Podcasts about Ruz

Luis Ruz, presidente del centro de pensamiento Democracia y Comunidad, perteneciente a la Democracia Cristiana, cuestionó la postura confrontacional tomada por el Frente Amplio sobre los 30 años del regreso a la democracia, en el marco del debate por las primarias oficialistas. En El Primer Café, Ruz dijo que "existe una suerte de inconsistencia, porque el Frente Amplio ha pedido unidad en las mañanas y en la tarde golpean a los socios con los cuales quiere trabajar. Desde el punto de vista político eso es inconsistente". Conduce Cecilia Rovaretti.

El 2 de agosto de 2023, en un bungalow de Tailandia, Daniel Sancho mata a Edwin Arrieta, un cirujano plástico con el que mantenía una relación. Después, lo descuartiza y se deshace de su cadáver. Las pruebas parecen claras pero, durante semanas, los medios de comunicación difunden la versión de la defensa de Daniel: que vivía en una jaula de cristal, que la víctima lo sometía a una angustia imposible de soportar y por eso quiso romper con él y durante una discusión se llegó al crimen. Por ello, se asegura que hay muchas posibilidades de que el tribunal lo condene a una pena menor. La sentencia se hace pública el 29 de agosto de 2024: cadena perpetua. ¿Qué pasó en realidad? ¿Cuál fue el móvil? ¿Quedó Daniel con Edwin para matarlo o la muerte no estaba planeada? Nos da todas las claves del suceso José Ruz, conocido en redes como Triun Arts. Twitter: @FPCaballero y @ESCrimenes Instagram: @FPCaballero Correo: elsenordeloscrimenes@gmail.com Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Abordamos la necesaria reflexión sobre la IA preguntándonos sobre cuál esta siendo y cuál va a ser su impacto en la sociedad a raíz de un estudio recientemente publicado de la Fundacion Tecnaclia con nuestros invitados y doctores en IA y computación cuántica Jesús López y Eneko Osaba, como autores implicados en la investigación. Además, conectamos también con María Ruz, experta en Neurociencia cognitiva y Directora del Centro de Investigación Cerebro y Comportamiento de la Universidad de Granada y con el catedrático experto en IA Paco Herrera de la Universidad de Granada.¿A qué consideramos una IA transformadora? ¿Cómo de cerca estamos de ella? ¿Qué escenarios se dibujan cuando seres humanos e inteligencias artificiales corean? ¿Será el fin de la humanidad tal y como la conocemos? Muchos elementos a debate en un programa que se vuelve íntegramente analógico para conectar con el Planeta Segovia de Don Víctor y poner encima de la mesa la visión que la IA tiene del cómic españolEscuchar audio

En este episodio de Mujeres Madres, la host Lucía Ruz tiene una conversación profunda con Cristina Muñoz, psicóloga, sexóloga, madre, y más... Juntas exploran el significado de ser mujer y madre en la sociedad actual, abordando cómo estos dos roles a menudo se ven envueltos en expectativas, presiones y conflictos internos. Además, profundizan en la brecha deportiva y su impacto en la salud física y mental de las mujeres, destacando cómo las desigualdades en el acceso y la representación afectan directamente a su bienestar. Finalmente, el tema de la culpa en la maternidad se convierte en el foco principal, y se analiza cómo esta sensación de culpa puede afectar la salud emocional de las mujeres, complicando aún más su equilibrio entre la vida personal y el rol maternal. Un episodio lleno de reflexión, empatía y consejos prácticos para las madres que buscan comprender mejor su bienestar integral. ¡No te lo pierdas! Gender gap - excercise: https://www.nytimes.com/2024/11/11/well/move/exercise-gender-gap-caregiving.html

En este episodio de Mujeres Madres, Lucía Ruz aborda la crisis de identidad masculina en un mundo en transformación. Lucía explora cómo la falta de referentes y el vacío en cuanto a un rol claro en relación a la paternidad afectan la salud mental de los hombres jóvenes. A través de una conversación sincera, se busca redefinir la masculinidad y promover la corresponsabilidad en la crianza, fomentando un diálogo que beneficie a todos. Acompáñanos en esta reflexión sobre el futuro de los hombres en la sociedad actual.

Para esto, precisamente, debe servir España: para repartir menas. Le asombra, por cierto, que ya no se pueda usar esta palabra, puro tecnicismo, porque la han legitimado como insulto insultadores e insultados. No debería ser Vox el que rompiera sus acuerdos con el PP por este asunto, ¡sino al contrario! He aquí la línea roja, debería decir Feijóo, no podemos seguir gobernando con ustedes. Pero en fin, enganchado a la subordinada, pareciera que el PP no es solo la oposición a Sánchez, sino la oposición a Vox. No perdió oportunidad, claro está, de recordar que había sido el único español que tuvo razón con las legislativas francesas. Elogió, al respecto, la limpia Lettre aux Français del presidente Macron y, una vez más, el ballottage, ese sistema que reproduce los sistemas 1 y 2 de Kahneman. Si Nacho Cano dio una rueda de prensa no fue por un litigio laboral menor, sino porque apenas salido de comisaría se vio en los titulares de El País y la cadena Ser. El caso le recuerda lo que pasó con Teddy Bautista y aquella Sgae asaltada por orden del juez Ruz. Por lo demás, ¡qué fantasía la de que el espectáculo se llame precisamente Malinche! Entre Ayuso y Malinche quiso ver el juego. Santos trajo el último burning, sobre la agresividad aumentada de las mujeres cuando discuten con mujeres… de tetas grandes. Y como iba de tamaños cantó al gran Javier Krahe. Y fue así que Espada yiró. Bibliografía: Daniel Kahneman, Pensar rápido, pensar despacio Ray Garza y Farid Pazhooni, «The Role of Breast Morphology in Women's Rival Derogation Tactics», en Sexes Banda sonora: Un burdo rumor, Javier Krahe See omnystudio.com/listener for privacy information.

