turning darkness into drive.Guest: Drew McFedriesEpisode: #339Fellow historians, welcome back to the only podcast 100 percent dedicated to preserving mixed martial arts history.Like and subscribe for more in-depth MMA stories direct from the fighters who lived them. Drop your thoughts in the comments.Instagram https://www.instagram.com/mmahistorypodcast?igsh=aHVweHdncXQycHBy&utm_source=qrSpotify https://open.spotify.com/show/3q8KsfqrSQSjkdPLkdtNWb?si=aL3D5Y3aTDi-PQZdweWL8gApple Podcast MMA History PodcastYouTube https://youtube.com/@MMAHistoryPodcast?si=bj1RBXTZ2X82tv_JOutro song: Power - https://tunetank.com/t/2gji/1458-powerMike - The MMA Detective - @mikedavis632 Cash App - $mikedavis1231Venmo - Mike-Davis-63ZELLE: Cutthroatmma@gmail.com / ph#: 773-491-5052 Thank You for your support#DrewMcFedries #MMAHistory #UFC #MiletichFightingSystems

Something lives beneath the desert town of Perfection, Nevada. On this week's Monster Mondays, we're going to find out what is causing these Tremors. Find new episodes of the Film Seizure Podcast every Wednesday and a new Monster Mondays each Monday at www.filmseizure.com Like what we do? Buy us a coffee! www.ko-fi.com/filmseizure Follow us on Facebook: www.facebook.com/filmseizure/ Follow us on BlueSky: https://bsky.app/profile/filmseizure.bsky.social Follow us on Mastodon: https://universeodon.com/@filmseizure Follow us on Instagram: www.instagram.com/filmseizure/ You can now find us on YouTube as well! The Film Seizure Channel can be found here: https://www.youtube.com/c/FilmSeizure

Monster from a Prehistoric Planet (1968) AIP Production #6715 AITV Package: 15 New Science Fiction Jeff and Cheryl fight back tears while watching the tender family drama Monster from a Prehistoric Planet.Screenplay by Iwao Yamazaki and Ryuzo Nakanishi English Dialogue by William Ross Produced by Hideo Koi Directed by Haruyasu Noguchi Starring: Tamio Kawaji as Hiroshi KurosakiYoko Yamamoto as Itoko Koyanagi Yuji Okada as Prof. Daize Tonooka Kōji Wada as MashidaTatsuya Fuji as George InoueKeisuke Inoue as Mr. Funazu, Playmate magazine ownerZenji Yamada as Captain of the Kamome-MaruBumon Koto as Chief of Obelisk IslandSaburô Hiromatsu as HosodaBinnosuke Nagao as Commander RikuMasaru Kamiyama as ProfessorKokan Katsura as Saburo HayashiShirô Oshimi as Oyama (Funazu's daughter?)Yoko Oyagi as AiharaMike Danine as Petty OfficerRuich Fidancer as Captain of the Sea AngelsPaul Scheman as Professor McDonaldA Nikkatsu Production Stream Monster from a Prehistoric Planet on Tubi, Fawsome, Fandango at Home, YouTube TV, or rent on Prime Video. Visit our website - https://aippod.com/ and follow the American International Podcast on Letterboxd, Instagram and Threads @aip_pod and on Facebook at facebook.com/AmericanInternationalPodcast  Get your American International Podcast merchandise at our store. Our open and close includes clips from the following films/trailers: How to Make a Monster (1958), The Brain That Wouldn't Die (1962), I Was a Teenage Werewolf (1957), High School Hellcats (1958), Beach Blanket Bingo (1965), The Wild Angels (1966), It Conquered the World (1956), The Abominable Dr. Phibes (1971), and Female Jungle (1955) 

Hour 1 of Cherokee Morning Monster Media Day sponsored by Hawkins County Gas Utility Jacob Townsend is joined by Cherokee head football coach Josh Hensley to preview the season for the Chiefs, along with a few players from Cherokee. Josh's interview is part of 24 Teams in 24 Days and sponsored by Erwin Paint and Body Shop. Then, Jacob is joined by Cherokee athletic director Andrew Morgan. Also, he talks with Cherokee boy's basketball coach Trey Morgan along with a few of his players. See omnystudio.com/listener for privacy information.

Hour 2 of Cherokee Morning Monster Media Day sponsored by Hawkins County Gas Utility Jacob Townsend is joined by Cherokee softball coach Shannon Mowell along with a couple of players to talk about their program. Then, he talks with Cherokee girl's basketball coach Jason Lawson to talk about his program along with a few players. Also, Jacob is joined by Cherokee baseball coach Augustus Fraley to talk about the baseball team along with a player. See omnystudio.com/listener for privacy information.

