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If local customers find you on Google, your Google Business Profile is doing more work than you might think. Google has rolled out a handful of updates recently that point in one direction: Google is putting more weight on profiles that look active, current, and trustworthy. In this episode of Get Digital Marketing Results, we walk through the practical Google Business Profile updates that matter for local businesses, and what to actually do about each one. What's covered: ✅ Why Google Posts aren't meant to sit as a forgotten tab, and how to fill them without a new content plan ✅ What makes local video work: place, captions, and showing the actual business ✅ Connecting your YouTube and social links so your channels stop feeling disconnected ✅ The new option to connect your Business Profile to Google Analytics ✅ Google's tighter review standards, and the staff-incentive trap to avoid Three action steps for this week: Publish one Google Post from something you already have: an event, offer, or helpful tip. See whether your Business Profile can connect to Google Analytics, and link it if it can. Review your video, social, and review setup: add local context and captions to videos, connect your social links, and remove anything that rewards staff for review counts or specific wording. Show notes: www.delosinc.com/episode456 Subscribe for more actionable digital marketing tips for local and regional service businesses.
VR38 - This week in Vapid Response Thomas, Lydia, and Matt review some truly awful takes from a MAGA economist on the true cause of low crime rates, Rep. Nancy Mace on her extremely real and not-at-all-racist concerns about the dangers of judges with dual citizenship, and a then-20-year-old Rolling Stone columnist in 1969 on his immediate disdain for what would become one of the greatest rock albums of all time. “Trump's Immigration Enforcement Really is Slashing Violent Crime,” John R. Lott, Jr, The Federalist (July 9, 2026) FBI's National Crime Victims Survey data “Governing America means loyalty to America,” Rep. Nancy Mace, Newsweek (July 4, 2026) Judge Sparkle Sooknanan's preliminary injunction order in League of Women Voters v DHS Judicial nominee Sparkle Sooknanan's responses to Sen. Lindsay Graham's judicial questionnaire (March 20, 2024) “The Top 15 Bullshit Album Reviews That Rolling Stone Magazine Had the Balls to Publish,” Reel Harmonies (July 14, 2014) Check out the OA Linktree for all the places to go and things to do!
For most of publishing history, creating an audiobook meant writing a check for thousands of dollars and hoping you'd earn it back in sales. Because of the expense, many authors decided it wasn't worth the risk. So, they skipped audio entirely.Here's the problem. That decision now backfires in a way nobody saw coming.The number one sign that a book was written by AI isn't bad writing. It's the missing audiobook.In this week's episode, audiobook expert Derek Doepker will map out exactly how to avoid that trap. We discuss the five tiers of audiobooks.You'll discoverWhy skipping the priciest tier might be the smartest move for some authorsWhich budget-friendly option still makes your book look unmistakably human-writtenThe tier almost no author is using, even though it's cheaper and sounds like a full productionListen to the full episode to get the complete map of all five audiobook tiers, so you can pick the right one for your book and your sales goals.Blog link: https://www.authormedia.com/the-5-tiers-of-audiobooks-which-one-should-you-publish/Authormedia.social link: https://authormedia.social/c/novel-marketing/the-5-tiers-of-audiobooks-which-one-should-you-publishYT Link:https://youtu.be/oEYxV2iE-iMYT Collab Link: https://studio.youtube.com/channel/UCB_jQHE1Jz8f2Gq40_zZz2w/collaboration/UCT-0HmBAtZpaLX2liUNebiQSupport the show
Custom Maid Palestine for New World Disorder https://custommaidbooks.com/product/custom-maid-palestine-for-new-world-disorder/ Publish and ship date: August 1, 2026 The book proposes a two-state solution that will require Arab countries and Israel to redraw their borders to let a Palestinian state take shape with Jerusalem as its capital. Historical Palestine included the territory that Israel, Gaza, West Bank, Lebanon, southern Turkey, Syria, Iraq, Jordan, Saudi Arabia, and Egypt occupy today. The idea that Palestinians in Gaza and the West Bank relocate to a new homeland has merit. However, rather than moving to Jordan, Egypt, South Sudan, or other countries in Africa, it could be a newly created state in what has always been part of the Territorial Province of Palestine. It is well known that the borders of Egypt, Saudi Arabia, Iraq, Jordan, Syria and Israel, were established by the British and French for their own political and economic interests. Therefore, there is no reason these borders cannot be redrawn to accommodate a Palestinian state. What is essential now is for Palestinians worldwide to unite and advocate for the establishment and global recognition of a Palestinian state that is independent of Hamas and the Palestinian Authority. The proposed Palestinian state deserves serious consideration as it presents the best opportunity to create a viable modern nation that can peacefully coexist with Israel.
Do you have a content creation process? Or are you just winging it and posting when inspiration hits or when you feel like it? I In this episode your host Kimberly Gayle introduces Bold E's Content System: a simple, sustainable process designed for solopreneurs and small business personal brands who want to create content with ease, show up consistently, and build their thought leadership — without burning out or going dark on their audience. Kimberly walks you through the SCEPP process — Script, Create, Edit, Publish, Promote, and breaks down how one weekly piece of long-form content becomes a full content ecosystem across email and social. You'll learn why starting weekly is non-negotiable, how to choose the right long-form content format for your goals, and why Bold E's Content System isn't just a content plan; it's a thought leadership development tool that builds your authority week after week. If you've been stuck in the start-and-stop content cycle, this episode is your way out. Request Your Free Personal Brand Strategy Call: https://mountain-cardamom-037.notion.site/2955061b5cdf803790aecbbb4badc5bd?pvs=105 Show Notes: Episode 67: How to Build a Simple, Sustainable Content System that Creates Ease, Consistency, and Your Thought Leadership Let's Connect Online! Website: http://www.boldlyemerge.com Email: kimberly@boldemergencebranding.com IG: @boldemergencebranding
AP correspondent Donna Warder reports on a new memoir by former President Joe Biden.
"Wetenschap? Dat is ook maar een mening, toch?"
Only 17% of podcasters make it to episode TEN....that's scary! A big part of why this is happening is because podcasters are OVERCOMPLICATING everything! In this episode I map out my three phase Content Flywheel Strategy that helps me: Put out a new podcast episode every single week for 11 years in a row. Publish a newsletter every week for 8 years in a row. Post on social media 6-10x per day. All while: -Working 2.5 days per week. -Not using a VA -Not using any AI ********* Join my new Podcasting Business School community on Skool! https://www.skool.com/podcastingbusinessschool/about
Send us Fan MailThis conversation bridges the gap between highly technical AI development and grounded, existential philosophy. It offers viewers a sobering but realistic look at how artificial intelligence is fundamentally rewiring our economy, job markets, and daily lives, while also providing a message of hope and purpose through faith and creativity. Is artificial intelligence paving the way for economic collapse, or is it the ultimate tool for human creativity? In this episode of The Days Grimm Podcast, Christopher McElhin returns to discuss building AI autonomous agents, the reality of the future of AI and the economy, and his debut book.Join Brian, Thomas, and Corey as they welcome back Christopher McElhin to the studio. After a year of intense research and development, Christopher and Thomas have launched Anomalous Enterprise, a suite of AI tools designed to automate business tasks and predict economic trends. The guys dive deep into the potential dangers of artificial general intelligence (AGI), the reality of inflation, and the death of the traditional American dream. To cap it off, Christopher breaks down the deeply personal journey of writing his new book, Rediscovering Imago Dei, using AI as an organizational tool to explore the intersection of physics, philosophy, and Christian theology.If you enjoyed this deep dive into AI, economics, and philosophy, be sure to subscribe to The Days Grimm Podcast! Leave a comment below with your thoughts on the future of AI, and share this episode with a friend who needs to hear it.Guest Links:Anomalist Website link: https://anomalistenterprise.com/Rediscovering Imago Dei: Bridging Reason and Redemption Book:https://a.co/d/04OGHljGTIMELINE :00:00:00 - Intro & Welcoming Christopher McElhin00:04:37 - Death of the Week: AI Chatbot Triggers Paranoia00:15:52 - Building Anomalous Enterprise & Autonomous AI Agents00:27:25 - Has AI Gone Too Far? (Anthropic's Opus 4.8 Sandbox Escape)00:34:21 - Compass AI & Forecasting the Economic Collapse00:50:15 - Universal Basic Income (UBI) and Data Tokenization00:57:32 - Atlas & Excalibur: Creating an AI Mentor Forge01:15:27 - Berea: The Biblical Theology AI01:21:45 - Christopher's Book: Rediscovering Imago Dei01:40:58 - How to Use AI to Write and Publish a Book[The Days Grimm Podcast Links]- YouTube: https://www.youtube.com/c/TheDaysGrimm- Our link tree: linktr.ee/Thedaysgrimm- GoFundMe account for The Days Grimm: https://gofund.me/02527e7c [The Days Grimm is brought to you by]Sadness & ADHD (non-medicated)
Click Here to ask your book writing and publishing questions!In this episode, I chat with children's book author and illustrator Erin Thorburn. (She also happens to be my best friend.) We wax not so poetic on book writing, publishing, marketing children's books (her lane, not mine), and navigating the creative industry with humor and properly set expectations. CONVERSATION HIGHLIGHTS:Challenges of publishing (and marketing) children's booksMarketing strategies for authorsThe myths (and, of course, truths) of our experiences building both confidence and communityHow to navigate industry egos and rejection without making it mean you should quit (or just plain quitting)
Cartoonist and author Abby Denson joins Dave to discuss 'My Tokyo Summer', her new graphic memoir, illustrated by Utomaru from Scholastic .Denson talks about the early influence of the DIY punk scene on her work, how a zine she made in the 90s sparked a lifelong friendship, the vastness of Japan's doujinshi culture, and the power of art and friendship to transcend barriers. The two talk about their shared love of Japan and the differences in everyday life and culture between Japan and America. https://www.abbydenson.com/https://www.authorsagainstbookbans.com/
In this episode of the Ink and Impact Podcast, Christian book coach Dalene Bickel speaks directly to the authors who are doing all the things, trying all the tools, and running themselves ragged — yet still not seeing the results they had hoped for. Using a relatable and vivid analogy, Dalene reframes what it really means to be a productive author and shares five key pillars every Christian writer should focus on to cut through the noise, reclaim their time, and move forward with purpose. If you've ever felt overwhelmed, scattered, or ready to throw in the towel on your writing journey, this episode is for you. Tune in and discover how to work smarter, not harder, on the path to writing and publishing a book that truly makes an impact! RESOURCES MENTIONED IN THIS EPISODEMr. Frumble's Coffee Shop Disaster by Richard Scarry — a children's picture book referenced as an illustration of one person trying to do everything at once. dalenebickel.com/coaching — link to schedule a one-on-one coaching session with Dalene. The following session types are available: Standout Sessions — focused on marketing effortsBook Mapping Sessions — help with outlining, manuscript organization, and getting started with writingPublishing Process Sessions — designed for first-time self-publishing authors who need a publishing plan Send us Fan MailJoin my new free Publish with Purpose Substack community for industry updates, live Q&A sessions, and to connect with fellow Christian writers!
Guardian Metal Resources has released a pre-feasibility study for the Pilot Mountain tungsten project in Nevada. Mithril Silver and Gold has completed a mine-constrained and diluted resource upgrade at Target 1 of the Copalquin Gold Silver Project. New drill results from Newcore, Li-FT Power and Brixton Metals. Corporate updates from Regulus Resources, Apex Critical Metals and Helius Minerals.This episode of Mining Stock Daily is brought to you by... Revival Gold Vizsla SilverEquinox GoldIntegra Resources
Send us Fan MailBeth and Lisa welcome literary agent and debut author Alia Hanna Habib, whose book Take It From Me is a practical behind-the-scenes guide to getting a nonfiction book published. Alia represents acclaimed writers including Clint Smith and Nicole Hannah-Jones, was named one of New York Magazine's most powerful New Yorkers you've never heard of, and writes the Substack newsletter Delivery and Acceptance.WHAT IT'S REALLY LIKE TO BE A WRITER (WHEN YOU'RE ALSO AN AGENT)Alia shares what it was like to experience the writer's side of publishing for the first time — the anxiety of waiting for feedback, the obsessive inbox-checking, and the hard-won empathy for her own clients. Her takeaway: before you hit send on that panicked email to your agent, ask yourself — am I sending this because I need an answer, or to soothe my own anxiety? If it's the latter, wait.HOW THE BOOK CAME TO BEThe idea came during an afternoon nap. Alia was expanding a writing workshop for Stanford academics and realized there was no practical guide specifically about nonfiction publishing. She texted her colleague and friend Meredith Pafel Simonoff two paragraphs — and had a proposal within weeks. Writing the book took two years, complicated by divorce, loss, and the realities of doing it alongside a full-time career.THE NONFICTION LANDSCAPE RIGHT NOWWe're in an escapist moment. Romantasy, cozy mysteries, and rom-coms are dominating. In nonfiction, what's working is practical books that make your life better or give you hope. Alia also sees a coming wave of tech-critical books skeptical of our online lives. Her agenting philosophy: if something fascinates her, it'll fascinate readers. She doesn't chase headlines — nonfiction timelines are two-plus years, and you can't predict the news.CRAFT: WRITING A WINNING NONFICTION PROPOSALThe biggest mistake Alia sees is what she calls "death by PowerPoint" — leading with marketing bullet points instead of writing. Publishers are readers first. Her advice:Open with a scene in the voice of the book, not a summarySolve the "page 100 problem" — what's the engine that sustains 80,000 words?Keep marketing sections grounded in what you actually bring to the table — platform, expertise, existing audience. Publishers decide budgets and tours. Skip the hypotheticals.You're being judged on how you tell a story, not how great you are at bullet pointsWHAT ALIA IS LOOKING FOR RIGHT NOWBooks that provide guidance or reframe someone's life, historical true crime, and narrative nonfiction with a strong storytelling engine. Current projects include a Regency-era true crime story and My Jane Austen Breakup Album — a literary memoir about a man who lost his partner and his home and spent a year couch-surfing with his collected Jane Austen, reading her for romantic advice while navigating the gay dating scene in Manhattan.FIND ALIASubstack: Delivery and Acceptance Book: Take It From Me — available now wherever books are sold Support the show Visit the WebsiteFind Full Episodes on YouTube!Writers with Wrinkles Link Tree for socials and more!
Jacksonville author Thomas Withenbury discusses his debut novel, The Color of Indigo, and how family history inspired its story.
In Episode 286 of the Defend, Publish, and Lead podcast, host Christine Tulley describes five tasks to update everything from your CV to your ORCID ID. Resources Mentioned Five Entry Points to Writing free webinar! Join our Summer 2026 Writing Accountability Group - just $25 for entire summer and sessions are recorded - email me if you want to join us every Monday (christine@defendpublishlead.com) and get a FREE summer progress tracker Episodes Mentioned Episode 131: Why You Need an Orcid ID DPL Resources Set your writing goals with us! Try us out in a free consultation. Check out our current and past workshops at Eventbrite for writing support content. A FREE webinar is posted each month. Missed a workshop? Request a workshop or webinar recording from christine@defendandpublish.com Don't forget about the wonderful resources at Textbook and Academic Authors Association. The organization can be found at: https://www.taaonline.net New to TAA? Join for just $25 using discount code DP26! You will also receive a copy of the eBook, Guide to Making Time to Write: 100+ Time & Productivity Management Tips for Textbook and Academic Authors.