En este episodio Lucía Ruz habla de la "penalización materna" en al ámbito laboral, así como de carga y culpa materna. Dos grandes conocidas por las mujeres en la maternidad. ¿Es posible liberarse de la carga? ¿Y de la culpa? Te leemos en @mujeresmadres FUENTE: “The child penalty atlas”, by H. Kleven et al., 2023

Cuidarse no es escaparte sola al súper. Tampoco es darte un baño de burbujas si no desconectas de verdad. Cuidarse empieza por dentro. En este episodio Lucía Ruz nos da dos claves esenciales para el autocuidado, la red de apoyo y la forma en que gestionas tu energía. ¿Y para ti? ¿Qué es el autocuidado? Cuéntanos en @mujeresmadres

En este episodio Lucía Ruz reflexiona tras el día de la madre sobre lo que significa ser una buena madre. Hartas de escuchar que una buena madre es aquella sufridora y dedicada, vamos a redefinir juntas lo que significa serlo. Te leo en @mujeresmadres FUENTES: https://blogs.hoy.es/escuela-de-padres/2022/12/15/las-buenas-madres/  https://alvarobilbao.com/como-ser-una-buena-madre  https://www.redalyc.org/journal/729/72954206006/html/ 

La respuesta sexual o el proceso de excitación es diferente en hombres y mujeres, pero... ¿cuánto sabemos de la respuesta sexual femenina? Ya te lo adelanto, poco. En este episodio, Lucía Ruz habla de la importancia de conocer las diferencias entre los procesos de excitación femenino y masculino, y de la priorización del orgasmo femenino para acabar con la brecha orgásmica en las relaciones heterosexuales. Valora el podcast en la plataforma en que escuches, ¡gracias! También puedes encontrarnos en redes sociales como @mujeresmadres FUENTES: -https://galeria.busqueda.com.uy/Salud-y-bienestar/-Los-tiempos-de-excitacion-del-hombre-y-la-mujer-estan-cambiando--uc831967  -https://www.psicologiasexologiamallorca.com/diferencias-deseo-excitacion-hombres-mujeres/  -Dr Rena Malik is a Urologist & Pelvic Surgeon: https://www.youtube.com/@RenaMalikMD

La calidad de nuestras relaciones determinan la calidad de nuestra vida. Y cuando llega la maternidad es incluso más importante tener relaciones sanas y que aporten a tu experiencia materna. En este episodio, Lucía Ruz habla de las relaciones, de cómo pueden condicionar nuestra experiencia de vida, y sobre cómo poner límites llegada la maternidad. "Tener hijos es una revolución psicológica que cambia nuestra relación con casi todo el mundo y con casi todo en general." - Esther Perel Te agradecemos que apoyes nuestro trabajo valorando y siguiente este podcast :)