Hour 3 of Cherokee Morning Monster Media Day sponsored by Hawkins County Gas Utility Jacob Townsend talks with Cherokee track and field coach Chad Laster to talk about their successful year along with several of the program's athletes. Then, Jacob talks with Cherokee volleyball coach McKenzie Brewer about her program along with a couple of players. Also, Jacob wraps up the show with Cherokee athletic director Andrew Morgan. See omnystudio.com/listener for privacy information.

Was ist „das Böse“? Wo verbirgt es sich und wie kommt es zum Vorschein? Das Böse ist ein wesentlicher Bestandteil der christlich geprägten Kultur. Aber welche Rolle spielt das Böse in unserer vermeintlich aufgeklärten Zeit, in der wir den Glauben an einen allmächtige Gott durch den Glauben an den Szientismus, eine allmächtige Wissenschaft ersetzt haben? Wo bleibt da der „gute“ alte Teufel, ehemals dargestellt mit Hörnern und Pferdefuß? Für die Philosophin Hannah Arendt war das Böse kein Blut sabberndes Monster, kein Amok laufender Berserker aus einem amerikanischen Horrorfilm. Eher ein unauffälliger Beamter oder Angestellter, der gewissenhaft und pflichtbewusst seine Aufgaben erfüllt und nicht erkennt oder hinterfragt, was er anrichtet. Also jemand, der sein moralisches Urteil auslagert. Ähnlich einem Soldaten, der auf Befehl Menschen erschießt, weil das nun mal sei Job ist. Radio München widmet sich der Frage mit der vierteiligen Reihe: „Vier Masken des Bösen“ von Florian Dimitri Leupin. Jede Folge behandelt einen Schlüsselroman, in dessen Mittelpunkt jeweils ein Mensch steht, der sich selbst nie als böse empfindet, aber zum Komplizen des Bösen wird: Ein Bauarbeiter, der eine Straße baut, die später Panzer trägt. Ein Gastwirt, der Spitzel ist und sich für pflichtbewusst hält. Ein gestürzter Diktator, der seine Richter in Verlegenheit bringt. Ein Waisenjunge, dem ein System seine Rolle zuweist, ohne ihn je zu fragen. Vier Bücher, dieselbe Frage: Wann beginnt der Mensch, sich in den Dienst einer Macht zu stellen und wann beginnt er wieder, er selbst zu sein. Folge 1: „Die Parade – Ab wann man zu Komplizen wird“. Nachzulesen in der Online-Publikation „Ein Blick durchs Schlüsselloch“ auf Substack:https://einblickdurchsschluesselloch.substack.com/p/die-parade-ab-wann-man-zum-komplizen und auf der Website: einblickdurchsschluesselloch.ch Sprecher: Ulrich Allroggen Bild: Florian Dimitri Leupin Radio München www.radiomuenchen.net/​ @radiomuenchen www.facebook.com/radiomuenchen www.instagram.com/radio_muenchen/ twitter.com/RadioMuenchen odysee.com/@RadioMuenchen.net:9 rumble.com/user/RadioMunchen Radio München ist eine gemeinnützige Unternehmung. Wir freuen uns, wenn Sie unsere Arbeit unterstützen. GLS-Bank IBAN: DE65 4306 0967 8217 9867 00 BIC: GENODEM1GLS Bitcoin (BTC): bc1qqkrzed5vuvl82dggsyjgcjteylq5l58sz4s927 Spenden mit Lightning: rm@pareto.town

We're back on the Backwoods Cryptid Road Trip, and tonight we're pulling into Maryland, home of one of the most famous roadside monsters in America. In November of 1971, a family in Old Bowie went searching for a missing puppy named Ginger and found her decapitated near the railroad tracks off Fletchertown Road.Within weeks, a small-town newspaper headline reading "Residents Fear Goatman Lives" had grown into Washington Post coverage of a six-foot hairy creature walking upright through the Prince George's County woods, and the Maryland Goatman was born. In this episode, I trace the legend all the way back to its documented beginnings, from a 1971 college folklore project and the mad-scientist rumors surrounding the Beltsville Agricultural Research Center to the goat herder, the hermit, and the axe-wielding thing said to stalk lovers' lanes and Crybaby Bridge.I walk through the classic encounters the way the county has told them for fifty years, hooves on the blacktop behind a parked car, an axe blade in a door panel, screams over the campsites, and then I put on my old badge and show you what the evidence actually supports. From there the road trip goes deeper into Maryland's monster file, because the witnesses in 1971 never described a goat at all.They described a Bigfoot. We cover the Dwayyo attack outside Gambrill State Park in 1965, the Sykesville Monster flap of 1973 with its thirteen-inch footprint cast and Baltimore Zoo examination, a fisherman's daylight sighting on the Patapsco in 1981, the Harewood Park Monster, the Eastern Shore reports, and the giant that construction crews reported at the Arundel Mills site in 2000. It's a story about dark roads, headlights, bored teenagers, freight trains, and the one small casualty at the bottom of it all, and by the end you'll know exactly where the folklore stops and where the genuine mystery in the Maryland woods begins.Leave Brian A Voicemail Email BrianListen To Disturbing History Podcast Listen To Sasquatch Odyssey Podcast Have you experienced a Bigfoot sighting, Sasquatch encounter, Dogman experience, UFO sighting, or any unexplained cryptid or paranormal event deep in the woods? We want to hear your story.Email your encounter to brian@paranormalworldproductions.com for a chance to be featured on a future episode of Backwoods Bigfoot Stories.Backwoods Bigfoot Stories is a paranormal storytelling podcast featuring real Bigfoot encounters, Sasquatch sightings, Dogman reports, cryptid experiences, and true scary stories from the backwoods.Follow the show and turn on automatic downloads so you never miss a chilling encounter from the forest. Listen with the lights off… if you dare.