Send us Fan MailWriting a book isn't a linear journey. It's filled with ups and downs, moments of clarity, creative blocks, and the ever-present question: Am I hitting the mark? If you're feeling overwhelmed or stuck, you're not alone. What transforms a collection of words into a compelling book isn't the complexity of your knowledge or eloquence—it's your ability to distill your message, deliver a clear promise, and deeply understand whom you're writing for. In this post, inspired by the Authors Who Lead podcast, I'll unpack these pillars to help you craft a book that truly connects with readers.Timestamp:00:00 Emphasizing the book's core message03:39 Simplifying the core message06:48 Identifying your ideal reader12:02 Editing for Audience Engagement15:15 Finding Your Book's Core MessageFull show notesCOMMUNITY PROGRAMS
Mama Turned Mompreneur - Work from home moms | Moms in business | Coach for moms
You want to start a podcast to grow your business, but committing to a weekly podcast right now is not realistic with everything on your plate. What if you didn't need to publish new episodes weekly to have a successful podcast? Can bi-weekly or seasonal podcasts grow your email list and convert your listeners into clients?That's exactly what I'm talking about today. I'm sharing how often you should publish new podcast episodes to get leads and sign clients. If you've been wanting to start a podcast but have held off because you can't commit to weekly episodes, this is for you.In this episode, I'm giving you all the tea on:How often you should publish new podcast episodes to get leads and sign clientsWhy a bi-weekly and seasonal podcast are just as effective in growing your business as a weekly podcastWhat matters more for getting leads and signing clients than the number of episodes you publish each monthHow I still have gained new listeners even when dropping down to 2 episodes per monthResources Mentioned in Today's Episode:Join Podcast Like a Business Owner to start your podcast and set it up to support your business growth from the start.Related Episodes and Blog Posts:Episode 302: The Podcast Launch Strategy Business Owners Need to Get Clients Ways I Can Serve You:Join the Evergreen Marketing Era NewsletterPodcast Launch Course: Podcast Like a Business Owner Back Pocket Podcast StrategistEvergreen Marketing AcceleratorRecommended Podcast + Business Tools:Email Marketing: Flodesk (14-day Free Trial)Podcast Hosting: Captivate (30-Day Free Trial) Recommended Keyword Research Platform: Keysearch.coCRM: Dubsado (Save 20% on your first month or year)Website Builder: Showit (30-Day Free Trial)Some of the above links are affiliate links, meaning I may earn a small commission at no additional cost to you.For show notes and resources mentioned in today's episode, head to www.mamaturnedmompreneur.com/episode307/Connect with Andria:Threads: @evergreenmarketingeraInstagram: @evergreenmarketingeraEmail: hello@mamaturnedmompreneur.comWebsite: www.mamaturnedmompreneur.com
Absolute Batman took the top two spots in the May 2026 graphic novel sales charts. Firefly returns to comics from Dynamite. Marvel's Midnight Universe shifts to an October release.SUBSCRIBE ON RSS, APPLE, SPOTIFY, OR THE APP OF YOUR CHOICE. FOLLOW US ON BLUESKY, INSTAGRAM, TIKTOK, AND FACEBOOK. SUPPORT OUR SHOWS ON PATREON.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
"I'm not here to teach you anything new. I'm here to make you see things that you normally would not see." — Dr. W. Edwards Deming In this episode, Deming educator Balaji Reddie reveals the practices that are hiding in plain sight within most organizations. Practices that feel normal. That get celebrated. And that quietly undermine everything you're building. One example: arbitrary targets. An employee collected 2 million rupees in a single day — four times his target. He told no one and did nothing for four days. Because he knew his manager would just raise the bar. That single moment of silence cost the company a genuine breakthrough. This is what Deming called a "faulty practice." And there are many more where that came from. Host Andrew Stotz and Balaji dig into Chapter 2 of The New Economics — Deming's most overlooked chapter. They cover why ranking employees is built on a mathematical illusion. Why chasing quarterly results destroys long-term value. And why the best leaders, from Steve Jobs to Walt Disney, ignored the pressures that trap most organizations. TRANSCRIPT 0:00:02.4 Andrew Stotz: My name is Andrew Stotz, and I'll be your host as we dive deeper into the teachings of Dr. W. Edwards Deming. Today I'm continuing my discussions with Balaji Reddie. He's an educator and a trainer in the teachings of Dr. Deming and quality management generally. And the topic for today is becoming aware of faulty practices. Take it away, Balaji. 0:00:26.0 Balaji Reddie: Good morning. Thank you, Andrew. So part three of our series, what we're looking at. So last time we met, we spoke about essentially Point number 14, because we outlaid his profound knowledge. And then I always said that he gave us a lot of clues as to what needed to be done. So I started out by reading some of the excerpts from the book, which we tend to ignore. And then he said, "Here's what I expect." So he expected leadership, a critical mass to be created, and then he gave attributes of a leader. So we listed 17 of those points, which we said principles of leadership. And now once you've created that critical mass and there's someone who's taken the lead and there are a bunch of leaders, maybe, so what do we do next? So when you start becoming aware that you are now in a prison, so to say, because that's what he said here, that they feel it's a fixture, and this is the way things are, this is how things always have been. So he says, "No, you need to understand that these things are wrong." Right? And you first need to become aware, and then we need to look at what needs to be done, perhaps. So he's given some suggestions, and you could always adapt and adopt this. So most of this would be taken from the book, The New Economics, chapter two, which he has titled as "The Heavy Losses." Now, remember, when he wrote this book, it was after the other book, Out of the Crisis, where he had listed his 14 Points. Yes, but he also listed diseases and obstacles. And people tend to ignore that. 0:02:18.9 Balaji Reddie: In fact, I remember having a chat with Bill Bellows on this, and I said, "Diseases and obstacles." And he said, "Obstacles?" I said, "Yes, he has listed 16 obstacles in Out of the Crisis." And he said, "Oh, wow." And he took his copy and he said, "Oh, yeah, you're right. There are 16 of them." And so sometimes you see things that you normally would not see. So when he wrote this, initially, I think many people thought that it was just an extension of those Diseases. But when you start looking deeper, you'll find that he became more elaborate in what he listed as the heavy losses. So he says here that these are things that you start observing and you say, "This is not normal." So the language that he's used is pretty, pretty clear. Present practice, so faulty practices. The present practice, and he says these are only reactive. You only need certain skills and not nearly any theory of management. Whereas when you opt to go to a better practice, you need a theory. So let's start with the very first faulty practice. And this stems from his 14 points too. He says, "Lack of constancy of purpose, short-term thinking, and emphasis on immediate results. Think in the present tense, no future tense." And then he becomes more elaborate and says, "Keep up the price of the company's stock and maintain dividends." 0:04:02.0 Balaji Reddie: Which, well, okay, it seems like you should not do that. No. He says here, you fail to optimize through time. Make this quarter look good, ship everything on hand at the end of the month or quarter, never mind its quality, mark it as shipped, show it as accounts receivable, and defer till the next quarter repairs, maintenance, and orders for material. Just a word here, in the new edition of The New Economics, there's been a spelling mistake there. So if anyone's listening, you can just correct it in the next edition that comes out. Instead of "defer till the next quarter," he's written "defer toll the next quarter." So we need to correct that in the next printing. Now he says here, a better practice... 0:04:52.1 Andrew Stotz: And before you go to there, can we just talk about this for a second? 0:04:56.1 Balaji Reddie: Sure. 0:04:57.8 Andrew Stotz: One of the things that, having been a financial analyst all my career, we get quarterly results from companies in the stock market. And in my own business, of course, I look at monthly results because we close the books every month. And it's definitely one... Donald Trump recently came up with the idea of telling companies not to report quarterly results. And I believe the Singapore Stock Exchange also came up with the idea of maybe we'll reduce the amount of reporting to maybe half-yearly, because we do have half-yearly reporting in some countries, right? 0:05:39.6 Balaji Reddie: Right. 0:05:40.9 Andrew Stotz: But having learned the teachings of Dr. Deming many years ago, long before I became a financial analyst, I always thought, I never really got this one because I thought, what an idiot you would be if you're running a company and all you could see was the market's demand for quarterly performance. And I've always admired those people, I think Jeff Bezos was one that really made it very explicit. "If you're here for quarterly performance, you're not gonna get it." And so I always have said to CEOs, having seen analysts and fund managers, I've visited, taken fund managers more than 1,000 times to meet with CEOs, and CEOs ask me, "What's your advice from seeing all that?" And I said, "Don't listen to this too much." Take it on board, what the discussions are about, but you're the CEO. Your job is to optimize the value of this business. And that means, that doesn't mean making quarterly numbers, manipulating things to make quarterly numbers. So part of what I've said to people is, "Get a backbone. Don't come and complain to me, 'Oh, yeah, but the pressure of the market's quarterly.' Come on." You know and I know that the job of a CEO is to maximize the value of the business, not the quarterly result. So anyways, that's my little pet peeve. 0:07:13.6 Balaji Reddie: Yeah. Yeah, that's right. And if you look at even Jobs, Steve Jobs, when he came back as Apple CEO, he had the nerve and the spine, like you said, to tell the board, "Don't judge me on this. It's gonna take time. And believe me," he said, "someday you will see results." Now, unfortunately, he was not there to see what he's created, but I think anyone in Apple can safely say that they're growing because of the foundation that he laid so long back, right? And I think that was one of the major reasons why he did not make Jonathan Ive as the CEO, because he wanted him to focus on the product and the customer rather than the quarterly results. And I don't think Apple ever played it by quarterly results. 0:08:04.9 Andrew Stotz: Yeah. And here's a good book called Competition Demystified by Bruce Greenwald. And there's a passage in here that's interesting because he published the book back in 2005, so it was long before Steve Jobs really made the company profitable. And he had basically gone through and explained the situation at that time as a strategist looking at the company. And what he said, it says, he just said that "Jobs had managed to restore operating margins, but Apple survived, it had hardly prospered, its future does not look bright." And I use this as an example in my strategy class to help people understand that when you're building strategy, you're thinking long term. And the ecosystem that Steve Jobs created, the value of that ecosystem didn't really truly appear until many years after he was working on it. So anyways. 0:09:06.6 Balaji Reddie: Yeah, so that's a classic case here. 0:09:11.1 Andrew Stotz: Let's keep going. You're on a roll. 0:09:14.5 Andrew Stotz: Oh, that's okay. So now better practice, he says, theory of management. Now see what he writes here. He says, "Adopt and publish the constancy of purpose." Now, that's one of the things that he also changed in his 14 points in the 1990 edition, which he never really published in a book but he gave as handouts in his seminars. Earlier on, it was "Create a constancy of purpose," but he says now, "Publish it." And it should be a proper statement, right? And he also said not just for the company, but for other organization. Now, he perhaps was envisioning or he already saw what is happening in the world today, that it's not one company against another, it's a family of companies against another family of companies, if I may say so. And these companies are globally dispersed, so there has to be something that binds them together, and that's the constancy of purpose. And purpose is why we exist, right? 0:10:13.4 Andrew Stotz: And I want to ask about this. 0:10:15.3 Balaji Reddie: Right. 0:10:16.2 Andrew Stotz: Professor, can I ask you about this? 0:10:18.4 Balaji Reddie: Sure. Right. 0:10:21.0 Andrew Stotz: Because if we go to Out of the Crisis, he has his section, and this for me is on page 24, but I don't know what edition I... Maybe I have an old edition, but it's the chapter "Principles for Transformation." He's gonna talk about the 14 Points, and I want to talk about the first point. And the first point is "Create constancy of purpose for improvement of product and service." 0:10:45.8 Balaji Reddie: Yeah. This is the old edition, 24. 0:10:48.6 Andrew Stotz: And the question that I have is that was he saying... Because now you've said in The New Economics he says constancy of purpose. He just states constancy of purpose. He doesn't say "for improvement of product and service." So my question to you is, is he saying that the constancy of purpose should be about improvement of product and service, or is he saying your constancy of purpose could be any purpose, but you just need a long-term purpose? 0:11:22.8 Balaji Reddie: Yeah. And he says that anything that help people to live better and have a market. That's on page 25. So whatever you do, your purpose should be to make life better, right? 0:11:40.2 Andrew Stotz: Right. 0:11:40.7 Balaji Reddie: And the product is just the manifestation of that. It's the outcome, correct? For example, if you talk about Walt Disney and his statement of purpose, he made a very telling statement, right? And how he came to write that down as a very fascinating tale. But he said, "I'll do anything to make a child smile. I'll do anything to make a child smile." So all that you see was aimed at the child, right? Whether it was the merchandise, whether it was the animated films, whether it was the actual non-animated films, if I may say so. And then, of course, coming out with Disneyland and then Disney World. So whatever he did was for the child. And then after he passed away, they lost that. I think they wanted to just sustain what they had attained, but there was nothing new coming out of Disney. And slowly people started encroaching on their turf, so to say. You had someone like a Steven Spielberg who made ET, and that really pulled the rug under their feet. And before they knew it, there was Goonies and Gremlins, and they were really crumbling. And they thought, "Let's join hands with the devil," and so they hired him to make a film. And that did very badly. 0:13:01.9 Balaji Reddie: We also know that Hook, which was supposed to be on Peter Pan, et cetera. And then they were in a crisis and said, "What do we do now?" And most of the top people were just washing their hands of everything. They were the employees who were left, many of them who had worked with Disney, and they said, Sony was very keen to buy them out. And they said, "We need to keep them out, and how do we do that? The only way we can do that is to make a comeback and let's make another film. And we've not been doing anything original, so let's go back to the drawing board." But they said, "We need something to guide us." And that's when they discovered what Walt Disney had written, "I'll do anything to make a child smile." And they said, "What a shame. We forgot the child. We hired the best, but we didn't do anything for the child." And they added one more sentence there. "Anything to make a child smile, and there's a child in every adult." That's how they created Honey, I Shrunk the Kids. Unique idea. 0:14:03.0 Andrew Stotz: Right. 0:14:03.9 Balaji Reddie: You can see it's a statement of purpose that brought them back. 0:14:07.6 Andrew Stotz: Okay. That helps me to understand that what he's talking about, according to what you're saying, is come up with your purpose. 0:14:14.4 Balaji Reddie: That's right. 0:14:15.3 Andrew Stotz: Okay. 0:14:15.6 Balaji Reddie: And he of course also added the word "aim" later on, which is that direction, because he says there, "Where do we wish to be? And then by what method?" So you should know whatever you do should go in the right direction. So that's the first faulty practice, and also giving us a theory of what we need to do. So go back and try to rediscover your purpose if you don't have it, or maybe just come out with something and see what really ignites you, what really drives you forward. And he's given some bullet points here. No number of successes in the short-term problems will ensure long-term. Short-term solutions have long-term effects. So that's that statement where he said cause and effect are not closely related in time and space. Of course, management must work on short-term problems as they turn up, but it's fatal to work exclusively on short-term problems. So he tells us that there has to be some place where you need to stop and start focusing on the big picture. So that's the very first faulty practice. Now the next one is a real, real bucket of water on your face. "Present practice, ranking people, salesmen, divisions. Reward at the top, punishment at the bottom. The so-called merit system." At the top and bottom. It's an artificial creation because no matter what scale of measurement you use, there will be an average measure and there will be 50% above the average and 50% below the average. That's exactly what the word average means. So making these stupid claims that this is an above-average person or a below-average person does not really mean anything. 