2050, c'est la date que s'est fixée l'Union européenne pour parvenir à la neutralité carbone. Mais avant la réalisation de l'étape suprême du Pacte vert en 2050, l'Union européenne impose aux 27, de réduire dès 2030 leurs émissions de gaz à effet de serre, de 55% par rapport au niveau de 1990. Pour atteindre cet objectif, la Slovaquie comme tous les pays européens, est engagée dans un processus de décarbonation de son industrie.  De notre envoyée spéciale en Slovaquie,Quand on parle de décarboner l'industrie, on cible notamment le secteur sidérurgique traditionnel qui se révèle très polluant. C'est le cas en Slovaquie, où cette activité représente un cinquième de la totalité des émissions de gaz à effet de serre du pays, avec un gros émetteur, l'usine U.S. Steel de Košice.Quand on atterrit à l'aéroport de Košice, impossible de ne pas apercevoir par le hublot les cheminées élancées et les hauts fourneaux de l'usine U.S. Steel. L'histoire récente de la deuxième ville la plus importante de Slovaquie est intrinsèquement liée à l'activité sidérurgique. Il suffit de donner notre destination au chauffeur de taxi pour que celui-ci se perde dans ses souvenirs. Son père y a travaillé, a vécu le rachat par U.S. Steel, les restructurations, les licenciements. À l'arrivée de U.S. Steel, une poussière noire d'acier recouvrait les véhicules dans les années 90, nous raconte-t-il. Le ton se fait malicieux, quand il nous précise que la pollution ne restait pas sur la ville, mais gagnait la Hongrie voisine en raison des vents du Nord ! Dans les années 2000, la poussière a disparu. L'une des exigences posées au sidérurgiste américain, lors de l'achat de l'usine était de mettre l'entreprise aux nouvelles normes européennes.C'est en l'an 2000 que U.S. Steel, qui fut longtemps le fleuron de la sidérurgie américaine, rachète le complexe slovaque après deux années en joint-venture. L'usine métallurgique n'a alors que 41 ans, car contrairement à d'autres villes industrielles, l'activité sidérurgique à Košice ne remonte pas à la révolution industrielle. C'est en 1959 que le régime communiste décide d'installer dans cette région plutôt rurale, une entreprise métallurgique qui prend le nom de Východoslovenské Železiarne (VSŽ, Métallurgies de l'Est slovaque en français).L'arrivée de cette activité bouleverse la ville, qui passe de 60 000 habitants en 1960 à 240 000 aujourd'hui.Une guérite avec une barrière marque l'entrée de l'usine. Nous la franchissons après avoir donné le nom de Juraj Varga, à l'interphone. C'est le responsable du principal syndicat de l'usine, Kovo qui regroupe 62% des salariés. Il nous a précisé la veille que pour des raisons de sécurité, c'est lui qui viendrait nous chercher. S'il a rapidement répondu à notre demande d'interview, la direction de U.S Steel, a pour sa part décliné toute rencontre.« Notre usine souffre de sous-investissements »Nous sommes mi-janvier 2024, le thermomètre est en dessous de zéro, nous rentrons rapidement dans le bâtiment central de U.S. Steel. Nous avons pris rendez-vous avec Juraj Varga en décembre pour parler avec lui de la décarbonation de l'usine, mais entre temps, une annonce qui a sidéré beaucoup de monde notamment aux États-Unis est intervenue : à la surprise générale, le 18 décembre 2023, le Japonais Nippon Steel, 4e groupe mondial, a fait une offre d'achat de U.S. Steel, l'entreprise américaine, basée à Pittsburgh en Pennsylvanie, le berceau de la sidérurgie américaine. Je l'interroge donc d'abord sur le sentiment des salariés de Košice face à ce changement de propriétaire. « C'est une bonne nouvelle – nous confie-t-il - car notre usine souffre de sous-investissements. Depuis plusieurs années, il n'y a pas eu d'investissements pour moderniser nos processus de production. Pour parler clairement, nous avons une usine du siècle dernier ».Qu'en est-il de la décarbonation de l'usine ? C'est un sujet qui préoccupe le gouvernement slovaque depuis plusieurs années. En 2019, le ministre des Finances de l'époque, Igor Matovic, avait fait le déplacement à Pittsburgh pour porter le message suivant : « La décarbonation est le seul moyen d'assurer un avenir à la filiale de Košice ». En 2021, le même ministre avait obtenu l'engagement de U.S. Steel de remplacer deux hauts-fourneaux traditionnels alimentés au coke par des fours à arc électrique, le 3e haut-fourneau n'était pas remplacé, mais modernisé. Les engagements se sont-ils concrétisés ? La réponse de Juraj Varga fuse : « Rien n'a été réalisé, même s'il y a eu annonce et médiatisation concernant la décarbonation ! Les employés sont déçus. Avec l'arrivée du nouveau propriétaire, on espère un développement positif pour l'usine ». Le responsable syndical nous précise que cela fait trois ans que les équipes planchent sur le processus de décarbonation, mais que tout est resté à l'état de plan. « D'un point de vue administratif et technique, on peut dire que l'usine est prête mais l'élément déclencheur, c'est l'argent », analyse-t-il. Le montant de la transition verte pour l'usine de Košice est en effet vertigineux, il s'élève à au moins, un milliard deux cents millions d'euros. Conscient de l'investissement que cela représente pour le groupe industriel américain, le gouvernement slovaque a œuvré auprès de Bruxelles pour obtenir des aides. 600 millions d'euros de fonds européens sont prêts à être investis, « mais il faut que l'employeur investisse la même somme et si le total s'élevait à un milliard deux cents millions d'euros, au départ, avec la flambée inflationniste et la crise énergétique c'est sans doute, maintenant, peut-être un milliard 400 millions. Nippon Steel devra dire quand et si elle est prête à investir dans ce projet », conclut Juraj Varga qui n'avait pas encore, à la mi-janvier, eu de contact avec les syndicats japonais du secteur sidérurgique.« Ce genre d'entreprise aime avoir l'air très écologique, mais en fin de compte, ce n'est très souvent que de la com »Nous rejoignons le centre-ville de Košice, avec sa large artère centrale bordée de magasins, de restaurants et de cafés. Nous avons rendez-vous avec Zuzanna Kupcova à quelques encablures de là, dans une ancienne usine de tabac transformée en café branché. La jeune femme est la coordinatrice de Klima t'a potrebuje, une toute jeune organisation écologique locale qui a vu le jour en 2021. « Quand vous allez sur le site internet de U.S. Steel, cette entreprise se présente comme très verte et très engagée dans le développement durable. Ce genre d'entreprise aime avoir l'air très écologique, mais en fin de compte, ce n'est très souvent que de la com, de l'écoblanchiment », regrette-t-elle. Zuzanna Kupcova reconnait que l'investissement financier demandé se révèle conséquent, mais elle rappelle aussi que « U.S. Steel a le taux d'émissions de CO2, le plus élevé de Slovaquie. L'entreprise est proche de la ville et a donc un impact environnemental considérable. Ce que nous voulons c'est une véritable décarbonation et pas une politique de petits pas ».  