vamos comentando los creepys a concurso hablaremos sobre las fronteras entre el creepy y el crappy, sobre acabar el podcasting con un podcast, sobre ver jugar a tu hermano mayor videojuegos y de que os tenéis que escuchar los creepys MÁS ALTO si no habéis entendido el final. _ Apoya al Norm4l Podcast, ¡es muy importante! Haz tu parte para mantener el CUREEPEYVERSO: https://www.ivoox.com/support/735274 Invítame a un Monster o dos: https://ko-fi.com/norm4lpodcast Twitter: @NormalPodcast_ Instagram: @norm4lpodcast Canal de Telegram: https://t.me/norm4lpodcastfornormalpeople Correo: norm4lpodcastfornormalpeople@gmail.com Merchandising: https://www.redbubble.com/es/shop/ap/117769605 Web fan: https://sites.google.com/view/normalweb/

Klassische Monster gibt es in „Zeit der Monster“ eigentlich nicht. Im Mittelpunkt steht eine Gemeinschaft in einem Viertel, über dem eine Weltuntergangsprophezeiung schwebt. Şeyda Kurt spricht über Endzeitstimmung, Köln-Kalker Geschichte und die wahren Monster unserer Zeit.

Tonight's guests, Heidi and Eric, are casual Sasquatch investigators who don't have to put hundreds or thousands of miles on their vehicles to have Sasquatch interactions. That's because they have Sasquatch right out their back door. Heidi and Eric own houses in Southern New Hampshire and Maine. They've had Sasquatch-related experiences at both properties. We hope you'll tune in and listen to them talk about the experiences they've had at both residences.If you've had at least one Sasquatch sighting and would like to be a guest on the show, please go to BigfootEyewitness.com and let me know. I'd love to hear from you.If you'd like to help support the show, by buying your own Bigfoot Eyewitness t-shirt or sweatshirt, please visit the Bigfoot Eyewitness Show Store, by going to https://Dogman-Encounters.MyShopify.comI produce 4 other shows that are available on your favorite podcast app. If you haven't checked them out, here are links to all 4 channels on the Spreaker App...My Bigfoot Sighting https://www.spreaker.com/show/my-bigfoot-sighting Dogman Tales https://www.spreaker.com/podcast/dogman-tales--6640134Dogman Encounters https://www.spreaker.com/show/dogman-encounters-radio_2 My Paranormal Experience https://www.spreaker.com/show/my-paranormal-experience Thanks, as always, for listening!

What if the monster in your child's closet is real?Tim Beaulieu's daughter, Cleo, says that the monster is also her invisible friend, whom she blames for innocuous trouble. The whole thing makes Tim uneasy as he tries to remember a part of his childhood that is missing. Surely nothing can be wrong. Can it?When the boy in the apartment upstairs goes missing after hurting Cleo, horrific memories begin to resurface as Tim finds himself under suspicion for the unthinkable. His daughter and those around him are in danger.Tim must face his past to save Cleo but can they survive the monster in the closet?****************“Stephen King fans will be enthralled.” — Publishers Weekly“At first, Bill Gauthier's The Monster in the Closet feels like a traditional love letter to iconic horror authors like Stephen King, Michael McDowell, Peter Straub, etc. However, this marvelously unique, terrifyingly unpredictable tale suddenly goes off the rails in an unexpected direction that quite surprised me, shocked me even. Imaginative, tense, and deeply heartfelt, this novel moved me and chilled me in equal measure with unforgettable twists and flawed, richly textured characters. Highly recommended!” —Eric LaRocca, author of Things Have Gotten Worse Since We Last Spoke“I have watched Bill Gauthier's career from the very beginning, and he never fails to impress. Steadily and consistently he has become one of the finest up-and-coming writers at work in the horror genre today. And he's done it the right way, through years of hard work, determination, perseverance, and a focus on constantly honing and improving his craft. There are a lot of pretenders out there. Bill Gauthier isn't one of them. He's the real deal. Do NOT miss his work.” —Greg F. Gifune, author of Pack Animals and The Standing DeadSupport this show http://supporter.acast.com/houseofmysteryradio. Hosted on Acast. See acast.com/privacy for more information.