0:16:07.8 Andrew Stotz: Because what you're really doing is rewarding or punishing common cause variation? 0:16:14.9 Balaji Reddie: Well, that's one. But when you're artificially creating something which doesn't even exist, right? You're saying top half, bottom half. In fact, that funny statement where there's a headlines in England, this happened in England, which said studies have shown, and they spent half a million pounds on carrying out the study, that 50% of the children in England are below average nutrition level. You don't need to spend half a million pounds to figure that one out. That's the law of averages. And using that to judge people is crazy on some arbitrary scale that you've invented. And he goes on to... 0:17:06.7 Andrew Stotz: So the first question I asked was, is this just a frivolous or tampering with common cause variation? Or the other question that... Or is this part of psychology and the idea of demoralizing people through this type of behavior? Where does that fall in from the System of Profound Knowledge, let's say? Is it variation, psychology, or is it both? 0:17:34.5 Balaji Reddie: It's a bit of both. 0:17:36.4 Andrew Stotz: Yeah. 0:17:36.6 Balaji Reddie: Because if you talk about understanding psychology, what he meant, I think I used the word empathy, that we need to be empathetic. When you're talking about employees, what do you mean by empathy there? Well, we need to understand their learning processes. Each one of us has a learning process, but we have a different kind of a learning process. And then when you understand the learning process of a person and then put that person in the right job, you'll have to stop that person from working. That's joy in work. He says that when you... And that takes time. And the ranking system or the merit rating system is an excuse for not having understood or making an effort to understand your employee. You're becoming lazy. You put the onus on them when actually the onus is on you. You have to find out what makes that person tick, if I may use the word resonates. What resonates with that person, right? And then put that person in the right job. He's been saying this from the beginning. It's fascinating that he said this in Japan when he was teaching the control charting there. 0:18:42.3 Balaji Reddie: He said if you draw the control chart for performance of a worker and then it's all within limits for a long period of time, despite all the training and all the lessons that he or she has been given, then he said, "I think it's time to move that person out from that job and give them some other job." Because they've reached statistical control. Any amount of effort put in will not result in a better output. You're gonna get the same thing. And if you want something else, then you need to shift them or maybe give them some better job, whatever it is. So he always had this, that we need to use these in tandem. And in any case, it's a System of Profound Knowledge, so all the four sciences work together, right? And if you want to ask me, when a person understands their purpose, I'm extending the statement of purpose here to the person, when a person understands why they're doing something, they always do the job better. So that statement of purpose needs to come in here too. Instead of ranking them, sit down with them and have a heart-to-heart with each one of them. This is back again to the 17 principles we discussed last time, that you have to spend some time with them. 0:19:57.9 Andrew Stotz: Okay. 0:19:58.3 Balaji Reddie: And understand what makes them tick. So he says "the better practice is to abolish the merit system and manage the company as a system. The function of every component, every division under good management contributes towards optimization of the system. That is, it's not compromise, it's optimize." We don't say either-or, it's and. And he says "differences there will always be, but the question is, what do the differences mean?" So that's where you can use control charting to figure that one out. And I told you how I did this in my company and I got the HR lady to finally say, "I think we need to remove performance appraisal." Performance management, yes, of course you need to have a system in place because I need to know where I am. Even when we later on come to the 14 Points, one of his most, according to me, most misunderstood points is point number three, cease dependence on inspection. But that doesn't mean you stop inspecting. 0:21:02.8 Balaji Reddie: And we will read that when we come to that as to what he meant. So you need to know what is happening, definitely. For that reason, you do need to have some system in place, but you cannot judge a person based on that. And so he says here that "ranking is a farce. Apparent performance is actually attributable mostly to the system." And a simple equation, that's my favorite, that's what we discussed last night too, Tim Higgins, when he said x + (x * y) = 8. And you've gotta solve this equation when you don't even know both. Both are unknowns. Then how can you figure out what is x and what is y? So the other factor, the Pygmalion effect, right? I think for those who are not conversant with the Pygmalion effect, the play by George Bernard Shaw, Pygmalion, which was made into the movie My Fair Lady, where he picks up a lady from the streets who was a flower seller, a flower lady, a flower girl. And he accepts the challenge of teaching her how to speak good English rather than what they call as Cockney English. And then it's like an experiment and a challenge and he starts teaching her. And then to test himself, he takes her to a party. And there she has one drink too many and she gets a little bit tipsy and then goes back to her old way of speaking, which really shocks the guests in the party. 0:22:41.5 Balaji Reddie: And he's very upset when they come back home and he said, "You'll always be a flower girl." And then she makes a statement, "Treat me like a flower girl, I'll behave like a flower girl. Treat me like a lady, I'll behave like a lady." And that's the Pygmalion effect. You start treating people that they're failures and then they have to live up to that reputation, right? So they continue being failures. You treat them well, so the Pygmalion effect comes into play. And of course, he talks about his red beads. That's an excellent experiment in bringing out many of his principles. Though he did not design it originally for this, that came much later. In fact, in Japan when he carried out the red bead experiment, it was purely for sampling. He invented that experiment for sampling. And he said that he broke down barriers and made things so simple for people. I think the lessons of management came much later at Hewlett-Packard where while he was explaining sampling and then when he went to what he was trying to teach them about management, someone jumped up, I forget the name of the person, who said, "But this is... So this is what you're trying to teach us with that sampling experiment." And then he suddenly realized he could use this. And of course, the so-called, and then raises in pay, et cetera. Yeah, whom to raise? Everybody within the system, blah, blah, blah. 0:24:13.4 Balaji Reddie: So I think last time I explained this about the roles, responsibilities and objectives, right? I borrowed this idea from another company in India where I saw this happen. When we removed the performance appraisal system, we came out with something which was quite different. We used to sit down with the people and explain to them what we intend to do as a company for the next four or five years and what their role is and what we expect them to... How do we expect them to contribute? But then came the next question. We turned around to them, "What do you expect from us as a company to help you grow in this direction or anything else?" And so they would give us certain expectations. And so we negotiated, came down and wrote things down. And then came the best part. We said we're gonna meet not once a year, but every month and as often as possible to discuss. That's why I loved it when the Deming Institute came out and were doing it, I'm sure they're doing it even now, in the two and a half day, from "me" to "we". So when we met every month, we used to ask the question, "How are we doing?" Not "What have you done?" "How are we doing?" 0:25:33.0 Balaji Reddie: And so when I heard that, I wanted to tell Bill Bellows I've been doing this since 2004. And when I heard the "me" to "we" thing, which was around 2017, '18, I think I saw that happen and I was, "Wow. All right." So thinking on the same lines. So the faulty practice, all right, when he talks about this, the second one and what needs to be done. Yeah, he gives some other advice also that if you're faced with problems, cut the dividend, cut it out. And that's, of course, when you're having hardships in the company. So he's given us a set of steps there too. And he says finally, if necessary, cut pay, but nobody loses a job. So, of course, those are extreme cases that we need to do, but he gives us advice what needs to be done. Now, the third faulty practice is incentive pay, pay based on performance. And I think that this has a lot to do with the arbitrary numerical targets that are set, right? And then, "If you do this, I'll give you that." So he says that the performance of an individual cannot be measured except maybe on a long term. 0:27:04.7 Balaji Reddie: He said reward for a good performance may be the same as reward to the weatherman for a pleasant day. He's got no control over it. And he says, "Abolish this incentive pay and pay based on performance. Give everyone a chance to take pride." I think you were talking about this last week too when we said about these arbitrary targets that lead to all of this, where somebody made a statement to me that, "The targets were a distraction to me from what my actual job was. My job is this. The target is just distracting me from my job." So very often people feel that way, right? And pay for performance, "I'm supposed to do this," right? And he gives an example. The top salesman may be a heavy loss to the company by overselling, selling to a customer a bigger copying machine than he, the customer, needs, right? And selling a bigger or fancy insurance policy than the customer can handle, promising immediate delivery, promising unauthorized discounts, et cetera, et cetera, right? It's the same thing, when one of my students was doing this, his internship project, he found that there was excessive inventories that were stocked up at an automotive company, at the authorized service stations and the sellers, and they had excessive stocks of components and that's why the sales had dipped over a period of time. 0:28:42.3 Balaji Reddie: Why were they holding so much of stock? Because the previous purchasing guy, or rather sorry, the marketing guy, forced these guys to buy extra, saying that, "I'll give you a discount," and things like that. And so they overstocked themselves to a point where they did not need anything because he had to meet a target. So he pushed it down their throat without really understanding what repercussions this would have. All right? And the problem with that pay for performance, it sounds good. Get what you pay for, pay what you get for. But the funny thing is you'll get only that much. Another case which I can tell you is how this student of mine was... His job during the internship was to collect receivables from the shops that were buying stuff. This was in the appliances, home appliances industry. And after they trained him to do that, how to call up the retail outlets and outstanding statements and then go collect the money, and his target was 500,000 rupees a day. 500,000 rupees a day collection. Now, one day he collected 2 million. My question is, do you think he reported it? Well, he did. And for the next four days he did nothing. 0:30:22.6 Balaji Reddie: Now, there's also a reason why he didn't report it. Because when you don't have Profound Knowledge, if he reported that he collected 2 million, immediately the manager would have said, "From tomorrow, your target is 2.1 million." Now, this is what happens when you don't understand variation. If you drew a control chart and you said that, "Okay, the average is so much, so I'm telling him to collect 500,000," and he's collected 2 million, he's done something special. As a manager, I'd call him and ask him, "Could you please tell me what exactly you did? Because you've not done what I taught you, otherwise you wouldn't have gone to this extent." Sometimes you don't know why you've been successful. The theory comes from the outside, right? So a manager with Profound Knowledge would sit down and have a talk and say, "Okay, you did this right. Now try doing this again." And he goes the next day and collects 2 million again, and then the next day and 2 million again. And then he comes and says, "Okay, boss, I'm ready for a new target. Raise the bar." Now what have you done? You've improved the system. 0:31:24.9 Andrew Stotz: We have new knowledge. 0:31:26.3 Balaji Reddie: We have new knowledge. And that's why, answering the same question what you asked me, it is a bit of both. So you need to understand that it's beyond... And we need to help the people understand why they've been successful. So better practice, here you go, is "abolish incentive pay, give everyone a chance to take pride." So when they start realizing, like this child, this student of mine, why he hit 2 million rupees that day, it would have been great. Instead, he just kept quiet. So see, you've lost an opportunity to really learn, to find a leverage point in a process which can take the process to another level. The next one he talks about is failure to manage the organization as a system. Instead, components are individual profit centers, everybody loses, right? And I think we have these separate business units, and he says here that they don't optimize for the aim of the whole organization. I think this is again, if you look at his Points number 9, 10, and 11, he very clearly mentions these because one thing leads to another, right? Break down the company into silos, each one focuses on what they're doing, and there's no communication, and they don't know their understanding the relationship of their work with the work of others. 0:32:54.9 Balaji Reddie: They don't even talk to each other. And he says here that "enlarge the boundaries of the system," but that comes when you understand your companies much better. And the system must include the future. Definitely, you start with theory. If this is what's happening in the world right now, this is how the world is going to change. Now he says, encourage communication. Now this part, a lot to do with Point number eight, drive out fear, where he says make physical arrangements for informal dialogue between the various components of the company regardless of level of position. That's a very telling statement. Encourage continual learning and advancement. Some companies have formed groups for comradeship in athletics, et cetera, all right, which provided facilitation for study groups. The company can well afford to underwrite the cost of social gatherings in outside locations. I can give you my personal example here. One of my college friends, and this was the time in the '90s when she came to America to do her Master's and then eventually started working in Ford, right? She did her Masters in applied electronics and she joined there as a design engineer. And that time, the world was a different place, and we Indians from India, we tend to be very, very conservative about a lot of things. We don't want to step on people's toes. So when someone says something, we, instead of opposing it, we keep our mouth shut. 0:34:32.6 Balaji Reddie: And so in meetings when they used to discuss and somebody brought up something and she said, "No, I think there's a problem," and they said, "What's the problem?" and she decided not to say anything, but eventually it turned out that she was right. And so the team members had a grouse against her that she doesn't share and she doesn't talk, she doesn't open up. Now what had happened was the HR lady in Ford, when she'd given her resume, when she asked about her hobbies and activities, one of the things she wrote there was dancing. Now she was learning a form of classical dancing here in India and obviously she could not continue pursue that in the United States at that time. So when that lady read dancing, she said, "You know, Ford sponsors ballroom dancing classes. So would you like to go for that?" So she said, "Oh wait, I learned a classical dance form in India. This has nothing to do with this." So she said, "Well, dancing is dancing. Why don't you just go? And we're paying for it, so why don't you go for it?" So she said, "I just enrolled in that class." Now, the first day when she went for the class, I don't know if you've seen the movie Shall We Dance, Andrew, but Richard Gere and Jennifer Lopez, and if you remember the first day, they tell you to hold your partner's hands and you're blindfolded and you follow your partner. It's about trusting the person in front, right? So she said when she went through that and she had to hold a stranger's hands, the whole barrier was broken. 0:36:08.2 Balaji Reddie: And she said, "I don't know, I had a different kind of a feeling when I came back to work." And she started trusting a lot more and it had an impact. Now, who would have dreamt that a ballroom dancing class could have changed my friend like this? That's Point number 13. You just have a theory that this will make that person a better person. You don't really do things to get a return on investment, but it works. So I think this is a beautiful paragraph by Deming where he says that there are ways and means of doing it and give it a shot. You have nothing to lose, right? Now he comes to the next one. Now this one, I think a lot has been spoken about this, MBO. But very clearly, he says "MBO as practiced." He does not blame Peter Drucker at all. In fact, he says Peter Drucker was clear that the objectives are interdependent and they're not mutually exclusive. He says, "Unfortunately, efforts of the various components do not add up. There is interdependence. Thus, the purchasing people may accomplish saving of 10% over the last year and in doing so raise the costs of manufacture and impair quality. 