U.S. Steel, l'usine la plus importante dans la région de KošiceU.S. Steel a donc débarqué en Slovaquie en 1998, dix ans après la sortie du pays de plus de 40 ans de régime communiste (1948-1989) et six ans après la dislocation de la Tchécoslovaquie.« U.S. Steel est l'usine la plus importante pour notre région de Košice. En fait, il fut un temps où toute l'économie de la Slovaquie orientale reposait sur cette entreprise », rappelle Radislav Trnka, le président de la région de Košice. Il nous reçoit dans son vaste bureau. Hauteur sous plafond, moulures, le bâtiment qui abrite les bureaux de la présidence régionale appartient au patrimoine historique de Košice, qui fut au cours de son histoire mouvementée, dominée par les souverains hongrois. Radislav Trnka a 35 ans. En 2017, lors de sa première élection, il est devenu le plus jeune président de région de l'histoire de la Slovaquie. En quelques chiffres, on comprend l‘importance de l'usine U.S. Steel pour la région de Košice : « Actuellement, U.S. Steel emploie quelque 8 000 personnes. À cela, s'ajoutent quelque 20 000 personnes dans les entreprises de sous-traitance. C'est la plus grande usine de la Slovaquie orientale et donc un employeur important ». Pour compléter cette réalité sociale, il faut citer le chiffre d'affaires annuel de U.S. Steel Košice : environ trois milliards d'euros. Rapporté au PIB de la Slovaquie, qui est de 130 milliards d'euros, le gouverneur de la région de Košice insiste « cela représente presque deux pour cent du PIB slovaque. Vous comprenez son importance à l'échelle régionale ! ». Certes, au fil du temps, la région a développé un autre pilier économique, celui des technologies de l'information, une usine automobile Volvo s'est aussi installée, mais l'industrie sidérurgique reste essentielle pour l'économie locale. Des entreprises qui apportent une vitalité économique dans une région qui enregistre un taux de chômage inférieur à 6,5%, mais qui sont aussi source de pollution. Radislav Trnka nous explique que les entreprises de la région de Košice « produisent jusqu'à 30 % des émissions de gaz à effet de serre générées dans toute la Slovaquie ». Le gouverneur reconnait que Košice « est l'une des régions les plus polluées de Slovaquie et l'un des responsables de cette réalité peu flatteuse, c'est U.S. Steel. C'est donc le revers de la médaille de notre dynamisme économique. Statistiquement, dans notre région, l'incidence du cancer est beaucoup plus élevée en raison de la pollution de l'air ». Si la décarbonation de l'usine U.S. Steel se réalise, la Slovaquie remplira ses objectifs 2030 fixés par l'Union européenneKošice est située à l'extrémité orientale de la Slovaquie, à l'extrême opposé de la capitale. Il faut donc 5 heures de train pour rejoindre Bratislava. Le gouvernement est très impliqué depuis plusieurs années dans la décarbonation de l'usine de U.S. Steel Košice, mais également de façon plus générale de l'économie slovaque. C'est l'Institut pour la politique environnementale, rattaché au ministère de l'Écologie slovaque, qui documente tout ce processus. Kristina Mojsezova est responsable du département en charge tout particulièrement de fournir pour le gouvernement et les entreprises, une modélisation de la décarbonation, ainsi que les scénarii possibles, tout en, insiste-t-elle « toujours mettre en parallèle, la décarbonation et les conséquences économiques et sociales ». Cette préoccupation est d'autant plus présente que l'industrie sidérurgique joue en un rôle très important dans l'économie slovaque. Kristina Mojsezova précise que « près de la moitié de notre économie est plus ou moins liée à ce type d'industrie et le secteur sidérurgique est responsable de près de la moitié des émissions de gaz à effet de serre en Slovaquie ». Nous en venons à l'impact de l'usine de U.S. Steel Košice. Kristina Mojsezova nous décrypte les diagrammes qu'elle nous présente : « sur cette moitié, plus d'un cinquième des émissions slovaques provient de notre production d'acier, autour principalement de l'usine de Košice ». Mais au niveau national, l'usine est le 3e ou 4e plus important employeur sur le marché slovaque, « donc, tant en termes d'emplois qu'en termes d'efforts de décarbonation, nous devons vraiment garder ces chiffres à l'esprit lorsque nous réfléchissons aux priorités dans notre effort de décarbonation de ce secteur ». Si U.S. Steel représente 20% des émissions de gaz à effet de serre produites en Slovaquie, on ne peut que s'interroger sur l'impact qu'aurait une décarbonation de cette seule usine. « Une baisse de 14% des émissions au niveau national », explique Kristina Mojsezova qui précise « la Slovaquie sera alors en mesure d'atteindre ses objectifs 2030 fixés par l'Union européenne de réduction de 55% des émissions par rapport à 1990 ». Mais malgré les efforts du gouvernement slovaque, malgré les annonces de U.S. Steel, la décarbonation n'est pas engagée « notre gouvernement tente actuellement de comprendre pourquoi, bien que le gouvernement ait alloué des fonds considérables à cette usine pour qu'elle lance sa décarbonation, aucuns travaux n'ont débuté ».  U.S. Steel s'est vu octroyer 600 millions d'euros par l'Union européenne pour remplacer deux des trois hauts-fourneaux par des fours à arc électrique : 300 millions proviennent du fonds du plan de relance et de résilience, les 300 autres millions du fonds de modernisation. « Notre gros problème – confie Kristina Mojsezova - c'est que si le fonds de modernisation court jusqu'en 2030, en revanche, le plan de relance et de résilience doit être réalisé d'ici la première moitié de 2026. Si les projets ne sont pas réalisés dans le délai, il n'y aura pas de financement et la Slovaquie ne pourra pas remplir ses engagements pour 2030. Donc, bien sûr, c'est une entreprise privée qui a le pouvoir de décision, mais notre gouvernement cherche à savoir, quelles options s'offrent à lui ». L'autre question qui se pose est de savoir si, malgré la date de 2026, Bruxelles pourrait envisager un nouveau délai et permettre aux 300 millions d'euros du fonds de relance et de résilience de rester disponibles.L'offre d'achat de U.S. Steel par Nippon Steel a créé la sidération aux États-Unis, le soulagement à Košice.Fin 2023, une inconnue de taille s'est soudainement glissée dans les négociations entre le gouvernement et U.S. Steel. Le 18 décembre 2023, la nouvelle a fait la Une des médias américains, slovaques et japonais. Nippon Steel, le 4ème groupe sidérurgique mondial a annoncé mettre sur la table près de 15 milliards de dollars pour racheter son concurrent. Jamais une telle somme n'avait été évoquée par des repreneurs éventuels. Mais cette offre de rachat a tout autant suscité la sidération aux États-Unis, qui voit son fleuron sidérurgique passer sous pavillon étranger, que le soulagement en Slovaquie, car la filiale de Košice fait bien partie de la proposition de rachat. Si, pendant des années, le regard du gouvernement slovaque s'est tourné vers l'Ouest, vers Pittsburgh, virage à 180 degrés, c'est désormais vers Tokyo que les yeux du ministre des Finances est braqué. Il va falloir reprendre les discussions en vue d'une décarbonation et sonder le potentiel nouvel acquéreur. Potentiel nouveau propriétaire… car le rachat destiné à remettre à flot l'emblématique entreprise sidérurgique américaine, fondée en 1901, heurte le patriotisme économique américain, d'autant que le pays est en pleine campagne électorale. Le siège historique de U.S. Steel est situé en Pennsylvanie, l'État de naissance de Joe Biden et un des États-clé pour la prochaine élection présidentielle. Le président sortant sait qu'il doit absolument capter le vote des travailleurs syndiqués du secteur sidérurgique. À la mi-mars 2024, Joe Biden a déclaré qu'il était « vital que l'entreprise reste détenue et exploitée au niveau national », alors que Donald Trump promet d'ores et déjà de bloquer le rachat s'il est élu.  