This is The Zone of Disruption! This is the I AM RAPAPORT: STEREO PODCAST! His name is Michael Rapaport aka The Gringo Mandingo aka  aka The People's Pickle aka The Jewish Brad Pitt aka Captain Colitis aka The Disruptive Warrior aka Mayor Rapaport 2029 and he is here to discuss: So much smoke in the air on the East CoastChampion New York Knicks honored at The ESPYsFantasy Football season approaching I Play Rocky Trailer excitement & what Rocky means to meReality TV being a great escape The State of NYC Under a Smiling Monster & a whole lotta mo'. This episode is not to be missed!CaptainPicks To Win In Sports Betting: https://www.winible.com/checkout/1357777109057032537?store_url=/captainpicks&c=kickoffRate & Review on Apple Podcasts or SpotifySend questions & concerns to: iamrapaportpodcast@gmail.comSubscribe to Rapaport's Reality Feeds: iHeartRadio: https://www.iheart.com/podcast/867-rapaports-reality-with-keb-171162927/Apple Podcasts: https://podcasts.apple.com/us/podcast/rapaports-reality-with-kebe-michael-rapaport/id1744160673Spotify: https://open.spotify.com/show/3a9ArixCtWRhfpfo1Tz7M (https://open.spotify.com/show/3a9ArixCtWRhfpfo1Tz7MR)

In this week's episode, JD asks out the Gift Shop Girl while Dr. Cox tries to satiate Jordan's appetite for curly fries. In the real world, we're talking Beyoncé's Black is King, Donald's helicopter parenting, and the comedy panties Zach once gave to a co-star.See omnystudio.com/listener for privacy information.

Tonight's guest, Bruce Brown, is a former law enforcement officer who was featured on Episodes 623 and 624. On those shows, he told us about several Dogman encounters he'd had, up to the airing of those episodes. Since those episodes aired, however, he's had more encounters. By far, the most intense encounter he's had since then was the day he found himself 20 feet from a vicious Dogman fight. We hope you'll tune in and listen to Bruce talk about his most recent experiences.If you've had a Dogman encounter and need help or would like to be a guest on the show, please go to https://DogmanEncounters.com and submit a report. I'd love to hear from you. Premium memberships are now available! If you'd like to listen to the show without ads and have full access to premium content, please go to https://DogmanEncounters.com/Podcast to learn how to become a premium member.If you'd like to help support the show, by buying your own Dogman Encounters t-shirt, sweatshirt, tank top, or coffee mug, please visit the Dogman Encounters Show Store, by going to https://Dogman-Encounters.MyShopify.comIf you've had a Sasquatch sighting and would like to be a guest on My Bigfoot Sighting, please go to https://MyBigfootSighting.com and submit a report.I produce 4 other shows that are available on your favorite podcast app. If you haven't checked them out, here are links to all 4 channels on the Spreaker App...Dogman Tales...  https://www.spreaker.com/podcast/dogman-tales--6640134My Bigfoot Sighting...  https://spreaker.page.link/xT7zh6zWsnCDaoVa7 Bigfoot Eyewitness Radio...  https://spreaker.page.link/WbtSccQm92TKBskT8 My Paranormal Experience https://www.spreaker.com/show/my-paranormal-experience Thanks for listening!

Tennessee Adds MONSTER Commit - The Playbook 7/17 Hour 1

From the One Song archives, we're going metal with one of the biggest riff monsters ever recorded: Metallica's “Master of Puppets.” Diallo and LUXXURY break down a song bursting with musicianship, angst, and intricate instrumentation. Come for the stems of Lars Ulrich bashing away at the drums, and stay for LUXXURY's metal origin story and his thoughts on the infamous Some Kind of Monster documentary. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bruce Brown is a retired Tennessee law enforcement officer whose career spanned decades in public service, including roles as a patrolman, deputy sheriff, patrol sergeant, detective, chief of narcotics, and other leadership positions. Throughout his time in law enforcement, Bruce responded to reports involving unexplained creatures, including Bigfoot and Dogman sightings, giving him firsthand insight into how these extraordinary cases were documented, investigated, and, in some instances, quietly handled behind the scenes. His unique background allows him to approach these encounters with the trained eye of an investigator while drawing on years of experience separating fact from fiction.Bruce's own experiences with the mysterious began while hunting, when he observed what he believes was a Dogman from his tree stand. A few years later, while searching for wild ginseng, he had an even more intense face-to-face encounter with a creature he describes as a Dogman or werewolf—an experience so unsettling that he believes it eventually followed him home. Since then, Bruce has reported multiple encounters, including an extraordinary incident involving an injured Dogman pup that allowed him to closely examine the creature. Tonight on Spaced Out Radio, Bruce shares the details of these chilling experiences, discusses the similarities and differences between Dogman and Bigfoot reports, and offers his perspective on why so many witnesses—including seasoned law enforcement officers—believe there is far more to these mysterious creatures than most people realize.Spaced Out Radio is your nightly source for alternative information, starting at 9pm Pacific, 12am Eastern.  We broadcast LIVE every night. #UFO #UAP #AlienDisclosure #UFOSightings #UFOCoverUp #Aliens #SpacedOutRadio #Paranormal #UFOCommunity #disclosure -------------------------------------------------------You can now join the Space Traveler's Club;Join us at  https://www.patreon.com/sor_space_travelers_club  --------------------------------------------------------Grab Our Latest Spaced Out Radio Gear At:http://spacedoutradio.com/shop  It's a great way to support our show!--------------------------------------------------------OUR LINKS:TWITTER: https://www.twitter.com/spacedoutradio   FACEBOOK:https://www.facebook.com/spacedoutradioshow  SPACED OUT RADIO - INSTAGRAM:https://www.instagram.com/spacedoutradioshow  DAVE SCOTT - INSTAGRAM:https://www.instagram.com/davescottsor   TWITCH: https://www.twitch.com/spacedoutradioshow  WEBSITE: http://www.spacedoutradio.comGUEST IDEAS OR QUESTIONS FOR SOR?Contact Klaus at bookings@spacedoutradio.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/spaced-out-radio--1657874/support.