0:37:31.3 Balaji Reddie: They may take advantage of high-volume discount and thus build up inventory, which will hamper flexibility and responsiveness to meet unforeseen changes in the business." Peter Drucker was clear on this point. It's unfortunate that many people do not bother to read his work. In fact, let me just make a note that it was even Juran who said this, that having these kind of disjointed objectives can lead to a lot of problems. He said, of course, you can't be devoid. And that's why I think Deming has been very clear in chapter one of The New Economics where he says there are some things called as facts, right? Facts of life. So giving an arbitrary target is not a fact of life. He says here how he needs to improve that. So setting numerical goals, arbitrary numerical goals, I would say, right? Work on a method for improvement of a process. By what method? I think even Brian Joiner says that when you set this arbitrary goal. And now he goes on to explain that even further where setting a goal beyond the means of the process, they either distort the systems, distort the data, or distort both. Then management by results. 0:38:56.7 Balaji Reddie: Okay. Take immediate action on any fault, defect, complaint, action on the last data point. I think this again brings to the fore the understanding of variation where you need to look and ask questions and where you say, "Okay, I know this normally happens." So understand and improve the processes that produce that. Understand the distinction between common causes and special causes and understand the kind of action to take. So common causes, most of the time you need management to take action. There's a change in system. Yeah, there are some times when it is when a person close to the process can take that decision. Likewise, a special cause can be taken care of by the person closest to the process, but sometimes you need management action too. So that will always be the case, but it's rare, right? And so he talks about Sears, Roebuck, et cetera, and working on improvement of the process. The other one was buying materials and services at the lowest bid, right? Which he goes back to his Point number four, where he says here that it does not take brains to work with the cheapest. It takes brains to choose the best. Right? 0:40:23.4 Balaji Reddie: And estimating the total cost of materials and services, purchase price. Don't go by purchase price alone. And if I know right, Andrew, this was a point he was working on till the end of his life. You see the lady who was actually looking into the publication, the second edition of The New Economics, Elizabeth DiLorenzo. I was in touch with her because in my early days of my introduction to the Deming world, because I was quoting a lot from Out of the Crisis and The New Economics, and she was working for MIT Center for Advanced Engineering Study that used to originally publish his books. And she told me a very funny tale of how she was expecting her twins and at the same time she had to release this book. So the joke at MIT was, "What's gonna come out first, the twins or the book?" And since Deming was no more, she had to release that very quickly. So March '94 is when she released the book, and she said her twins were born some weeks later. So they are as old as this book. Now, she was telling me that till the end, the one aspect of what he was working on was, if you see the notes in the appendix and purchase of supplies and service. So continuing purchase of supplies and services, World 1, World 2, World 3 and World 4. He made this so clear. I think nobody has made it clearer. Okay, World 3, sorry, there's no World 4. So he talks about this and he talks about how practical you need to be about this, right? 0:42:18.7 Andrew Stotz: Yeah, and I underlined something in there from a long time ago that said, "Sudden jump to a single supplier is inadvisable." 0:42:28.8 Balaji Reddie: Right. He says there's a method of doing that. 0:42:32.5 Andrew Stotz: Yep. 0:42:33.2 Balaji Reddie: And I teach that method, by the way, where you start with the product, then go on to the process, and then go on to the system. And that takes time. You just can't get up one fine morning and say, "You're my sole supplier." It doesn't happen that way. It takes a lot of effort and a lot of doing, right? The next faulty practice is delegate quality to someone else or some group. And this is, I remember my interaction with Dr. Juran on this, right? I had just received my certificate for ISO 9000, I became a lead assessor, and I quite liked the new standard that had come out at that time in the year 2000 because it had a lot of Deming flavor to it. Plan-Do-Study-Act had come in and things like that. I was quite happy, the definitions and this. I said, "It's better than what it was." It's not, they had a long way to go, no doubt about it, but I said at least they've broken away from the defense mode where they copied the whole document from, right? And when he asked me the question that, "What's the status of quality in India?" and I said, "Well, earlier on it was a lot of standards-oriented and ISO 9000 played a huge role in that," and he just raised his hand as to tell me to stop and he said, "I am very disappointed with the ISO." And then he made this statement, "The ISO 9000 is a standard for mediocrity splendidly marketed by the ISO." And I just stared at him. I said, "What?" because I had just received my certificate, so obviously I was very touchy about it. And I said, "Dr. Juran, a little harsh." He said, "I've just begun." 0:44:26.4 Andrew Stotz: Yeah. And the problem is, is there's a lot of money to be made from it and it's an ingrained system. 0:44:30.5 Balaji Reddie: Yeah. So I just asked him, why would you say that? They made a lot of changes. He said, "Yes, but two things are missing." And one of them, he said, is something about leadership. Go back and read it. And then I went and read the standard again, and I realized what he was trying to say here. There was a lot of work that they were delegating to a person called the management representative, and he says, "Sorry, you can't delegate this to someone else. It begins at the top." Ed Deming also said that. He said, "It begins at the top. Only they can do this." 0:45:10.5 Andrew Stotz: I have a little story on that. 0:45:13.5 Balaji Reddie: Sure, sure, sure. 0:45:14.8 Andrew Stotz: In my coffee business, maybe 15 or 20 years ago, we got a big, big customer, and overall, they were a very good customer. But they picked us over all of our competitors. And then they told us, "Okay, in a month we're gonna come and inspect your factory, and if you get below 80%, then you're not gonna be our supplier." And so we said, "Well, I study with Deming, and I know quality, and we've never had a problem with quality ever." And my business partner, Dale, is very focused on the principles of quality. So they came, we were quite proud, and then by the end of the day, they had 600 questions they went through. And by the end of the day, we were like, "Yeah, what's our score?" And they said, "65. You're fired." They said, "You have 10 weeks or five weeks to fix these top 10 things." And then at that moment, we had a revelation, which is, oh, to them, paper is quality. And what I've always said, what I learned from that, was that it wasn't a big deal. We did the paperwork that they asked for, and then we got the job. And they were a customer for 16 years and a very good customer. But what we learned, one of the things I say, is that we had the heart of quality. They asked us for the paperwork that they thought represented quality. That's not such a big deal. But could you imagine having been trained that paperwork is quality, and then you have to try to develop the heart of quality? Very difficult. 0:47:01.9 Balaji Reddie: Very difficult. And now I come to this picture that he's drawn on page 37 of The New Economics, the old edition. I think the new one, let me just see what that is. Okay, that's on page 27. So he says here that unique processes that produce figures, all these principles have been applied to just 3%. Now, I have my own version of this particular picture that he's put here. Imagine an X and a Y axis, all right? And on the X axis, you can put down measures that are known. Close to the origin, you can write "known", and then as it goes away from that, "unknown", right? And then you have on the Y axis "measurable", and as you go up, "unmeasurable". So because he said that most of the things are unknown and unknowable, and among the known, you have only some fraction of those which are measurable. So the 3% deal with those factors or those parameters which are known and measurable. There are many parameters, he says 97%, which are unknown and unmeasurable, but you still need to manage them. 0:48:26.5 Balaji Reddie: And that's where he gives us a lot of advice that comes after this. Okay, when after this diagram, beautiful paragraphs in his book. "Beware of common sense," he says. And of course, he gives the example of Gallery Furniture, salary instead of commissions. Also goals, aims, hopes, facts of life, futility of a numerical goal. And a picture may help, where he talks about the goal being beyond the capability of a system. And will the goal be achieved? And he says redefinition of terms and distortion, et cetera. Gives a lot of examples there. And then he goes on to give even more examples. Okay, if you say merit pay, et cetera. Need to manage by results, wrong. And the last bit, the note where he says America 2000 was originally put together in December 1989 at the educational summit between the President and the governors of the 50 states. These goals were published in February 1990 by the White House, later incorporated into America 2000. This job may be an example of an enlargement of a committee. We shall learn in chapter four, he says, that the enlargement of a committee is not a way to acquire profound knowledge. How could they know? 0:49:57.7 Andrew Stotz: Yeah, and so what's happened to education since then in America? 0:50:00.6 Balaji Reddie: Oh, no comments. And we in India are almost going the same way. Of course, in some cases they've gone back to the roots saying that, no, we need to get back to our original way of educating people, right? We had this thing of exposing a child to all the different kinds of subjects, right? Like you have history, geography, languages, mathematics, science, just about everything. But the idea was to very quickly identify which child is resonating with what, because we need these different kind of people to work together. Some people are good at memorizing, some people are good at analyzing, some people are good at imagination. And so you throw all this out and then you cast the net and then you say the job of the teacher is to identify, okay, you're good at this, you're good at this. The problem is when you start saying if you're good at this, you are intelligent, and if you're not good at this, you're not. There are different kinds of intelligence. I would say the problem is more with the teachers and not with the system. 0:51:16.5 Andrew Stotz: We should wrap up at this point. 0:51:18.9 Balaji Reddie: Absolutely. 0:51:19.6 Andrew Stotz: How would you summarize what you want people to take away from this discussion? 0:51:24.0 Balaji Reddie: Sure. Go back and read chapter two in The New Economics. Dr. Deming has very clearly shown us why we need to do what we need to do. You're gonna be seeing things differently. As he used to say towards the end of his life, "I'm not here to teach you anything new. I'm here to make you see things that you normally would not see." And now he's just shown us what we thought was normal in the working of a company is actually detrimental to the running of a company over the long term. So my advice is go back, read this. You could watch some of the videos of the Deming Institute, especially on the 14 Points. We will be covering the 14 points later, but I would say that this is a real elaboration of his Diseases and he's given us what needs to be done. Not just pointing out what was wrong, but he tells us what needs to be done. That's why the heavy losses form an integral part of the preamble to actually what is the next step that you're taking your foot off the brake, so to say, trying to identify things that are pulling your company back. 0:52:37.8 Andrew Stotz: Well, Balaji, I want to thank you for this discussion. And recently I have been reading chapter two and I saw a lot of new stuff. It's funny how you just keep rereading. And then today you've just made me realize I gotta go back and read that chapter two because he does really the way he did the tables. I kind of forgot all about that. When I went back to it about three or four weeks ago, I was like, oh, this is really great. I kind of forgot about it. And now as you go through it, it's the tables was what I was focused on, but now I'm also seeing the text in between that you're highlighting that's valuable. So for everyone out there, grab your book, go to New Economics, go to chapter two. It's just gold. It's gold. 0:53:30.7 Balaji Reddie: It's gold. 0:53:31.0 Andrew Stotz: So, and for listeners out there, remember to go to deming.org and jump into DemingNEXT to continue your journey. 0:53:37.7 Balaji Reddie: Absolutely. Absolutely. 0:53:39.9 Andrew Stotz: Yep. And this is your host, Andrew Stotz, and I'll leave you with one of my favorite quotes from Dr. Deming, and that is, "People are entitled to joy in work." 0:53:52.2 Balaji Reddie: Absolutely.
In Episode 285 of the Defend, Publish, and Lead podcast, host Christine Tulley tackles the anxiety of being scooped, when another scholar is about to publish something strikingly similar to your work-in-progress. She offers four practical strategies: carefully examine the competing project to assess how it truly differs from yours; consider whether the overlap signals a hot topic with room for multiple voices; identify different venues or presses to find your own lane; and, most counterintuitively, reach out to the potential scooper as a possible collaborator. Resources Mentioned Faculty Writing Support- it's open access and free! Read the introduction to learn more about how we moved from competitors to collaborators. Free Academic Parenting and Time Management Webinar Wed., June 17, 12-1pm ET. Join our Summer 2026 Writing Accountability Group. Just $25 for entire summer and sessions are recorded - email me if you want to join us every Monday (christine@defendpublishlead.com) and get a FREE summer progress tracker DPL Resources Set your writing goals with us! Try us out in a free consultation. Check out our current and past workshops at Eventbrite for writing support content. A FREE webinar is posted each month. Missed a workshop? Request a workshop or webinar recording from christine@defendandpublish.com Don't forget about the wonderful resources at Textbook and Academic Authors Association. The organization can be found at: https://www.taaonline.net New to TAA? Join for just $25 using discount code DP26! You will also receive a copy of the eBook, Guide to Making Time to Write: 100+ Time & Productivity Management Tips for Textbook and Academic Authors.
Today, I'm joined by Michael Johnson. Three years ago, he joined my Story Coaching program to get my help with his first fantasy novel. That book — Children of Ziwei — is now published! In this episode, I wanted to share Michael's journey with you, so that you can see what it takes to go from idea to published book. Most importantly, you'll see how Michael overcame the creative challenges he faced along the way. This episode includes real clips from our coaching calls, so that you can see exactly how we fixed his story's biggest problems and brought his book to life. So if you're going through the process of writing a fantasy novel as well, you're going to find this video extremely useful. Watch the video version of this episode.Want my personal help with your writing? Apply for my 12-week Fantasy Writing Bootcamp. Hosted on Acast. See acast.com/privacy for more information.
Send us Fan MailEvery writer, whether penning a memoir or crafting a screenplay, seeks that elusive “voice”—the authentic expression of who they are and the stories only they can tell. On this episode of Authors Who Lead, screenwriter and coach Brooks Elms shared an illuminating process for tapping into this unique creative DNA by simply starting with a list of your favorite films.What unfolded in our conversation was more than a coaching exercise; it was an exploration of how those stories we love most hold a mirror to our deepest values, anxieties, and dreams. If you're looking for a practical yet profound way to connect with your storytelling core, these lessons are for you.Timestamp:00:00 Journey from teaching to writing04:27 Discussing Our Favorite Films07:16 Feeling invisible growing up11:51 Discussing the impact of The Matrix15:23 Discussing the Lord of the Rings adaptation16:42 Starting out in Hollywood21:52 Writing from personal experience23:32 Discussing creative decision-making28:30 Evaluating screenplay effectiveness31:56 The power of subtle storytelling33:43 Tips for aspiring screenwriters36:21 Writing a story in one sentenceFull show notesCOMMUNITY PROGRAMS
In this episode of the Ink and Impact Podcast, Christian book coach Dalene Bickel reveals three essential questions every Christian author needs to be able to answer before writing or self-publishing their nonfiction book. From clarifying your book's purpose to examining your deeper motivations as a writer, this episode challenges you to think differently about your author journey. If you're working on a manuscript, preparing to self-publish, or considering a second edition, you won't want to miss these practical and faith-filled insights. Resources mentioned in this episode: Publish With Purpose Substack community — Dalene's new community where she shares industry updates and hosts live Q&A sessions.Dalene Bickel's personal Substack feed — for following Dalene individually on Substack.dalenebickel.com/coaching — link to schedule a one-on-one book coaching session with Dalene.The One Year Collection of Weekly Writing Prompts: Write Your Life Story One Question at a Time — Dalene's own book, written to help you write your life story.Send us Fan MailJoin my new free Publish with Purpose Substack community for industry updates, live Q&A sessions, and to connect with fellow Christian writers!