La décarbonation et l'enjeu de la compétitivité de l'industrie slovaqueQue pense le patronat slovaque de cette décarbonation de l'industrie nationale ? Nous poussons la porte du syndicat patronal, RUZ. Son siège est situé en dehors du centre-ville de Bratislava, dans un immeuble neuf, entouré de centres commerciaux et d'autoroutes. RUZ, regroupe 1 500 entreprises issues de tous les secteurs de l'économie, de l'industrie lourde et métallurgique, aux services, banques et compagnies d'assurance. C'est Martin Hošták, le secrétaire général de RUZ, qui nous reçoit. Il nous a prévenus lors de la prise de rendez-vous qu'il n'abordera pas la question de U.S. Steel car c'est un membre de son syndicat. Nous lui demandons quel regard porte son syndicat sur la décarbonation du secteur sidérurgique : « Bien sûr, ce sera un grand changement technologique pour le secteur industriel, mais c'est coûteux, très coûteux et rien n'est gratuit dans ce monde, n'est-ce pas ? C'est la raison de notre... Je ne dirais pas hésitation, mais inquiétude, car c'est la question de notre compétitivité qui se pose. À savoir si nous resterons compétitifs après avoir investi autant de moyens financiers dans la décarbonation vis-à-vis des entreprises dans le monde qui ne sont pas soumises à des obligations aussi strictes en matière de décarbonation. Nous sommes tout à fait conscients de la nécessité d'une transition verte. Nous avons besoin du Green Deal. Mais la question est de savoir s'il ne faut pas reconsidérer les étapes et le calendrier de ces objectifs qui sont peut-être trop ambitieux. Ils pourraient avoir comme conséquences de détériorer ou de détruire nos économies. Or, nous ne pouvons pas devenir un musée industriel, l'Europe ne peut pas se passer d'industries ». Ce discours est-il entendu à Bruxelles ? Martin Hošták nous confie constater « un léger changement de rhétorique chez certains élus européens, voire des membres de la Commission. Par ailleurs, nous nous attendons a priori à ce que le Parlement européen ne soit pas aussi vert qu'il l'est aujourd'hui, à l'issue des élections de juin ». La décarbonation est-elle un sujet de préoccupation partagé par d'autres syndicats d'employeurs ? La réponse du secrétaire national de RUZ fuse : « ​​​Bien sûr ! Nous sommes, par exemple, membre de l'initiative C, un groupe informel d'organisations d'employeurs de République Tchèque, de Slovaquie, d'Autriche, de Hongrie, de Slovénie, de Croatie et maintenant de Roumanie. Nous nous réunissons tous les six mois. Si je devais faire des statistiques, je dirais qu'à chaque rencontre, l'un des principaux points abordés concerne la décarbonation. De temps en temps, nous publions des communiqués de presse communs, car en tant qu'industriels d'Europe centrale, nous partageons le même point de vue ​​​​​​​». La ville de Košice peut-elle s'imaginer un avenir sans activité sidérurgique ?Si le patronat s'interroge sur le rythme imposé par Bruxelles concernant la transition verte, d'autres à Košice voudraient profiter de ce tournant, pour faire acte d'ambition et révolutionner le tissu industriel de la région de Košice. C'est la position d'Andrej Šteiner. C'est le directeur de l'Institut du climat et du développement de Košice. Voici ce qu'il répond quand on lui demande si le remplacement des fourneaux traditionnels par des fours à arc électrique est la solution : « C'est le point de vue de U.S Steel et du gouvernement slovaque. Nous avons eu de nombreuses discussions entre experts à ce sujet. L'Institut que je représente et les experts qui pensent comme moi, estiment, pour leur part, que conserver U.S. Steel, dans notre environnement local, n'est pas une solution à long terme. Certes, c'est toujours un important pourvoyeur d'emplois, mais il faudrait une réflexion plus ambitieuse, au point de réfléchir à un avenir pour la région sans U.S. Steel. On pourrait miser sur l'industrie des technologies et de l'information moins polluantes et qui pourrait offrir autant d'emplois que U.S. Steel, à la différence qu'il s'agirait d'emplois qualifiés. La valeur ajoutée serait plus élevée que celle de U.S. Steel ».  Nippon Steel et la vallée de l'hydrogèneNippon Steel a donc annoncé en décembre 2023 une offre de rachat de U.S. Steel ainsi que de sa filiale slovaque. Les prochains mois sont consacrés à la concrétisation de cette fusion. Pour Radislav Trnka, le président de la région de Košice, qui connait l'usine, a eu accès aux rapports annuels, le constat est simple : cela fait longtemps que U.S. Steel n'a pas investi dans l'innovation. « Nous le déplorons car l'usine est devenue de moins en moins compétitive au fil des années. Quant à l'enjeu environnemental, c'était encore moins une priorité pour eux ». Quels espoirs place-t-il dans le potentiel futur propriétaire ? « ​​​​​​​En tant que président de région, je dirais donc que le rachat de l'ensemble de la multinationale par les Japonais est la meilleure chose qui pouvait nous arriver ».  Pour le président de région, dont la préoccupation reste celle de rendre l'usine, « totalement verte et propre et plus compétitive » tout en maintenant « le plus d'emplois possible, pour que la longue tradition sidérurgique dans cette région se poursuive », l'arrivée de Nippon Steel offre des opportunités. Pour alimenter les futurs fours à arc électrique, la piste d'une alimentation avec de l'hydrogène est étudiée, alors que la région de Košice réfléchit au lancement d'une vallée de l'hydrogène. « La région de Košice est probablement la plus impliquée de toutes les régions slovaques dans le développement de l'hydrogène vert. Nous avons été la première région à disposer de notre propre stratégie régionale en matière d'hydrogène, modèle dont s'est inspiré le gouvernement national ». Radislav Trnka regrette que « U.S. Steel ne s'est jamais impliqué dans ce processus » et entend aborder le sujet avec Nippon Steel. « Les Japonais sont très avancés dans les technologies de l'hydrogène. Donc, je pense que nous trouverons un terrain d'entente ».Si la fusion en négociation entre Nippon Steel et U.S. Steel heurte le patriotisme américain, à Košice, la page du sidérurgiste américain semble donc déjà tournée. Juraj Varga appelle de ses vœux « ​​​​​​​une décarbonation réussie à Košice », qui permettrait à l'usine de Košice de relever « non seulement un défi, mais de servir aussi d'exemple. C'est ce que nous espérons tous ».  DIAPORAMA 