Maritza Vazquez, who worked as a bookkeeper for MC2 Model Management, provided critical testimony placing Jean‑Luc Brunel and Jeffrey Epstein at the center of a carefully managed system of underage recruitment and abuse. In her deposition, she identified Brunel as a regular passenger on Epstein's private jet and noted that Epstein often traveled with girls recruited through MC2—some as young as 14. Vazquez testified that flight logs deliberately omitted the names of some female passengers, suggesting efforts to conceal underage trafficking. She recounted Brunel's active role in sourcing vulnerable girls from abroad and introducing them into Epstein's orbit, effectively operating as a global trafficking coordinator.Vazquez further corroborated that Epstein frequently displayed controlling behavior: he referred to Brunel's recruits as inventory rather than people, casually discussing having “slept with over a thousand of Brunel's girls,” according to court documents. Her detailed bookkeeping records and firsthand accounts of scheduling, money flow, and logistics provided prosecutors with evidence of a pipeline feeding Epstein's sex ring. The deposition exposed how MC2 transactions and Brunel's agency served as the administrative and logistical backbone for Epstein's exploitation operation.to  contact me:bobbycapucci@protonmail.comsource:Maritza Vasquez Deposition - Discussing Jeffrey Epstein, Jean-Luc Brunel, Donald Trump | DocumentCloud

Maritza Vazquez, who worked as a bookkeeper for MC2 Model Management, provided critical testimony placing Jean‑Luc Brunel and Jeffrey Epstein at the center of a carefully managed system of underage recruitment and abuse. In her deposition, she identified Brunel as a regular passenger on Epstein's private jet and noted that Epstein often traveled with girls recruited through MC2—some as young as 14. Vazquez testified that flight logs deliberately omitted the names of some female passengers, suggesting efforts to conceal underage trafficking. She recounted Brunel's active role in sourcing vulnerable girls from abroad and introducing them into Epstein's orbit, effectively operating as a global trafficking coordinator.Vazquez further corroborated that Epstein frequently displayed controlling behavior: he referred to Brunel's recruits as inventory rather than people, casually discussing having “slept with over a thousand of Brunel's girls,” according to court documents. Her detailed bookkeeping records and firsthand accounts of scheduling, money flow, and logistics provided prosecutors with evidence of a pipeline feeding Epstein's sex ring. The deposition exposed how MC2 transactions and Brunel's agency served as the administrative and logistical backbone for Epstein's exploitation operation.to  contact me:bobbycapucci@protonmail.comsource:Maritza Vasquez Deposition - Discussing Jeffrey Epstein, Jean-Luc Brunel, Donald Trump | DocumentCloud

Maritza Vazquez, who worked as a bookkeeper for MC2 Model Management, provided critical testimony placing Jean‑Luc Brunel and Jeffrey Epstein at the center of a carefully managed system of underage recruitment and abuse. In her deposition, she identified Brunel as a regular passenger on Epstein's private jet and noted that Epstein often traveled with girls recruited through MC2—some as young as 14. Vazquez testified that flight logs deliberately omitted the names of some female passengers, suggesting efforts to conceal underage trafficking. She recounted Brunel's active role in sourcing vulnerable girls from abroad and introducing them into Epstein's orbit, effectively operating as a global trafficking coordinator.Vazquez further corroborated that Epstein frequently displayed controlling behavior: he referred to Brunel's recruits as inventory rather than people, casually discussing having “slept with over a thousand of Brunel's girls,” according to court documents. Her detailed bookkeeping records and firsthand accounts of scheduling, money flow, and logistics provided prosecutors with evidence of a pipeline feeding Epstein's sex ring. The deposition exposed how MC2 transactions and Brunel's agency served as the administrative and logistical backbone for Epstein's exploitation operation.to  contact me:bobbycapucci@protonmail.comsource:Maritza Vasquez Deposition - Discussing Jeffrey Epstein, Jean-Luc Brunel, Donald Trump | DocumentCloud