Are your channel decisions rooted in strategy, or just habit?For some B2B marketing teams, the honest answer is somewhere in between. The channels accumulated over time. LinkedIn, because everyone is on LinkedIn. A podcast because a competitor had one. Instagram, because… optics?Before long, there's a whole content operation built around platforms nobody consciously chose.In this episode, Amy Woods gets into a crucial part of a B2B content strategy: deciding where your content should live and where it should not.From the difference between owned and borrowed channels, to finding the sweet spot between where your audience is and where your team can show up consistently, this episode gives you a practical framework for making channel decisions you can stand behind and revisit regularly.Find out:Why spreading your content across too many platforms dilutes rather than buildsThe difference between owned and borrowed channels, and why it matters for your long-term strategyHow to find the sweet spot between where your audience is and where your team can show up consistentlyWhy platform-specific content outperforms cross-posting every timeHow audience intent and your own content intent should shape your format decisionsWhether your channel strategy should factor in the customer journeyHow many platforms to focus on for an effective B2B content strategyThe three questions to ask when auditing every channel you are already onImportant links & mentions:Blog post about this episodeWhy Not All Content Works Everywhere and That's a Good Thing Take the B2B Content Operations BenchmarkPart one of the series: What Is a B2B Content Strategy (And Why Does It Matter)? Part two of the series: How Do You Align a B2B Content Strategy to Business Goals?Part three of the series: How Does Competitor Analysis Fit Into Your B2B Content Strategy?Part four of the series: Can Your B2B Content Strategy Work Without Core Messaging and Positioning?B2B content strategy series on YouTubeAmy on LinkedIn Content 10x websiteAmy's book: Content 10x: More Content, Less Time, Maximum ResultsTimestamps:00:00 Intro: Publish smarter, not harder00:50 B2B Content Strategy Series intro and recap02:15 Avoid the trap of being everywhere03:46 Free B2B Content Operations Benchmark Assessment04:30 Where your content should live05:39 Owned channels vs borrowed channels07:16 Importance of being confident on a platform08:42 Why you should review your channels… and how10:34 Content formats: don't try to do everything10:58 Audience intent12:58 Customer journey and content types14:08 Repurposing across the funnel14:41 How many platforms should you focus on?15:42 How to audit your current channels17:30 When to double down or leave a platform18:46 Key takeaways: focus over spread19:19 Series recap: what's next19:54 B2B Content Operations Benchmark reminder20:32 Wrap upAmy Woods is the CEO and founder of Content 10x, a creative agency that provides specialist content strategy, creation and repurposing support to B2B organizations.
https://stonemaiergames.com/how-do-we-decide-which-games-to-publish/
TL;DRToday we open the doors. Crossroads Publishing Group—a hybrid publisher of serious nonfiction in Chattanooga—announces the Crossroads Commons, our founding membership. Three tiers; fifty lifetime Founder spots, ever.• Join the Commons → crossroadspublishing.group/commons• Publish with us → crossroadspublishing.group/engagements• The catalog → crossroadspublishing.group/catalog• Questions → chad@crossroadspublishing.groupMost small presses spend their first year trying to look like a big press. We're not doing that. A hybrid publisher of serious nonfiction, based in Chattanooga, founded this year, built around the idea that books are occasions for community—and that the press's job is to take that seriously.The Long StoryA few weeks ago I made a decision about how Crossroads Publishing Group would set itself apart: a real commitment to relationship. Then, on a mountain bike trail a few days ago, the bigger version of the idea arrived. It's not just relationship—one-on-one, editor and author. It's community. And once you see it, you can't unsee it: leadership books end at community. Recovery books end at community. Theology, parenting, loneliness, climate—trace the actual argument and the topic turns out to be the doorway in. Community is the thing itself.So I'm building the press to take that seriously, not as a marketing line, but as operating structure. Today's episode lays out the whole thing.Five structural commitments:* Every Crossroads author gets a direct-purchase URL for their community—their people buy from the press, their royalty is higher, and the relationship stays out of the algorithm.* Every book launches with an event in the author's community, wherever they live.* Every Crossroads author appears on The Difficulty.* Authors meet each other—the catalog becomes a community of minds, not a list of titles.* Readers get a structured way to belong to the press: the Crossroads Commons, open today.The Commons, three tiers:* Reader — $200/year. Every new title shipped to your door on publication day. A quarterly Circle Letter. 20% off direct orders. Your name in the colophon of every title shipped during your membership year.* Patron — $500/year. Everything above, plus a signed limited-edition hardcover each year (printed exclusively for Patrons), an invitation to the annual Crossroads gathering, private author Q&As at every launch, and 30% off.* Founder — $1,000, one time, lifetime. Limited to the first 50, ever. All Patron benefits in perpetuity, your name permanently in the colophon of every title we publish during your lifetime, and one annual meal or coffee with me. When the 50 are filled, that door closes forever.The Commons isn't a subscription to this podcast, The Difficulty stays free, always. It's membership in the press itself. And you shouldn't join from obligation or scarcity pressure. Join because the editorial direction and the community we're forming matter to you, and you want to be part of the early conversation.→ Join the Crossroads CommonsThe four doors, if you're wondering which is yours:* Authors — from a $750 Legacy Audit to the full Compile to Publish engagement (print + ebook + audiobook, six to eight months): crossroadspublishing.group/engagements* Readers — the Circle: crossroadspublishing.group/circle* Writers developing a manuscript in community — the First Draft Cohort, applications open July 13, inaugural class begins September 14.* Just want a book? — crossroadspublishing.group/catalog — William James's The Varieties of Religious Experience is in print now; Virginia Woolf's A Room of One's Own is next (and I'm narrating the audiobook myself)This is your moment to step in.—Chad This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit chadprevost.substack.com
In Episode 284 of the Defend, Publish, and Lead podcast, host Christine Tulley interviews productivity author Laura Vanderkam about her newly released book Big Time. In this book, Vanderkam centers on the idea of viewing time as abundant rather than scarce. She introduces the concept of "golden hours", the four to five hours between work and bedtime on weeknights, arguing that these underutilized stretches can be reclaimed for rejuvenation, socializing, and personal enjoyment rather than defaulting to doomscrolling. She also encourages academics to think in weeks (168 hours) rather than days, since the full week reveals far more available time than any single 24-hour period suggests. For academics juggling increasingly fragmented schedules — more classes, more committees, more email — Vanderkam offers three core strategies: track your time for a full week to see where it actually goes, set aside a dedicated weekly planning session to assign priorities to specific time slots, and always identify a backup research block in advance so that when life inevitably intervenes, progress doesn't grind to a halt. Tulley connects these ideas to the challenges of carving out scholarly writing time, and the conversation closes with Vanderkam emphasizing that time tracking isn't about self-judgment, but about ensuring the stories we tell ourselves about our time actually match reality. Resources Mentioned "Big Time" by Laura Vanderkam Join our Summer 2026 Writing Accountability Group. Just $25 for entire summer and sessions are recorded - email me if you want to join us every Monday (christine@defendpublishlead.com) and get a FREE summer progress tracker DPL Resources Set your writing goals with us! Try us out in a free consultation. Check out our current and past workshops at Eventbrite for writing support content. A FREE webinar is posted each month. Missed a workshop? Request a workshop or webinar recording from christine@defendandpublish.com Don't forget about the wonderful resources at Textbook and Academic Authors Association. The organization can be found at: https://www.taaonline.net New to TAA? Join for just $25 using discount code DP26! You will also receive a copy of the eBook, Guide to Making Time to Write: 100+ Time & Productivity Management Tips for Textbook and Academic Authors.
Send us Fan MailWhat if your book idea is not something you need to search for outside yourself?In this solo episode, Azul shares how a recent conversation with screenwriter and writing coach Brooks Elms helped him see something surprising. A simple list of favorite movies became a mirror for the deeper themes, questions, and patterns that have shaped him as a writer, teacher, and book coach.This episode is an invitation to look at your own life differently. The stories you love, the questions you keep asking, the work you have done, the struggles you have faced, and the things you notice that others miss may all be pointing toward the book inside you.Azul explores why your book is not just a topic. It is a way of seeing the world. And when you begin to trust your viewpoint, your message becomes clearer.In this episode, you'll learn:Why your favorite stories may reveal what you care about mostHow life patterns can point toward your deeper messageWhy your viewpoint matters more than more informationHow to begin noticing the clues your book may already be giving youWhy clarity starts with understanding who you are writing for and why your message mattersYour book may already be speaking. This episode will help you listen.Timestamp:00:00 | A conversation that sparked a deeper question03:00 | Your favorite stories may be clues06:00 | Why life patterns matter when writing a book10:00 | A book idea is not just a topic13:00 | Questions to help you find your message16:00 | Why people come to write a book19:00 | Your viewpoint matters22:00 | Clarity comes from message, reader, and perspective25:00 | Your book may already be speakingFull show notesCOMMUNITY PROGRAMS
In this member-first Q&A on the Self-Publishing with ALLi podcast, ALLi nonfiction adviser Anna Featherstone walks authors through how to write, publish, and promote nonfiction that sells—covering how to test market demand, what makes a book stand out, and the most common pricing and production mistakes. She shares practical, low-cost marketing tactics, from direct outreach and library events to writing ready-made stories that overstretched newsrooms welcome. Find more author advice, tips, and tools at our Self-publishing Author Advice Center, with a huge archive of 2,000+ blog posts, and a handy search box to find key info on the topic you need. We invite you to join our organization and become a self-publishing ally.
Send us Fan MailIt's not every day that a bestselling author invites you into the secret world behind their creative process. In this episode, I sit down with April Henry, acclaimed writer of thirty-two mysteries and thrillers, to discuss how she crafts her gripping stories—making them both intricately plotted and beautifully accessible. Here, we dive into the wisdom and practical strategies April shared about writing, resilience, and reaching all readers.Timestamp:00:00 Finding Inspiration for Story Ideas03:34 Blending Plotting with Pantsing09:12 Tessa's DNA discovery and implications12:56 Ensuring accuracy in medical details15:20 Overcoming writing roadblocks20:04 Persistence leads to publishing success23:10 Writing books with teen protagonists24:43 Making books exciting for readers30:18 Starting a New Book33:05 Writing through challenges and goals37:03 Editing and revising chapters40:21 Collaborating with an editor43:23 Finding writing community and resources47:44 Concerns about book censorship48:55 Where to find April's workFull show notesCOMMUNITY PROGRAMS
Submit to Season 4 Courage Files Here! What happens after the book is finally out in the world—and all the noise starts creeping in? In this conversation, indie MM romance author Alex Cross joins me to talk about emotionally intense storytelling, publishing pressure, writer's block, and the challenge of protecting your creativity once readers, reviews, and big expectations enter the picture.We talk about the Fire Between Us series and its highly anticipated second installment, From Our Ashes, which released May 4th, 2026, as well as her stunning Us duet—Echoes of Us and Becoming Us. We dig into the craft, including keeping track of dual timelines, writing toxic relationships, character psychology, and messy, deeply human love stories. Alex also shares her journey into self-publishing, the realities of revising published work, navigating social media and comparison, and learning how to reconnect to why she writes in the first place.It's an honest conversation about creativity, vulnerability, and continuing to write even when fear and doubt get loud.Timestamps04:04 Meet Alex Cross08:29 Choosing a risky debut11:37 Echoes of Us19:11 Crafting dual timelines24:44 Revising published work29:49 Fire Between Us update33:30 Writing high-angst stories35:53 Writer's block + sequel struggles37:56 Reviews, doubt, and social media41:35 Boundaries and support systems44:48 Protecting the magic of writing47:26 What's next + where to find Alex To connect with Alex and read her books, go to her website and follow her on Instagram, Facebook, or TikTok.All of Alex's books are available in KU. Have a comment or idea about the show? Send me a direct text! Love to hear from you.Support the show To become a supporter of the show, click here!To get in touch with Stacy:Email: Stacy@writeitscared.cohttps://www.writeitscared.co/wishttps://www.instagram.com/writeitscared/Take advantage of these Free Resources From Write It Scared: Download Your Free Novel Planning and Drafting Quick Start Guide Download Your Free Guide to Remove Creative Blocks and Work Through Fears
The Salvation Army operates in the homeless hub, Houben House on Dublin's Southside and Rachael is joined by the service manager, Anthony Byrne.
HT2636 - Release vs Publish, and Why I was recently watching a YouTuber discuss the "release" of a new photograph he'd just finished. It evidently was time to go public with this new image. I was struck by his term "release" as though the image had been imprisoned until its liberation. Besides the obvious detention metaphor, I questioned whether or not this is a term used specifically with single images rather than projects with multiple images. Considering all the images we now have in our digital assets, why do we "release" one and not the others? Is this a volumetric decision or a marketing one? Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!
Send us Fan MailAt the heart of every aspiring author's journey, before outlines are made or words are penned, a gnawing question lingers: Am I enough? On this solo episode of Authors Who Lead, I cut through the noise of writing tips and publishing strategies to spotlight this deeply personal challenge. Drawing on over a decade of coaching writers, I reveal that the greatest barrier to writing isn't a lack of ideas or technical skill—it's self-worth.Timestamp:00:00 Common doubts before writing a book04:11 Embracing your unique perspective09:06 The unpredictability of bestsellers10:34 Confronting book writing fearsFull show notesCOMMUNITY PROGRAMS
Rachel and Simon speak with the novelist Kathryn Stockett. Born and raised in Jackson, Mississippi, Kathryn moved to New York after university and spent almost a decade working in magazine publishing and marketing. In 2001, reeling from the 9/11 attacks and missing home, Kathryn started writing "The Help". The story of black maids and their white employers in Jackson in the 1960s became a sleeper hit in 2009 - it went on to sell 15 million copies worldwide and was adapted into a film in 2011. (The movie grossed more than $220 million at the box office; Octavia Spencer won an Oscar for her portrayal of Minny, one of the maids.) Kathryn spent over a decade working on her follow-up, "The Calamity Club", set in Oxford, Mississippi, in the 1930s. We spoke to Kathryn about magazine largesse in the 1990s, the huge success of "The Help" and the long road to publication of "The Calamity Club". In addition to the standard audio format, the podcast is now available in video. You can check us out on YouTube under Always Take Notes. We've also made (yet) another update for those who support the podcast on the crowdfunding site Patreon. We've added a further 70 pages of new material to the package of successful article pitches that goes to anyone who supports the show with $5 per month or more, including new pitches to the New Yorker, Bloomberg Businessweek, and the Guardian Long Read. The whole compendium now runs to a magisterial 230 pages. For Patreons who contribute $10/month we're now also releasing bonus mini-episodes. Thanks to our sponsor, Scrivener, the first ten new signs-ups at $10/month will receive a lifelong license to Scrivener worth £55/$59.99 (one is left). This specialist word-processing software helps you organise long writing projects such as novels, academic papers and even scripts. Other Patreon rewards include signed copies of the podcast book and the opportunity to take part in a call with Simon and Rachel. A new edition of “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is available now. The updated version now includes insights from over 100 past guests on the podcast, with new contributions from Harlan Coben, Victoria Hislop, Lee Child, Megan Nolan, Jhumpa Lahiri, Philippa Gregory, Jo Nesbø, Paul Theroux, Hisham Matar and Bettany Hughes. You can order it via Amazon or Waterstones. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Why do certain spiritual books appear at specific moments in human consciousness?In this one question channeling session, Ameera May asks why she has been guided to publish the collaborative book Between Earth and Eternity, why the timing is happening now, and how spiritually challenging ideas are meant to reach the people they are intended for.This episode explores reincarnation, soul contracts, multidimensional consciousness, spiritual publishing, collective consciousness, and the role of knowledge-sharing in human spiritual evolution.What You'll HearWhy some spiritual projects feel bigger than the individual creating themHow collective consciousness was described during the transmissionWhat “knowledge-bearing” souls and civilizations areWhy reincarnation teachings are re-emerging nowHow spiritually controversial ideas can create transformationWhy different readers resonate with different chapters and teachingsHow channeling and consciousness sharing work through collaborative booksThe role of simplicity when communicating spiritual conceptsThis Episode Is For Listeners Who Are:Exploring reincarnation, soul contracts, or consciousness after deathPublishing, teaching, or sharing spiritual knowledgeCurious about channeling and multidimensional consciousnessFeeling guided toward a larger spiritual purposeInterested in past lives, spiritual awakening, and consciousness studiesThis episode is part of Season 20: One Question Channeling Sessions.Each episode features one guest, one question, and one direct transmission shared exactly as it happened.These are real sessions, not interviews.