Entramos de la mano de Luis Fernández Ruz, director y dramaturgo, en ‘Transparentes’, una obra de teatro interactivo en Nave 73 y el director y dramaturgo Pablo Rosal nos invita en su espacio de Teoría y praxis de La bisagra a reflexionar sobre la ciudad.

durée : 00:01:50 - liv ruz, la couleur rouge

Lucía Ruz plantea si realmente las mujeres somos más envidiosas, y por qué. Hace un repaso a nivel histórico de cómo las mujeres se han relacionado para entender por qué existe más rivalidad entre ellas. Si te ha gustado este episodio, ¡comparte! Así nos ayudas a seguir creciendo :) y cuéntanos qué te ha parecido. Puedes escribirnos a través de Instagram (@mujeresmadres.podcast) o a través de nuestro email mujeresmadrespodcast@gmail.com Gracias por escuchar.

Lucía Ruz plantea si realmente las mujeres somos más envidiosas, y por qué. Hace un repaso a nivel histórico de cómo las mujeres se han relacionado para entender por qué existe más rivalidad entre ellas. Si te ha gustado este episodio, ¡comparte! Así nos ayudas a seguir creciendo :) y cuéntanos qué te ha parecido. Puedes escribirnos a través de Instagram (@mujeresmadres.podcast) o a través de nuestro email mujeresmadrespodcast@gmail.com Gracias por escuchar.

C'est une nouvelle marée violette qui a déferlé sur la Suisse, hier, pour revendiquer, notamment, l'égalité des salaires entre femmes et hommes. Plus de 300'000 personnes ont défilé dans les rues. Mais au-delà de cette journée, les combats continuent… regarde en Russie: le Parlement a voté, hier, un projet de loi pour interdire les interventions médicales pour changer de sexe et les changements de genre à l'état-civil. Les combats continuent, aussi, en Ukraine, sur le terrain, tandis que le président Zelensky va s'adresser au Parlement suisse, cet après-midi. Sauf si, bien-sûr, les hackers pro-russes de NoName qui sévissent actuellement en Suisse arrivent à pirater, aussi, la visioconférence. À ce propos, rassure-toi, si tu es dans le Val-de-Ruz, la coupure de courant d'hier midi c'était juste une panne, pas une cyberattaque. Croisons les doigts, du coup, pour que rien ne vienne perturber, ce soir, le coup d'envoi de Festi'neuch. Sinon, je te parle grillades également, ce matin, parce que le gras, finalement c'est pas tant la vie. Le tout illustré par l'électro-pop flamboyante de Django Django, dont le nouvel album “Off Planet” sort demain en intégralité.

Div bobl a zo 'veviñ asambles pell 'zo er Groenland : an Inuited (90%) hag an Daned (10%). Met piv oa ar re gentañ a oa en em gavet er vro ? An Inuited 'soñj deoc'h ? Erik ar Ruz hag ar Vikinged ? Pobloù all ? N'eo ket ken aes- se 'vat !

De La F1 a crear un Search Fund con Víctor Ruz. Hoy en el podcast os contamos la increíble historia de mi amigo Victor Ruz. Como paso de trabajar en la Fórmula 1 a montar un Search Fund desde Málaga. No te la pierdas.