The Monster Zone has returned to the Month of Action with another Dan pick! With the addition of the child of thee Dan and Angela, we finally dive into the world of Ultraman, and this one is CHAOTIC for sure. From the many Ultras and kaiju you see on screen, to the many references to other popular Japanese properties, this movies feels like the ULTIMATE toy mash-up put to live-action. It's time to see what MEGA MONSTER BATTLE: ULTRA GALAXY: LEGENDS is all about, this week on THE MONSTER ZONE! Like, comment, and subscribe to the channel Mikey's socials: https://x.com/specterm91   / specterm91   https://threads.net/@specterm91 Dissect That Film socials: Go to our Linktree for links to everything (Socials, merch, podcast app links, YouTube channel)  https://linktr.ee/dissectthatfilm Rate and review the show wherever you listen to the show. #monstermovies #themonsterzone #moviereview #ultraman #kaiju

Corra has never wanted to keep anything before.  Then you fall into her water. Your eyes turn iridescent.  Your body opens beneath her tentacles, and what should have become another ending instead becomes something Corra cannot understand... or resist.  At first, she believes the hope inside you must be the simple animal desire to survive. So she studies you.  But your hope does not taste like escape. It tastes like anticipation. Like hunger. Like an aching need for more.  Corra is made entirely from the absence of hope.  Now she cannot stop consuming yours.  She loses herself at your ear, devouring every soft response while the "hope" inside you grows hotter, sweeter and increasingly difficult to contain. Corra thought she had discovered something that could survive her.  She did not expect to discover something that could ruin her. #F4A #MonsterGirl #TentacleMonster #AncientWaterEntity #EldritchWoman #Horror #DarkFantasy #UrbExGoneWrong #UnderwaterHorror #AbandonedMine #BinauralAudio #3Dio #PossessiveMonster #CuriousMonster #ObsessiveMonster #AddictedToYou #YouTasteLikeHope #AncientBeingFallsFirst #MonsterBecomesAttached #DangerousComfort #SoftHorror #UncannyIntimacy #YoureMine #CreatureRomance #SlowBurn #MonsterIntimacy #TentacleRestraint #EarAttention #EarKissing #EarLicking #GentleBiting #Praise #BodyWorship #SensoryFocus #BreathplayThemes #OxygenControlThemes #UrbExGoneWrong

In a 2008 podcast, John Piper discusses whether it is appropriate to sell the Bible for profit and explains the role copyright can play in protecting Bible translations. In this video, Conley Owens responds by presenting the case that Scripture can—and should—be freely distributed without copyright restrictions, offering a thoughtful perspective on the relationship between Bible translation, stewardship, and free access to God's Word.Source: https://www.desiringgod.org/interviews/is-it-wrong-to-copyright-and-sell-the-bible0:00 Introduction00:46 Piper: The Word of God vs. paper and ink01:21 Response: Copyright covers content, not paper and ink01:57 Piper: It comes down to profit02:14 Response: Profit was never the biblical issue04:08 Piper: A publisher covering costs05:00 Response: Translation is a different thing08:53 Piper: Giving Bibles away09:14 Response: Paper can be sold, the content cannot09:58 Piper: Copyright as protection from distortion10:46 Response: Copyright blocks good modifications 13:35 Piper: Copyright is protection14:12 Response: Copyright vs. trademark15:56 Final pleaLEARN MOREhttps://sellingjesus.orghttps://thedoreanprinciple.orghttps://copy.church

If you enjoyed Mind of a Monster, you may also like Murder in the Heartland, a new podcast from ID. Listen to Episode 1, "Who Killed Angie Lee?" here, and follow Murder in the Heartland. Murder in the Heartland is your podcast for small-town American crime. Each episode is told through the collective point-of-view of a Middle American town and its residents, and every story documents a town and people in the heart of the country, and the provocative crime that tore through it. The townspeople are not only the storytellers, but they also hold the clues to the crimes that have forever changed their lives, and how they understand their home. Hosted on Acast. See acast.com/privacy for more information.

Have you ever put together a perfectly logical, data-backed presentation or sent a highly detailed company-wide email, only to be met with complete silence? Meanwhile, a seemingly trivial update or a random piece of news gets everyone talking. In this episode of Truth, Lies & Work, we unlock the secret to getting people to actually listen to you. It isn't about louder voices, longer emails, or bigger slide decks. It is entirely about storytelling. Our guest is Ellie Glason, a leading PR consultant for founders and former publishing specialist. Ellie explains why our brains are hardwired to ignore dry information dumps and how you can use the classic "Seven Basic Plots" of human storytelling to get instant buy-in from your team, your board, or the media.