Jake Broe is a United States Air Force veteran who served for six years as a Nuclear and Missile Operations Officer. But you may know him better as one of the most prominent voices on YouTube throughout the war, someone with absolute moral clarity about who the victim of the war is – spoilers, it's Ukraine – and who brings direct military experience to his detailed analysis of the unfolding conflict. Do please subscribe to his channel for videos updates on the war in Ukraine as well as conversations with engaging speakers, expert guests, and other YouTubers.----------LINKS: @JakeBroe https://www.youtube.com/@JakeBroe https://twitter.com/RealJakeBroehttps://www.instagram.com/jakebroe/https://www.buymeacoffee.com/jakebroehttps://www.patreon.com/join/jakebroe----------ACTIVE CAMPAIGN:We are raising funds for 5 of 15 Vampire DronesSilicon Curtain for Kupiansk Vampires. Dzyga's Paw, together with Jonathan Fink, is joining forces to raise $40,000 to provide the Khartiia Brigade with Vampire Drones.https://dzygaspaw.com/silicon-curtain-for-kupiansk-vampiresThese heavy bombers are designed to destroy manpower and equipment, as well as for remote mining. The Vampire UAV, manufactured by Skyfall, has proven itself to be one of the most effective weapons in the Kupiansk direction. Skyfall is one of Ukraine's largest defense tech companies, producing Vampire bomber drones, various modifications of Shrike FPV drones, P1-SUN, Shahed drone interceptors, communication systems, and components.----------SUPPORT THE CHANNEL:https://www.buymeacoffee.com/siliconcurtainhttps://www.patreon.com/siliconcurtainhttps://www.gofundme.com/f/scaling-up-campaign-to-fight-authoritarian-disinformation----------DESCRIPTION: ----------CHAPTERS:----------TRUSTED CHARITIES ON THE GROUND:Save Ukrainehttps://www.saveukraineua.org/Superhumans - Hospital for war traumashttps://superhumans.com/en/UNBROKEN - Treatment. Prosthesis. Rehabilitation for Ukrainians in Ukrainehttps://unbroken.org.ua/Come Back Alivehttps://savelife.in.ua/en/Chefs For Ukraine - World Central Kitchenhttps://wck.org/relief/activation-chefs-for-ukraineUNITED24 - An initiative of President Zelenskyyhttps://u24.gov.ua/Serhiy Prytula Charity Foundationhttps://prytulafoundation.org----------
Send us Fan MailWhether you've dreamed of being an author for decades or you're just starting to put pen to paper, there's one constant truth: writing—and finishing—a book is no small feat. On this episode of the Authors Who Lead podcast, I want to dive into the hidden obstacles that prevent most aspiring writers from becoming published authors. Drawing from my own journey (including a 24-year gap between my writing dreams and writing reality!), I lay out three major reasons books go unfinished—and what, exactly, you can do about it.Timestamp:00:00 Why your book won't succeed05:10 Discovering a teaching career07:12 Struggling with writing a manuscript11:32 The impact of a book14:00 Letting go of writing perfection18:02 Understanding intrusive thoughts20:12 Encouragement to subscribe and reviewFull show notesCOMMUNITY PROGRAMS
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In this episode, Jodi explains how business owners can turn scattered ideas into a workable table of contents, and shares why an outline should be viewed as a flexible, living document rather than a restrictive set of rules. If you've been avoiding the outline phase of your book project, this episode will change how you think about the entire writing process. Time Stamps: 00:00 – Welcome to Write.Publish.Market. 01:10 – Why business owners resist outlines 02:15 – The real problem with "figuring it out as you go" 03:35 – Why thinking about writing is not the same as writing 05:00 – Reframing the outline as a working document 07:15 – How outlines reduce decision fatigue and build momentum 09:10 – Introducing the "book brain dump" exercise 11:00 – Finding themes, patterns, and sections in your ideas 13:20 – How your outline evolves into a working table of contents 15:05 – Using your outline to repurpose existing content 17:10 – Why outlines actually fuel creativity 18:35 – Final encouragement to stop fearing the "O word" Keywords: business book outline, book outline for entrepreneurs, writing a business book, book planning process, working outline, working table of contents, business book strategy, book brain dump exercise, how to outline a nonfiction book, writing process for business owners, book coaching for entrepreneurs, writing momentum, repurposing content into a book, nonfiction book structure, overcoming writer overwhelm, book planning for CEOs, author productivity, writing a manuscript, content repurposing for authors, writing your first business book, business owners writing books, book writing for business owners, book writing for leaders, leaders writing books Resources Mentioned: Coffee + Commas signup: https://bit.ly/coffeeandcommassignup Book Brain Dump Exercise: https://bit.ly/bookbraindump LINK TO FULL EPISODE (RAW) TRANSCRIPT: https://docs.google.com/document/d/1OGnkwVTpzBSY6ryVFFU0M6gn0trGt9Gt957OPsvjuWg/edit?usp=sharing
Blake Mycoskie, founder of TOMS Shoes, gave away over 100 million pairs of shoes and built a $700 million company — yet the pain of "not enough" nearly cost him his life. Through his healing journey, he discovered the truth that saved him: he had always been enough. Today, Blake is dedicating his life to ENOUGH, a cultural intervention reminding us all of what's always been true: we are enough. Mark Fujiwara is a Modern Samurai, transformation architect, and conscious wealth advisor. Drawing on the Japanese art of kintsugi — repairing broken pottery with gold — Mark helps leaders turn their "cracks" into sites of strength by uncovering their ikigai, their highest purpose. In this episode, we'll explore: The fact that suffering doesn't discriminate, and vulnerability can be the antidote to your isolation Why the shame-isolation cycle is what puts lives at risk, and how finding even one person to talk to about your mental health can begin to break that cycle When turning your mess into your message heals you, too How to be your own advocate with medication for your mental health Claim Your Free "We Are Enough" Bracelet Blake is giving away free bracelets to The Big Talk community! Visit https://weareenough.co/bigtalk to claim yours. Normally $30, yours free — because you are enough. 100% of bracelet profits go directly to mental health organizations saving lives every day. When your bracelet arrives, snap a photo and tag @wearenough, @blakemycoskie, @markfujiwara, and @triciabrouk so we can celebrate you! Mental Health & Crisis Resources If you or someone you love is struggling, please reach out. You are never alone. 988 Suicide & Crisis Lifeline — Call or text 988 (US) Crisis Text Line — Text HOME to 741741 International Association for Suicide Prevention — https://www.iasp.info/resources/Crisis_Centres/ for global crisis center listings NAMI Helpline (National Alliance on Mental Illness) — 1-800-950-6264 or text NAMI to 741741 Psychology Today Therapist Finder — https://www.psychologytoday.com/us/therapists This episode discusses mental health and suicide. If you are personally affected, please know that help is available, and you deserve support. More from Blake Mycoskie Websites: https://blakemycoskie.com/ and https://weareenough.co/ Instagram: @weareenough and @blakemycoskie More from Mark Fujiwara Website: markfujiwara.com LinkedIn: https://www.linkedin.com/in/fujiwarapm/ Instagram: https://www.instagram.com/fujfocus More from Tricia Publish your book with The Big Talk Press Join me LIVE for my Complimentary Monthly Workshop Explore my content and follow me on YouTube Follow me on Instagram Connect with me on Facebook Connect with me on LinkedIn Visit my website at TriciaBrouk.com
Craig Unger details his time at Newsweek, where he was hired to lead an investigation into the October Surprise, only to see the magazine eventually publish multiple stories discrediting the entire narrative. Unger describes this shift as a "disgrace" to American journalism, noting that both the media and the House investigation led by Lee Hamiltonparticipated in a "whitewash" of the allegations. Despite congressional findings that the events did not happen, investigative reporter Bob Parry continued the search, eventually discovering a "treasure trove" of documents hidden in an abandoned women's restroom in a House office building. These papers, found under a tampon dispenser, contained 23 gigabytes of evidence that the congressional task force had overlooked. During this period, legendary reporter Seymour Hersh warned Unger that he would be "crushed" if he continued to challenge the powerful national security establishment, a prediction that nearly came true as Unger faced professional ostracization. (4/8)1905
Send us Fan MailPublishing a book is often seen as a milestone—a badge of honor for accomplished leaders and coaches. But as I reveal in my conversation on the Authors Who Lead podcast, writing a book does more than boost your authority. It can crystallize your message, become a launching pad for new opportunities, and ultimately serve as a powerful legacy that outlives you.Timestamp:00:00 Discussing Mark's leadership book06:01 Impact of publishing a book07:02 Seeking publishing validation12:54 Writing process and early feedback14:11 Discovering my writing passion17:00 Discovering the TED Talk idea22:36 Turning book into Kindle edition25:07 Crafting a clear book message28:27 Writing my first book32:40 Choosing between fame and fortune33:51 Using visual models for writingFull show notesCOMMUNITY PROGRAMS
How is the German market different to English speaking markets, and why might it be worth looking into translation? What are the best ways to translate, self-publish and market your books in German? With Skye MacKinnon. In the intro, thoughts on feeling empty after a book, and the benefits of SubStack for authors [Stark Reflections; Wish I'd Known Then]; AI-Assisted Artisan Author webinars 16 and 23 May. This episode is sponsored by Publisher Rocket, which will help you get your book in front of more Amazon readers so you can spend less time marketing and more time writing. I use Publisher Rocket for researching book titles, categories, and keywords — for new books and for updating my backlist. Check it out at www.PublisherRocket.com This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Skye MacKinnon is the award-winning, USA Today bestselling author of over 70 books across romance and children's books under multiple pen names, most of which are also available in German, which is her bestselling market. Her latest book for authors is Self-Publishing in German: How to Translate, Publish and Market Your Books. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why the German-speaking market is much bigger than just Germany, and which genres sell best there Title protection laws, the Impressum, and translator copyright How to find and vet human translators, and what a quality translation actually costs The current state of AI translation for fiction, and why quality assurance passes are essential Distribution decisions: the Tolino Alliance, Skoobe, libraries, and why IngramSpark doesn't work in Germany Marketing in German: BookDeals, LovelyBooks, ads, BookTok, and why pre-orders matter even more You can find Skye SkyeMacKinnon.com and her children's books at IslaWynter.com. Transcript of the interview with Skye MacKinnon Jo: Skye MacKinnon is the award-winning, USA Today bestselling author of over 70 books across romance and children's books under multiple pen names, most of which are also available in German, which is her bestselling market. Her latest book for authors is Self-Publishing in German: How to Translate, Publish and Market Your Books. Welcome, Skye. Skye: Hi. Thank you so much for having me. Jo: This is such an interesting topic. But first up— Tell us a bit more about you and how you got into writing and publishing. Skye: I've always loved writing, but I was always told, “Well, you can't be an author. Get a proper job.” So I became a journalist and did that for a few years, but there was always that love of creative writing. At some point when I was getting more active on social media, I was following some other indie authors and realised they're just like me. They're not special people. I had always pictured authors as these mythical beings high up above the rest of us. That gave me the courage to put out my own book. I self-published from the start, never even looked into trad publishing, and that was in 2017. I was really lucky because my first series totally hit it off. I was able to quit my job a year later and I have been a full-time author ever since. I started with romance and then, by accident, got into children's books. Which has been great fun. I don't even have children myself, but it's just that palette cleanser in between. Writing about cute animals and unicorns and just bringing some fun into everything. Nowadays I have about five or six pen names, depending on how you count, across genres, although most of it is romance, and that's my bread and butter really. Jo: Yes, I'm certainly one of those people who wish I could write romance. It always just seems to be the most profitable market in any language, I guess. Let's get into the book. It's a fantastic book. I've been through it myself. It's really packed full of everything you need, so we can't cover everything. Let's start by considering the German language in general. Why is German a good language market to consider expanding into? And for anyone who might not realise, why is it more than Germany? Skye: Well, Germans love to read, and depending on the statistic that you look at, they're generally seen as the third largest book market in the world after English and Mandarin Chinese. So it's a huge market, even though you think of Germany as a small little country in Europe. As you said, it's much more than Germany. Yes, you've got about 83 million people in Germany, but then you've also got Austria, Switzerland, Liechtenstein, parts of Belgium, Luxembourg, and even Italy. So if you look at the whole footprint on the map, it is much bigger than just the one country. A lot of young people there still read and go to bookshops. There's a huge bookshop culture. You will find, if you go to a high street there, way more bookshops than you do here in the UK, for example. There's demand for quality and for really gorgeous books. They have been way ahead of the curve when it comes to special editions and sprayed edges, and they also like translations. I found one statistic where about two thirds of all newly released titles in German are actual translations. Readers are used to translations, but until a few years ago it was all trad-published translations. So this transition is coming now. It's coming very, very fast, especially with AI. They generally are very open to translations as long as the quality is there. Jo: So what about specific genres then? Obviously we mentioned romance there, and romance is not just one genre anymore. Whatever they're writing— How can somebody tell if it's worth expanding into German? How do we do this? It takes time and effort and money, potentially. Skye: It can take a lot of money, so it is worth doing research. There's one easy way, which is just looking at your current sales and looking at how many books you're selling in Germany, Austria, and Switzerland at the moment in English. That can give you an indication of which of your books might be already quite popular there. Sometimes it's quite surprising. A lot of my books sell very differently in German than they do in English. I've got one series that did okay in English, and I almost didn't translate it. The German version is, I think, my second bestselling series in German and has completely surprised me. So sometimes it's worth just experimenting a bit. Otherwise, obviously as you said, romance is doing really well. There are a few surprises though. I had a chat with Draft2Digital and they gave me lots of information from their statistics, and they said about 40% of all the western title sales on Draft2Digital are actually in Germany, which is just a huge percentage. Jo: In English? Skye: Across languages. Jo: Mm-hmm. Skye: Germans, to be fair, they love their westerns. My dad in Germany, he has been watching westerns for I don't know how many decades. It is one of those things that is just really popular there. Another thing is anything that is set in other countries and really has the location as almost like a character. There's lots of Cornwall, Scotland, different islands, but also mountains and cities. So if your book is set in, even in New York City, if it has a clear setting—if it's not just that it could be any city—then that's a good one to think about translating. In general, most genres can do well. There's a few where you have to be a bit careful. Second World War books, for example. If you have a book that portrays every single German as a Nazi and as evil, it might not do as well in Germany. So some common sense when it comes to historical books. Otherwise, just look at German retailers, look at what is selling there—and not just Amazon. Places like Thalia, which is part of the Tolino Alliance, and they have about 40% of the market. So it's really important to look at them too, and not just at Amazon. Jo: We'll come back to the distribution in a minute. There are some important differences between the German market and the US/UK market. Obviously we're talking about a different language, but of course there are a few things that are different that some people might not think about. So give us a few of those things that people definitely need to think about. Skye: Okay, so even before you start publishing, you need to be aware that title protection is a thing in Germany. Your book can't have the same title as an already published book. That is a law that is basically there to avoid readers being confused. So if you had five books with the same title, readers might not realise which book is by which author. You have to do your research and check if anyone else is using your title. There are some exceptions—if it's a completely different category, so if there's a children's book with that title but you write spicy romance, then the chance that the reader gets confused is much lower. Quite often you can then contact either the author or the publisher and ask, “Can I get written permission to use that title?” I did that for one of my series and it was totally fine. Just be sure to get it in writing, because if your book suddenly becomes a huge bestseller, they might reconsider. So title protection is an important one. You need to research that before you publish. One thing that people sometimes get confused about is reusing their English title. That's totally fine because it's your own title. So if your English title hasn't been used and you want to keep that same title, that works. It's just about other people's books where you can't use those titles. Another important legal bit is the Impressum. It's the copyright page. To be fair, websites that are targeting German readers or a German audience have to have that Impressum. It's usually on page two of the book, and it has things like your legal name, your address, and then the usual things like the translator's name, cover design, and other things you would usually put on a copyright page. The problem is that technically you need to put your legal name in there unless you have a limited company, in which case you can also put the business name there, and your address. A lot of people obviously don't want to do that for privacy reasons, especially romance authors where it's sometimes a bit sketchy when it comes to some readers who get a bit too obsessed. There are services where you can pay a monthly or yearly fee and then use their address. It's a bit of a legal grey zone, but a lot of German authors are doing it because—especially as indie authors—we