La Secretaría de Derechos Humanos de la Nación lanzó la campaña "Mamás que buscan" con el objetivo de invitar y convocar a madres que buscan a sus hijas e hijos nacidos en nuestro país y que por distintas circunstancias se vieron separadas al momento de su nacimiento. Esta invitación es para que se acerquen a la CONADI (Comisión Nacional por el Derecho a la Identidad) Actualmente se investigan más de diez mil historias de búsqueda de identidad de origen no relacionados con la última dictadura cívico-militar, son cerca de 450 las madres que se presentaron a esta convocatoria. Mónica Ruz es una de protagonista de la campaña que inició la CONADI "Mamás que buscan" y conversó con Marcela Ojeda y le contó su historia. En 1971 se enamoró, y quedó embarazada de su novio, que tenía trabajo en otra provincia. Su familia no la apoyó, y obligaron a Mónica a ocultar su embarazo. Tuvo a su hijo en abril de 1972, en un domicilio en la ciudad de Córdoba al que la llevó su familia, donde atendía la partera Flora Muñoz. La partera, en connivencia con la familia de Mónica, le dijo que su hijo, un varón, nació muy grave, y que falleció horas después del nacimiento. No le mostraron el cuerpo. Mónica vio llorar a su hijo recién nacido, de apariencia saludable, y siempre dudó de esa versión. Muchos años más tarde comprobó, por un testimonio familiar, que tenía razón. Su hijo estaba vivo. "En mi familia no se habló de mi hijo por años. Mi hermana me dijo que yo era la vergüenza de la familia y fue todo una gran angustia por la cual yo me sentí culpable, y al sentirme culpable decidí no hablar, no lo conté a nadie lo que me pasó con el bebé" contó Mónica. " Yo amo a los hijos buscadores porque ellos están queriendo encontrar a su familia y eso es lo que yo deseo para mi hijo y la campaña espero que sirva para que las mamás se animen, sea somo haya sido, si se los robaron, si los tuvieron que entregar, les pido a las mamás que los busquen y creo que buscando vamos a tener un final feliz." afirmó Mónica. En el segmento de Feminacida, Victoria Eger contó la historia de Viviana Alegre, mamá de Facundo Rivera Alegre quien desapareció hace 10 años y su mamá lo sigue buscando, pese que al juicio por homicidio está concluido la justicia no hizo nada por la búsqueda del cuerpo. Marcela también conversó con Alejandra Perdomo, realizadora de cine documental, contó en primera persona su recorrido en la búsqueda de su mamá biológica "Es difícil explicarlo porque yo con mis viejos de crianza nunca hablé de este tema, nunca pude hacerlo salvo cuando era muy chica y a mi me desbordaba la inquietud de no verme parecida a ellos" contó Alejandra "Yo nací en 1964 y es como que la sociedad argentina cree que la vulneración de derechos a la identidad se dio durante la dictadura entonces resultaba muy difícil hablar de este tema porque nadie te sabía orientar y como iniciar el reclamo entonces fue un proceso en principio en solitario" contó Alejandra. "A mi edad yo no sé si voy a encontrar una familiar o saber quién fue mi madre, pero lo que uno necesita, por lo menos a mi me pasa, es que necesito construir una historia que me lleve a saber y conocer la verdad, eso es el común denominador que tenemos todos" afirmó Alejandra. Y agregó "seguimos exigiendo porque hoy sigue siendo muy fácil apropiarte de una niña o un niño, por la falta de controles y como decimos que en un momento de absoluta vulnerabilidad, a una mujer joven, o que va sola, no se la cuida para que pueda hacerse cargo del bebé".

Windparkprojekte haben es schwer in der Schweiz. Immer wieder kommt es zu Einsprachen. Ein Beispiel ist der Kanton Neuenburg. Dort sind derzeit fünf Windenergie-Projekte in Abklärung. Eins soll in Val-de-Ruz entstehen. Gestern Abend wurde es der Bevölkerung vorgestellt. Ausserdem in der Sendung:  * In Österreich steht Ex-Kanzler Sebastian Kurz einmal mehr stark unter Druck. Ein ehemaliger enger Weggefährte belastet ihn schwer. * Nestlé wächst weiter

Este lunes compartimos El Primer Café junto a Luis Ruz, Pauline Kantor, Camila Miranda y Rodrigo Ubilla; El segundo vicepresidente del centro de pensamiento Democracia y Comunidad, perteneciente a la Democracia Cristiana, Luis Ruz, expuso los lineamientos que ha definido el partido para llevar a la mesa de diálogo en el Congreso para un nuevo proceso constituyente. Ruz detalló que la DC "ha propuesto evitar un plebiscito de entrada, que el órgano (que redacte la Constitución) sea elegido 100%, con un mandato acotado en el tiempo; y sobre el rol de los independientes, es importante que haya, pero en lista de partidos". Conduce Cecilia Rovaretti.

Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2022.09.13.507583v1?rss=1 Authors: G. Penalver, J. M., Lopez-Garcia, D., Gonzalez-Garcia, C., Aguado-Lopez, B., Gorriz, J. M., Ruz, M. Abstract: Proactive cognition brain models are mainstream nowadays. Within these, preparation is understood as an endogenous, top-down function that takes place prior to the actual perception of a stimulus and improves subsequent behavior. Neuroimaging has uncovered the existence of such preparatory activity in different cognitive domains, however no research to date has sought to uncover their potential similarities and differences. Two of these domains, often confounded in the literature, are Selective Attention (information relevance) and Perceptual Expectation (information probability). We used EEG to characterize the mechanisms that support preparation in Attention and Expectation. In different blocks, participants were cued to the relevance or to the probability of target categories, faces vs. names in a gender discrimination task. Multivariate Pattern (MVPA) and Representational Similarity Analyses (RSA) during the preparation window showed that both manipulations led to a significant, ramping-up prediction of the relevant or expected target category. However, classifiers trained on data from one condition did not generalize to the other, indicating the existence of different anticipatory neural patterns. Further analyses pointed to a differential involvement of specific frequency bands in each condition. Finally, a Canonical Template Tracking procedure showed that there was stronger perceptual reinstatement for Attention than for Expectation. Overall, results indicate that preparation during attention and expectation acts through different, although partially overlapping, neural mechanisms. These findings have important implications for current models of brain functioning, as they are a first step towards characterizing and dissociating the neural mechanisms involved in top-down anticipatory processing. Copy rights belong to original authors. Visit the link for more info Podcast created by PaperPlayer

La coureuse du Val-de-Ruz était la meilleure Suissesse aux Championnats d'Europe de Trail cet été. Elle a également remporté cette année la "Trans Grancanaria", prestigieuse course à pied de 60km. Tout ça en effectuant des shifts de 12h à l'hôpital pour son travail d'infirmière... Rencontre avec une battante!

durée : 00:02:42 - C'est mon boulot - par : Philippe DUPORT - Tout l'été "C'est mon boulot" met en avant 40 idées de business originales, des créations d'entreprise qui répondent à l'air du temps. Mardi, le portrait d'Anaïs Ruzé, qui, avec sa toute jeune entreprise, "C Reparti" veut devenir le leader français des loisirs créatifs responsables.