Hey folks! This week week cover 3 one off cryptids! And some of the weirdest cryptids we've covered yet! Apologies for the shorter episode, were still in a bit of recovery mode from losing that computer. Thank you very much for listening

Maritza Vazquez, who worked as a bookkeeper for MC2 Model Management, provided critical testimony placing Jean‑Luc Brunel and Jeffrey Epstein at the center of a carefully managed system of underage recruitment and abuse. In her deposition, she identified Brunel as a regular passenger on Epstein's private jet and noted that Epstein often traveled with girls recruited through MC2—some as young as 14. Vazquez testified that flight logs deliberately omitted the names of some female passengers, suggesting efforts to conceal underage trafficking. She recounted Brunel's active role in sourcing vulnerable girls from abroad and introducing them into Epstein's orbit, effectively operating as a global trafficking coordinator.Vazquez further corroborated that Epstein frequently displayed controlling behavior: he referred to Brunel's recruits as inventory rather than people, casually discussing having “slept with over a thousand of Brunel's girls,” according to court documents. Her detailed bookkeeping records and firsthand accounts of scheduling, money flow, and logistics provided prosecutors with evidence of a pipeline feeding Epstein's sex ring. The deposition exposed how MC2 transactions and Brunel's agency served as the administrative and logistical backbone for Epstein's exploitation operation.to  contact me:bobbycapucci@protonmail.comsource:Maritza Vasquez Deposition - Discussing Jeffrey Epstein, Jean-Luc Brunel, Donald Trump | DocumentCloud

A widowed empress must choose between killing a monster or trusting its warning. Filmmaker Gene Kim talks with Angela Sealana and Jeff Haecker about One Last Monster — his Korean-history sci-fi short on the comfort zone, grief, and faith. The post The Secrets of One Last Monster appeared first on StarQuest Media.

Cartoon Cat is one of the creepiest viral horror monsters to crawl out of internet folklore. In this episode of Thursday Thrills, we dive into the Cartoon Cat urban legend, explore its origins in modern internet horror, and talk about why old cartoon imagery feels so unsettling when it turns sinister.From rubber-hose animation and creepy vintage cartoon aesthetics to internet monster lore, creepypasta-style fear, and the strange power of distorted childhood nostalgia, this episode explores why Cartoon Cat has become such a memorable modern horror icon.We'll look at the legend, the style, the nightmare fuel behind the character, and an eerie original story about what happens when something impossible starts moving inside an abandoned mall after dark.If you love internet horror, creepypasta, urban legends, creepy cartoons, analog-style nightmare imagery, Trevor Henderson-style monsters, and spooky campfire storytelling, this ride into Cartoon Cat territory is for you.

The evolution of Khaman Maluach.

When Clive and Elsie Ralph return home, they discover blood throughout their house, but no sign of their three young children or the man entrusted with looking after them. The investigation that follows uncovers shocking revelations about relationships, missed warning signs, and the events leading up to one of Britain's most shocking child murder cases…*** LISTENER CAUTION IS ADVISED *** This episode was researched and written by Eileen Macfarlane.Script editing, additional writing, illustrations and production direction by Rosanna Fitton.Audio editing by Joel Porter at Dot Dot Dot Productions.Narration, additional audio editing and mixing, and script editing by Benjamin Fitton.To get early ad-free access, including Season 1, sign up for They Walk Among PLUS, available from Patreon or Apple Podcasts.More information and episode references can be found on our website https://theywalkamonguspodcast.comSOCIAL MEDIA: https://linktr.ee/TheyWalkAmongUsSupport this show http://supporter.acast.com/theywalkamongus. Hosted on Acast. See acast.com/privacy for more information.

They are back! A few months ago on Episode #437, runner Jared McClain and his partner/crew chief Cami Gage sat down to pick the brains of our endurance mentors Thomas Mullins and Micah Ferrell on how to mentally and physically survive the brutal, multi-day gauntlet that is the Arizona Monster 300. Well, the dust has finally settled (literally) in the southern Arizona desert, the miles have been logged, and Jared and Cami are back on the show to give us the raw, unfiltered post-race debrief! In this episode, Jared and Cami share their ultimate 300-mile race report. We unpack the true reality of tackling a multi-day odyssey: from navigating brutal desert heat and freezing night temperatures, to mastering the complex logistical chess match required from a crew chief. I hope you all enjoy!!!