don't always want to put our legal address out there. Jo: Just for people listening, I use my accountant's address. That's quite common. I mean, you have to share your address on your email for anti-spam laws and all that kind of thing. As you say, there are ways to use other addresses. That just needs to happen. What else then do we need to think about? Skye: There are things about the translator. A lot of things that people are sometimes scared about is when they hear that there is a copyright issue with translators and they think, “Oh, my translator has the copyright. I can't do anything.” Actually, the translator is seen as an author—almost like a co-author of the translation in German law—because, to be fair, it's not just putting one word into another. Translation is quite a creative job, especially when it's fiction. It is a very creative job where the translator has to put a lot of their own creativity into it. So in German law, they're recognised as the creator of that translation and therefore have certain rights. But you as the author, as soon as you have a contract with your translator—which is why you always, always, always have to have a contract—you get the usage rights. This means it's exactly the same as with your English books. You can do with them what you want. You can get audiobooks, you can do print books, you can do whatever you want in different formats. It just needs to be clear in a contract that the translator is giving you the usage rights of that translation. That's something that people sometimes find a bit scary, but actually it's really simple. Translations have been done for so long. It's a normal thing. It's just called slightly different. It has to be set out in a contract. Jo: Just on that, that's when the translator themselves is in Germany, because if they are based somewhere else, still doing a German translation, that's not necessary. So that's something else for people to consider. Skye: Yes, definitely. To be fair— I would always try to get a translator based in the country. I mean, I'm a native German speaker, but I've been in Scotland for so long now that I am not confident enough to translate my own books anymore because I'm not surrounded by German 24/7 and my grammar is slightly off and I don't have that up-to-date, modern lingo. So if it's a translator who's only just moved somewhere else or a few years, that's fine. But if it's someone who's been in the US or UK or somewhere else for 20 years, I would be a bit more hesitant. That's just a personal perspective on that. One other thing that's different is Sie and du. There are two different kinds of “you” when you talk to someone. There's the formal Sie, which you use basically amongst adults, in business contexts. But even my German grandma—she had a friend and they used the formal Sie for about 10 years as friends because in German etiquette, the older person has to offer the younger person the informal du, and they never did that for some reason. We found it hilarious as kids that they were still using the formal Sie as really good friends. So there's an entire culture there that people who haven't been to Germany or haven't lived there for a while just find a bit difficult, because there are so many different unwritten rules about when you use Sie and when you use the informal du. It's weakened a bit over the years and nowadays even strangers would sometimes use the informal du depending on the context. It really depends. A good translator will usually handle that themselves. They will find a scene where, for example, especially in romance, you meet as strangers in the beginning, so you use the formal Sie, and then at some point that formality turns to informality. The translator will usually choose that moment and add a little extra scene or a sentence where they either offer it to each other or they just naturally switch into it. But then there might be an internal little monologue of, “Oh, he just used the informal du—I guess we're at that stage,” or, “I really appreciate that.” Just to make it more natural, because that's something I quite often see with AI translation where that doesn't happen, and readers get confused. Why did they just switch from Sie to du without any kind of acknowledgement of that? Jo: This is the same in Spanish and other languages, I imagine. Skye: Yes, French as well. Italian too, I think. A lot of European languages have this. Jo: I think that's something that English speakers just don't get. It is a really interesting moment. I guess that might not happen so much in other genres—that really is a thing in romance. I was just thinking about some of my thrillers. They may never have time to get to du. Skye: But then sometimes using du can also be a rude thing. So if you have an antagonist who really doesn't like your protagonist, they might just use du as a rude sort of address. Again, that's something that English speakers just wouldn't understand or even think of because we just have the one “you.” Jo: We just have the one. Jo: It's the tone. Of course, it's the tone. Skye: Exactly, yes. Jo: Okay, well let's get into the actual translation of the books themselves. Over the years I've worked with lots of humans. I've also licensed my rights. I've used different AI tools. I mean, there are tons, but as we record this— What are the options that are available for translations? Give us some tips on working with humans and finding humans. Because it can be super pricey. And of course most of us will never know about the quality until we publish it. Skye: Oh, yes, definitely a note on that. I found that quite often you will already have German people on your newsletter list or on your social media, and most of them will be super happy to give you some feedback on your translation. That's something I've used a lot. Not for German, because I speak the language, but when I did French and Italian translations. My French is—well, it used to be quite okay. It is passable at best now. So I would never feel confident enough to rate a translation. So I asked my newsletter list, “Are there any French people here who would be happy to read the book? I'll send you a free copy at the end, and some swag.” There were a surprising number of people who got back to me. The same applies to German and other languages, because if you don't speak the language, you sometimes lack the confidence of knowing if this is any good. Getting some reader feedback is super helpful. For finding human translators, the easiest of course is word of mouth, and I'm a big fan of that because you get instant feedback on whether someone is good or not and whether it's easy to work with them. Then there are freelancer platforms. Reedsy is one where everyone is vetted, so that's pretty good. But there are tons of other ones like Upwork and Fiverr, though there you have to do all the vetting yourself, so that takes a lot more time and effort. There are also more and more agencies—translator agencies who specialise in doing indie book translations. There's Literary Queens, there's Valentine Translations, there are tons of them. Then there's also, which I think a lot of authors ignore or don't know about, translation databases. There are two databases for German translators, for example, where you can search and you can usually narrow it down to whether you want literary translators, what kind of fiction or nonfiction you want. An important thing is that a literary translator is very different from a standard translator who translates birth certificates or formal documents. You want someone who has experience with fiction if you write fiction. Someone who knows about adding drama through language. Sometimes, for example, when you have an action scene, you might have shorter sentences. If you have someone who doesn't know about stuff like that, they might just think, “Oh, in German it sounds really nice to have this really long sentence.” Those little nuances are where having an experienced literary translator is a big bonus. There are some platforms that do royalty-split translations that have been quite popular in the past. Most of them I wouldn't really recommend because you just don't get those professional translators there. You usually get people who speak the language but don't really have much experience. So you might end up with a pretty bad translation, or people might just be using AI translations without telling you. If you use a human translator, always, always get a sample, because yes, they might have amazing credentials, but until they've actually translated one of your books or a scene from your book, you don't really know how good they are. I like to always use, if I write romance, a slightly sexy scene, because sex seems to show you if someone can translate or not. It's just what I've found, because if it sounds absolutely awkward or more like mechanical rather than an emotional, spicy thing, then that's a clear point for me to say, “No, thank you. I'll look for someone else.” Action scenes, sexy scenes, really emotional ones, dialogue that has a bit of colloquial language or humour—those are good scenes to choose as a sample because that really shows you if a translator can do their job or not. Then, again, have some German people from your list give you feedback on that. Also, if you work with human translators, always try to make sure that they will be available for your entire series. And not even just a series—if you have lots of books, try to grab that translator, lock them in your basement, and never let them go, because you want their style for all your books. Just like you have a style as an author, translators have a style and that will always shine through, as much as they try to be as close to your original. A bit of their style will always come through. It helps to have the same translator for at least the same series, preferably for as many of your books as possible. You really want to tell them in the beginning, “This series has nine books. I want you to do all of these, even if we only do a few of them at the beginning. Are you available to do the rest later?” Because you don't want to end up having to find a new translator in the middle of the series. That gives you a whole lot of extra work with trying to have a world bible that explains which words get translated and which get left as the original, and stuff like that. When it comes to non-human translation, it's very different because of course you don't need to do all that vetting. Tools have different capabilities and abilities, but in the end, if you put your book into a translation tool, you will always get a slightly different output. So it's not quite the same where you need an entire vetting process. Jo: Just on the human translation, I think I'd be right in saying that every single author in the world would love to have the best human translator translating their book, whatever genre it is. That would just be amazing for all of us. But let's face it, that's extremely expensive. So if I've got, let's say, a 70,000-word thriller, how much money are we talking about? An approximate number, so people know what that might be. Skye: Usually it goes by the word, but by the target language word count. Although it depends on the translator, traditional translators usually go by the target language because that's what they actually produce as their output. The average at the moment is anything from about seven to nine euro cents per word as the medium price. You will find cheaper people. You can go up as high as you want really. I have definitely seen translators who charge 15 cents and above per word, but those will usually be the ones who have worked with a lot of trad publishers who are used to being paid like that. Although even in trad publishing, the rates are going down. With more and more authors wanting translations, I think in general rates are going down. Good for us, not so good for the translators. You're definitely looking at thousands, even if you translate novellas. Then it depends—some translators have editing included, sometimes they don't. A lot of them will have arrangements with other translators where they give the translation to another translator for them to edit it. Sometimes that's included in the price, sometimes it's extra. Always make sure it gets edited, because just like when we write a book, it will never be exactly perfect. I say that as someone who writes very clean because I have a journalism background, so I'm used to writing really fast and clean for deadlines, but there will always be a few typos that just wriggle their way in. Typos are evil like that. It's the same with translations. Jo: So we are probably looking at 2,000 to 10,000 pounds, dollars, euros. We are talking about quite a lot, and this is the main reason I think that now, with AI becoming a lot better, people are looking at this. Originally—and I don't even know, probably eight years now since I did my first, might even be a decade or more—I did at some point do a version in DeepL, which was an early AI translation tool. This was nonfiction, and then paid an editor, a German editor, to then edit that in German. Those books still get good reviews. But now people are looking at options like GlobeScribe and ScribeShadow, or even just using Claude or ChatGPT. I'm actually working at the moment on a Claude Code pipeline through lots of different QA passes. That's been really interesting for me, because I can say, “Okay, now you are a reader who likes these kinds of books. Read it for that.” And because we can now put really big books in, I can actually get a lot of really interesting feedback. So I feel like there's a lot of potential with AI—potential for good stuff, potential for bad stuff too. So talk a bit about that and what to watch out for with AI. Skye: Okay, so I'm very much pro-AI and I use AI in lots of different things in my business, just to preface that. However, with translations, I'm still a bit wary, just because I have seen a lot of bad AI translations. To be fair, I've experimented with it myself for one of my other pen names. It was readable. It was definitely readable. It had sometimes beautiful, gorgeous prose. Really. But there were, occasionally—quite often even—bits where I stumbled as a native speaker. It's readable and, if I just need a little quick book in between, I would be mostly happy with that. I would read it. It's the same as some of the early KU days where you found a lot of bad quality writing, but you just wanted to read it because the story was pretty good or because you were reading it in KU and so it didn't really matter that much. There is that spectrum of quality where you have the, “Yes, it's good enough to read,” but, “Is it good enough to be up to your standards?” That's a decision that everyone has to make for themselves. If they want the same quality that they put into their English book, or if they're fine with just offering that book to a new audience because maybe you wouldn't be able to do it otherwise. I totally see that. Translation is so expensive. I don't even know how much I have spent on translations over the past few years. I'm lucky that most of my books make it back within the first weeks or months. I've never had a book that didn't make its money back, but I have heard a lot of people where that's not the case. It is a lot of investment and I would never tell someone to go into debt or anything to do translations. Do it when you're at a time where you can afford it, or where you can also afford the loss if it doesn't work out. Now, AI has changed that slightly because it now opens it up to almost anyone. Some of the AI translation tools are a few hundred pounds, but if you do it in Claude or ChatGPT or something where you already have a subscription, it can actually be quite cheap. You can do it for a few dollars or pounds. I love, by the way, having someone in the UK. I'm so used to automatically saying everything in dollars, but actually I should be using pounds. I think if you know what you're doing—and you clearly do, with your several passes, you know what you're doing with AI—but if someone just puts their book into Claude or ChatGPT or some random tool, it might just not be good enough. Jo: Let's say it won't be good enough if you just do that. We know that. You have to have QA passes—quality assurance. You have to have rules per genre. There are ways of doing it. It's kind of like you have to get to know how translation works. It's a process. It's not just a translation, like you put something in Google Translate or a menu or something, because we do care. I think that's really important. Skye: Yes. I think if you don't know how AI works—that you need detailed prompts, that you need a style guide, that you need all that extra material and not just your book, all those rules—then please don't do it. If you value your German readers—and I think sometimes when I see people just churn out those translations without doing any quality control, using exactly the same cover or even just putting a German flag on it or something—I really feel bad for German readers because they're not being valued as having the same sort of value to us as authors as our English-speaking readers. Maybe I'm a bit biased there because I read in multiple languages. I want to be able to get the same sort of quality in all languages. I want the author to think of me as being special because I'm their reader and I'm their customer. I think we are on the way where AI translation can be almost autonomous. I would personally always have a human look over it. I know what I'm doing, and I'm almost happy with my translation system that I've built now in AI, but it still needs that human touch for a few things. It still needs me to tell the AI, for example, “This is where we switch from Sie to du.” This is where I need to keep certain words in. For example, I write a lot of Scottish books, and so words like “glen” or “loch”—they are words I want to stay the same in my German translation. I don't want to translate it to the German equivalent of “lake” because that just misses that Scottish context. Things like that need instruction. A human translator will usually know that and chat to you about which words you want to keep and which ones you want translated. AI just needs our guidance, our helping hand, and if we don't know enough about the target language, we just miss knowing that. Now, a lot of tools do it all for you basically, and they set up all these rules. I think many of them are at a very advanced stage now. But AI isn't perfect and it likes to hallucinate, it likes to add random things. So I will always still have a human touch at the end, even if it's just a quick edit. A lot of people think that they just need a proofread after an AI translation, but AI doesn't really make typos—or not to an extent that humans do. So proofreading isn't really what's needed for an AI translation. It is actual editing where you go for the style, the phrasing, and sometimes the context. There's one example I always like to give. I have an alien romance where they go on a honeymoon, and because he's an alien and she's human, he misunderstands and thinks she wants to go to an actual moon. So it's a little pun in the book. It doesn't work in German at all because the word “honeymoon” has nothing to do with moons or planets in German. An AI would probably just try to translate that in a way that's quite close to the original. But my German translator, she had to come up with several different ways of fixing that issue, because humour is hard. It's hard even for humans to get the humour translated in a way that is still funny but also culturally appropriate. If you have a book that is full of puns, it gets harder with AI. I am not saying it's impossible, but it needs a lot of handholding. Jo: Yes, I think humour is hard to translate in general, isn't it? Let's move on to the distribution, because again, having done quite a lot of different languages over the years, I do use Amazon KU for my books