Time flies for Mary Bennet as the events of Pride & Prejudice unfold in an expedited fashion. Mr. Collins comes for his visit, Charlotte swoops in, the Bennet sisters get married and Mr. Bennet falls down. To support the LoG on Patreon visit: https://www.patreon.com/lordsofgrantham To buy LoG Merchandise visit: https://www.teepublic.com/user/lords-of-grantham-podcast Listen to “Monster in the Mirror” by Tempest Edge: https://open.spotify.com/album/49AfIwOPPsmgYfz3p4uEAn?si=6ScIXxgWSpWQ8uFnhF62Mg

Welcome to Episode 1 of Project Infinite. Turns out their a multiverse but what does it have to do with the world where the Kingdom of Legacy is located?Friend of the show Erica Lowe guests stars to run her game RagnaBorg, a post-apocalyptic Viking game based off the Mork Borg Game System.The Setting overview from the kickstarter page:Broken Midgard: You will slay no gods. Fight to survive and pray that when your death comes it is a worthy one. Inhospitable cold temperatures as Fimbulvetr winter blankets Midgard. Fenrir is released upon the world. Kings fall. Monster rule.and we all decide to play as trusted beasts! What could possibly go wrong???Ragnaborg Kickstarter linkFind us onOur NEW Discord Server! Crittalkers CommunityHit us up with any questions or comments:Insta @crittalkerspodcastFacebook: crittalkerspodcastor drop us an emailthecast@crittalkerspodcast.comMusic/Sound Effects Include:Recap voice acting by Jennifer Millard, written by Jake PrewittFrey is played by Britt H.Uther is played by Shane FStynexx is played by Chris A."Camera Flash" by MalarBrush"The Details Intro" by Ryan S."The Details Long" by Ryan S."Rest of The Fallen" by GuilhermeBernardes via Pixabay"Comedy - Detective" by Onoychenkomusic via Pixabay"Chamber Strings" by SigmaMusicArt via Pixabay"Dizzy ellectric bolt spell 1" by FxProSound via PixabayAdditional royalty free SFX and Music via Pixabay:Mysterious Walking (Comedy) by Monument_MusicDystopian Ambient by leberchHeavy and Metal - Heavy Metal Music by Alec_KoffDanger by MrClaps_The Magic Tree by geoffharveyVicious Machines by Grand_ProjectChristmas Party Time by BFCMUSICIce Spell Impact by DRAGON-STUDIOMilitary Marching Patriotic Army - FULL by zec53Tech Quiz - Thinking Time by SonicanCricket Chirp by freesound_communityBeata | Dark Pagan - Norse Background Music by OB-LIXBear Growl by UniversfieldBone Break 5 by floraphonicComedy Cartoon Funny Background Music by TunetankTavern_Ambience_Inside_Laughter by freesound_communityThe Lord - Medieval Music by JuliusHBody Fall by UniversfieldGoat Trails by primalhousemusicCheck out our awesome sponsors!Brotherwise Games1985 GamesHit Point Press Heckna Campaign SettingRoll 20

A truck driver's terrifying nightmare begins coming true in this supernatural highway horror story about prophetic dreams, a demonic roadside creature, and a daughter who knows something is waiting for her father in the dark.After dreaming that a towering monster tears him from his delivery truck and drags him into the woods, an ordinary car-parts driver tries to convince himself it was only a nightmare. Then he reaches the same bridge from his dream. He sees something enormous watching from the trees—and his eight-year-old daughter Angeline already knows exactly what he saw.As Angeline's psychic dreams become increasingly urgent, every late delivery run brings her father closer to the creature lurking beside the highway. Is the nightmare a warning that can still save him, or a vision of something that has already decided his fate?“Driving a Truck Can Be a Nightmare, Literally” by Michael Kelso is a suspenseful scary story blending truck driver horror, road horror, shared nightmares, psychic premonitions, family terror, creature-feature suspense, and a frightening supernatural monster encounter. Fans of horror stories, highway legends, demon stories, cryptid fiction, dark-road encounters, psychological suspense, and immersive audio fiction will want to keep their doors locked for this one.Tonight on the Weekly Spooky horror podcast, one father must decide whether his daughter's nightmares are childish fears—or warnings from something real waiting beside the road.You can purchase books from this author here: https://geni.us/michaelkelsoauthor

Linda Noskova is your Wimbledon champion, the 3rd Czech woman in 4 years! Her imposing power, resilience, and capable hands pushed her past Karolina Muchova, who managed to save 5 championship points in the second set but couldn't stem the tide. Jannik Sinner defends his title, rarely summoning his best but doing enough to beat an inspired That Guy and prevent what would have been a cursed and vexatious Channel Slam. In doubles, Patten takes aim at the ATP in his victory speech, Ostapenko gets blamed for something she didn't do (for once), and Guo/Mladenovic knock out the top seeds and eventually win the title. We also chat about Czech tennis history and the everlasting effort to identify why they're so good, plus the decades-long saga of the All England Club's plans to expand its site and what still stands in the way.  0:40 Linda Noskova wins Wimbledon at 21 7:45 My ex-friend 10:15 Other notes from women's second week: Gauff-Muchova and more 16:55 What's the deal with Czech tennis? 23:00 Jannik Sinner averts disaster, but the Monster has already been created 34:35 What's next for Novak? 38:35 Henry Patten takes on the ATP + other doubles results 44:45 Wimbledon expansion: locals say Not On My Church Road

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