in German and Italian and Spanish and some French. So I haven't gone wide in terms of ebook and print or audio, in fact, because I have a lot of books and it is hard to go wide in English, let alone in other languages. But you mentioned earlier that Thalia has 40% of the market or something, and that special editions and print books are important. So what are the decisions we have to make around the actual publishing? Skye: In Germany they did a really cool thing, and I wish they'd done that in other countries. When the bookshops saw that Amazon was growing and posing a threat to them—not just with print books but also with ebooks—a lot of the German bookstores got together and they formed the Tolino Alliance. They have big book chains like Thalia, but also I think it was over 1,500 indie bookshops that all got together. They all support this ecosystem for ebooks, which means they all share the same e-readers. They share the same sort of backend for the shops, which made it really easy for them because they didn't all have to develop an ebook system. It saved them a lot of money. It made it really easy to tell readers, “This is the Tolino system. You can get your books at our bookshops, but you can read them on your Tolino e-reader no matter where you get the books from.” The Tolino e-readers are actually the same as Kobo e-readers, just rebranded. They've got that big advantage there—these independent bookshops and book chains all got together. Now it's hard to find numbers because Amazon doesn't really like to share their numbers, but it's about 40% of the German ebook market, which means it rivals Amazon. They have about the same. Then the rest is split by Apple Books, Google Play, and some of the smaller players. So it is a huge chunk of the market. I'm wide with pretty much all my English books. So for me, I looked into KU, but when I saw that I was going to miss out on 60% of the market—even if Amazon has 45%, that's still a big chunk—I decided to go wide. To be fair, I haven't regretted it, because Tolino are amazing to work with. I like to compare them to Kobo because they have a really lovely human team where you can just email them and tell them, “I've got a new release coming up,” and they will put you into different promos and it's all free. Jo: Do you publish direct to Tolino, or do you use Draft2Digital? Skye: Yes, you can publish direct to Tolino and that's actually the best way of doing it. You don't have access to their marketing opportunities if you use a distributor. The Tolino dashboard is annoyingly all in German, but by now every browser has a translating plugin built in. I know lots of authors who don't speak a single word of German who navigate Tolino very successfully. They started with only ebooks in the beginning, and then about two weeks after the first edition of my book on German translations was published, they introduced print books, which meant my book was immediately out of date. I was fuming. But this time they introduced audiobooks a few weeks before my Kickstarter launch for the second edition, so this time the audiobook part is included. I was very happy about that, because it was a pain to just tell everyone, “Well, this book is out now but it's actually missing a big part of how to do print books in Germany.” So Tolino does print, ebooks, and audiobooks. And just because you're in KU with your ebooks doesn't mean you can't publish your print books via Tolino. I highly recommend that, because IngramSpark—which most of us indies use for distribution for print books—doesn't get you into the German bookstores. They used to. Then German stores have fixed price laws where books have to be the same price in all stores, and IngramSpark kept going against that. They kept sending them the wrong prices. So German bookstores at some point just said, “Nope, we've had enough of this. We no longer take books from IngramSpark.” So now Tolino, in my opinion, is the best way of getting your books listed in German online bookstores, but they can also help you get into brick-and-mortar stores. One of my books was featured by them, I think two years ago, and it was in about 300 of their shops all across Germany. It had its own little pedestal and it was amazing. Tolino love working with their indie authors. They also love romance, which is always a bonus because some stores are more prudish than others. It's really easy to work with them. They speak perfect English, so you can do all your communication outside of the dashboard in English. Their audiobooks feature is very new. Until they did that, it was much harder for German audiobook distribution because places like Findaway Voices and other distributors wouldn't get you into the Tolino Alliance stores for audio. That's a big chunk that we were missing out on. I was always looking for ways to get my German audiobooks into those stores, but the German distributors that I found were really difficult to upload to, to be honest. I'm a very technical person, but it challenged even me. I did not like that experience at all. At some point I really just gave up and wanted to throw my computer out of the window. So when Tolino introduced that, I was celebrating internally. The only problem with their distribution at the moment for audio, because it's so new, is that you can't exclude any shops. So it's all or nothing. They will get you into all the different places, including Audible, Spotify—you name it, lots of different streaming services and retailers—but you can't exclude any. So while they don't actually want exclusivity, if you published it yourself at the same time through ACX or Findaway Voices or something else, you would have duplicates, and of course, we try to avoid those. Jo: Is it human narration only, or do they also accept AI narration? Skye: They accept AI narration. The thing with Tolino is that they want everything made very clear. If you publish any books with them that have an AI production aspect, you need to put that into your Impressum. For audiobooks, there's a box to tick to make it clear. Jo: Hmm. Skye: So they are open to it all. You just need to declare it. Jo: Which I think should be true everywhere, to be fair. Skye: Oh, definitely. And a lot of German distributors—while I was researching for this book, one thing I always looked at is, “Do they need you to declare your AI use?” More and more German distributors and retailers now want you to do that. I think that's the way it's going. It's not a judgement thing. I think it's just making it clear to readers. In Germany, it's all about transparency. That's why there are all those laws with GDPR—everyone will have heard about that one by now. But there are lots of other laws where it's all about consumer rights and transparency, and that's one of them. Jo: Is there anything else on the distribution side we need to think about? Skye: One thing I like to highlight is libraries, because that's quite a big thing in Germany too. They love books and bookstores and they love libraries. Some of the ways we get our English books into libraries—like a distributor like Draft2Digital for OverDrive—OverDrive is growing in Germany. There are other systems like Onleihe, just to name one. You can't get into those through, for example, Draft2Digital or PublishDrive or StreetLib. Tolino gets you into those. There are also subscription platforms that are growing. I think it's the same as in the English-speaking market. People love a subscription, and I love them. I just don't like exclusivity. So I very much support any subscription platform that doesn't require me to be exclusive to them. Skoobe is one of them. They used to be an independent platform, and then the Tolino Alliance bought them. So now they're integrated into the Tolino stores. That means it's really prominent. Basically, any time you go to an ebook on, for example, Thalia, it will have a banner there saying, “You can also get this in our subscription.” So it's taken a while to grow, but actually in December I now made more with their subscription programme than I made in book sales. I think three of my books were in their top 10 in December. To be fair, that was a pretty good month. But it definitely shows that it can take a while to grow these subscription platforms, but when you do, it can be really successful and very much worth it. So I highly suggest looking into those sorts of platforms too, not just the standard retailers and the platforms that you're already used to. Jo: Fantastic. So we've now got translations, they're on the various stores, and then just like in English, one of our next challenges is actually marketing the books. Now this becomes another challenge, because one of the reasons I am in KU for foreign languages is because you get the five free days and you can do Amazon ads. I mean, you can do Amazon ads for wide books too, but it's easier to know that there are some options for marketing at all. I don't do email marketing. I don't do social media, so I'm pretty bad at marketing in foreign languages. So what are your suggestions for those who want to do more active marketing in German especially? Or even if we don't speak German, it can't be all the personal stuff. But are there also advertising things like BookBub? What are our options basically? Skye: There are quite a few things. It's not quite as easy as in English, of course, but I think sometimes you have to remember that you already have most of the material for marketing when you've released a book. You will have made graphics in English, you will have written a newsletter, you will have done some social media posts. All that material is already there, so you don't have to reinvent the wheel. You can just translate that, and for that, AI translation is really good because it's very quick. You don't have to bother your translator. You can just get that done. That's what I had to remind myself, because in the beginning I did everything from scratch and it took me forever and I was hating it. Then I realised, well, I could just look at the newsletter I wrote three years ago when that book released in English and translate that. That's done within a minute and I can send that out. So remember that you have a lot of content already. There's no BookBub or nothing as big as BookBub. There is a site called BookDeals, which sends out newsletters for both reduced or free books and also for new releases. I use them for pretty much all my new releases, or at least always the first in series. They're nowhere near as big as BookBub, so don't expect miracles, but I generally always break even or a bit more. It's hard to tell, of course, especially if you do several things for a new release. But my instinctive look on this is that it's worth it. BookDeals is the big one. There are a few other promo sites, but to be honest, I've not really found any of them to give me a positive ROI. I experiment with them occasionally and I listed them all in my book just for completeness, but BookDeals is the big one. Then there is LovelyBooks, which is the German Goodreads. Some Germans also use Goodreads, so always make sure to have all your German books listed there. But LovelyBooks is the big one. I love that place because people are so much kinder than on Goodreads. I avoid Goodreads completely. If I need a review, I send my assistant there to look at reviews. I don't go there. It is scary. LovelyBooks—the name is kind of telling. It is a more lovely place. People are generally more friendly. They are probably a bit more critical when they write reviews than they are on retailers, but I have found it really nice to build a community there. You can do these book clubs where you give away a copy of your book, either as print books—or I always do ebooks because I don't want to send books to Germany. Then people discuss the book as a sort of book club and then they review it at the end. I have had great success with that. I've built up a community of readers who will now buy my books too, even if they don't get them for free. I found some beta readers through that. So I love LovelyBooks. The annoying thing again is it's in German. However, their support all speaks English and you can email them with questions. They're really good. Even if you don't plan to run any book clubs or anything like that because you don't speak the language, I would always advise just setting up an author profile there because it makes it easier for your books to be found. You can track reviews, you can track reads, and that just gives you an extra place to get more visibility for free. Ads—there's not much difference compared to what you do for your English-language books. The one thing is with Facebook ads, now because of EU data protection laws, it's much harder to target because people can opt out of ads and targeting. In general, cost-per-click ads are cheaper than in the US or the UK, so that's a bonus. BookTok is big and only growing there. I don't really do social media for my German books because I just don't have the bandwidth. I wish I could, and I know some people who outsource that. In an ideal world, I would have a social media account for every single language, but it's not an ideal world and I just have limited hours in the day. But even just creating an account so that people can tag you, so that people can find you, can already be a good start. One thing that's not maybe a marketing strategy as such, but something I like to highlight, is pre-orders. If you write in series, always, always make sure that the next books in your series are up for pre-order, because— German readers have been burned so many times by authors or even publishers who just translate book one in a series and then stop. They are quite hesitant sometimes to start a new series when they see it's book one of something and they don't see the next book up for pre-order. To be fair, it's similar in English. I always make sure to have a pre-order up for the next book. Because people would just not read the series until it's complete or until they know it will be complete at some point. So always set up a pre-order if you can. Don't set it up when you don't actually know when your translation is being done, or choose a date far in the future. Just make it very clear to your readers that you are intending to translate the entire series, that you're not going to disappoint them, that they're not just wasting their money on a book one only to never find out what happens next. Jo: Fantastic. Well, this is a big decision for people to make, I think, because there's no point in doing one book in German and then not doing anything else, in the same way as doing one book in English or any language. You have to think about investing in an audience. So lots for people to think about. The book is fantastic. It's called Self-Publishing in German. So where can people find you and your books online? Skye: For my author-facing things, just go to SkyeMacKinnon.com/authors, and there you find the book about German translations. You also find more information on what I do. You can book consultations with me. I love doing those one-to-ones, especially about translations, because you can really dive into someone's catalogue and look at what would be a good strategy for someone, rather than just in general. Otherwise, it's SkyeMacKinnon.com for all my romance. If you want adorable children's books, it's IslaWynter.com. That's Wynter with a Y. Jo: Brilliant. Well, thanks so much for your time, Skye. That was great. Skye: Thank you so much for having me.The post Self-Publishing in German: How to Translate, Distribute, and Market Your Books with Skye MacKinnon first appeared on The Creative Penn.
Send us Fan MailWriting a memoir is never an easy feat—especially when the story being told explores the deeply personal terrain of trauma, healing, and the reclamation of one's agency. In this episode of the "Authors Who Lead" podcast, I sit down with Chelsey Valeri—licensed clinical social worker, trauma therapist, and debut memoirist—as she offers an honest glimpse into how she crafted her book, Healed Enough. Through our conversation, you'll get a multidimensional understanding of complex trauma—from both clinical and lived perspectives—and what it takes to turn such experiences into a story that resonates.Timestamp:00:00 Deciding to write a memoir05:12 Complex PTSD not in DSM07:08 Understanding trauma's impact on mental health10:29 Discussing personal healing journey14:45 Feeling vulnerable but understood19:34 Writing during health challenges21:29 Navigating a patriarchal society26:06 Healing Foundation and trauma care29:12 Editing process for publishing33:12 Discussing book feedback and approach37:18 Writing a clinician's hand guide39:40 Challenges in trauma therapy training43:36 Discussing a valuable trauma bookFull show notesCOMMUNITY PROGRAMS
Send us Fan MailDr. Mitchell Goldstein, neonatologist at Loma Linda University and editor-in-chief of Neonatology Today, joins Ben to share the story behind one of neonatology's most accessible and wide-reaching publications — a peer-reviewed, open-access journal with 25,000 monthly readers worldwide, no publication fees, no page limits, and no color charges. He explains the philosophy behind the Academic True Open Model that guides the journal, why author development and rapid peer review turnaround of as little as 72 hours set it apart, and how the journal has used platforms like LinkedIn to find voices that traditional publishing would never have reached. He also highlights the 39th International Gravens Conference on the Physical and Developmental Environment of the High-Risk Infant, taking place June 16-18 in South Bend, Indiana — use code Special10 for 10% off registration.Support the showAs always, feel free to send us questions, comments, or suggestions to our email: nicupodcast@gmail.com. You can also contact the show through Instagram or Twitter, @nicupodcast. Or contact Ben and Daphna directly via their Twitter profiles: @drnicu and @doctordaphnamd. The papers discussed in today's episode are listed and timestamped on the webpage linked below.Enjoy!
Today, we’re bringing you the best from newsrooms across Washington… First, President Joe Biden announced an executive order that created the first-ever national assessment of nature, but President Donald Trump rescinded the effort on his first day in office. The team that had started the work – led by a professor at the University of Washington – refused to give it up. Read more here. Next, doctors at UW Medicine’s Long Covid Clinic are beginning to see patterns of how Long Covid is impacting various communities, including Latino farmworkers. Read more here. And finally, you heard about it on Casual Friday - The notoriously late number 8 bus in Seattle is finally getting fixed. Read more here. We can only make Seattle Now because listeners support us. Tap here to make a gift and keep Seattle Now in your feed. Got questions about local news or story ideas to share? We want to hear from you! Email us at seattlenow@kuow.org, leave us a voicemail at (206) 616-6746 or leave us feedback online.See omnystudio.com/listener for privacy information.
Send us Fan MailFor many of you, the journey from idea to manuscript can feel daunting and filled with self-doubt. In this heartfelt solo episode, I share personal insights and experiences from a life devoted to writing, coaching, and the pursuit of dreams. This post explores key takeaways from the episode, offering both encouragement and practical wisdom for anyone standing at the threshold of their own writing journey.Timestamp:00:00 Deciding to write a book03:38 Pursuing travel through writing07:23 Importance of finishing your book11:55 Writing and living in SpainFull show notesCOMMUNITY PROGRAMS
Professor Eric Cline details the dramatic race to acquire the Amarna letters, recounting how Wallace Budge smuggled 81 tablets to the British Museum and competed with Archibald Sayce to publish the first translations. (10)1947
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