En su reposo. 25/05/2022. T17. E10. “Así murió Saúl por su rebelión con que prevaricó contra Jehová, contra la palabra de Jehová, la cual no guardó, y porque consultó a una adivina”. ‭‭1 Crónicas‬ ‭10:13‬ Prevaricación Una resolución injusta, eso es una prevaricación. Saúl se rebeló contra Dios al tomar una decisión injusta, basada en un absurdo abuso de autoridad. Sí, aquella donde pensó que él podía asumir el papel de rey sacerdote. Prevaricó contra Jehová. No contra Samuel ni contra el pueblo o el sistema religioso. Fue directamente contra Dios su decisión. Contra la palabra de Jehová. El versículo aclara la prevaricación de Saúl. Su rebeldía fue directo contra la voz de Dios. La voluntad del Altísimo claramente expresada fue ignorada por el rey. ¿Cómo se prevarica contra la palabra de Jehová? “La cual no guardó”. Guardar es en este contexto sinónimo de obedecer, de cumplir. El pasaje añade el triste colofón a una vida de prevaricaciones. Saúl además de todo consultó a una adivina. Desobedece a Dios y no conforme con eso busca dirección en otro lado. La muerte de Saúl, derrotado y humillado, no es una muerte cualquiera, es figura de la sentencia de muerte que ha de venir sobre todos aquellos que prevarican contra Dios y su palabra. Aquellos que conscientemente se rebelan contra el Dios de los cielos y buscan su propio camino lejos de él. No hay paz para quien así actúa y no hay forma de evitar el juicio de Dios. Llegará, de la mano del enemigo o como resultado de su propia espada, su propia conciencia que les acusará y sentenciará a la muerte eterna. Esta nota, que se añade a la historia ya narrada en 1 Samuel 31, nos deja una lección por aprender. Mantengámonos fieles a Dios, a su palabra, oigamos y obedezcamos su voluntad perfecta; de lo contrario, solo podemos esperar el juicio del cielo contra quienes prevariquen contra el Señor. Su gracia nos ayude en todo. Isaí Rodríguez Ruz

Sophia Piergiovanni, Neuchâteloise du Val-de-Ruz, a un jour quitté son métier de médecin. Un métier qui la passionnait, mais qui lʹépuisait, également. Sʹen est suivie une période dʹexploration, bien loin des soins et des hôpitaux, puisque Sophia Piergiovanni a décidé de se lancer dans lʹagriculture quelque temps avant de reprendre un métier dans un domaine qui lʹanime avant tout: le bien-être des gens. Elle est aujourdʹhui coach professionnelle en activités physiques. Au micro de Karin Jorio, elle raconte son parcours, depuis le moment où elle a décidé de laisser tomber sa blouse de médecin.

Heute ist Ruz zu Gast und stellt sich den Fragen von Senna. Viel Spaß mit der Folge @missgammour @ruz.Berlin

Her hafta birbirinden farklı hikayelerle izleyicilerini kıssadan hisse almaya davet eden Serdar Tuncer bu hafta Biri Bir Gün'de "İmansız Ölen Hoca ve Talebesi Eliyle Müslüman Olan Kral Kızı" hikayesini anlatıyor. Serdar Tuncer'in Biri Bir Gün'de anlattığı hikaye; Osmanlı Avusturya seferine çıkmak için hazırlık yapıyordu… Molla Süleyman Efendi, seferde yer almak için ordu şeyhine, dervişlerle birlikte sefere katılmak isteğini bildirdi ve kabul gördü… O dönem dervişler en ön safta yer alıp, düşmana korku salar, yıldırır, getirdikleri tevhitlerle Peygamber ordusuna nefer olurlar… Er meydanını onlar açardı… Gün geldi Viyana kapılarına dayanıldı… Kuşatma uzadıkça karşılıklı kayıplar veriliyor, esirler alınıyordu… Esir düşen Osmanlı askerlerinin içerisinde Süleyman Efendi'de vardı… Her esire, sivil hayatta yaptığı iş sorulup, ilgili alanda çalıştırıyorlardı… Süleyman Efendi'nin Müslüman din adamı olduğunu öğrenince, kendilerince aşağılamak istediler… -Sen domuz çobanı olacaksın! dediler… Süleyman Efendi görevine başladı… Krala ait olan domuzları saraya yakın bir alanda otlatıyor ilgileniyordu… Ancak bir esirin rahatlığındaki günlerini, cebinde taşıdığı musaftan sesli olarak Kuran ı Kerim okuyarak dayanılır kılıyor… sabrediyordu… yine böyle bir günde ruha safa veren tilavetiyle Kur'an okurken, nedimesiyle ormanda gezen Kralın kızı ilk defa duyduğu bu sözcüklerin cezbesine kapılıp o yöne doğru gitti uzaktan Süleyman Efendiyi sessizce dinleyip saraya döndüler… Duyduğu sözcüklerin tesirinden kurtulamayan Kralın Kızı kendisine tesir eden bu hitabı unutamıyordu… Bir gece rüyasında, tarifsiz bir karışıklık ve dehşet içerisindeki sayamayacağı kadar çok insanın feryat figanları ve ateşe atılmamak için sağa sola koşuşturmasının ortasında kalmış… Bu insanlar içerisinde sadece bir zümre dillerin tarif edemeyeceği güzellikteki bir zatın yine dillerin tarif edemeyeceği makamına koşup şefaat isteyip nardan azad oluyorlarmış… Ben de bu zatın yanına varayım ben de şefaat isteyeyim demiş… Yanına vardığı eşi ve benzeri olmayan O zattan şefaat istemiş kurtuluş istemiş… O zat-ı akdes evladım sen benim dinimden değilsin sana şefaat edemem deyince… Siz kimsiniz bende sizin dininize dahil olayım demiş… Kızım ben Nebilerin sonuncusu, Peygamberler peygamberi HZ. Muhammed Mustafa'yım (SAV)… Benim dinimi öğrenmek istiyorsan babanın esiri olan Süleyman'a git… Bu rüyadan uyanan Kralın Kızı soluğu Süleyman Efendinin yanında almış… Süleyman Efendi'nin yanına geldiklerinde aynı rüyayı bende gördüm diyen Süleyman efendi Kral Kızı'nın din- i Mübin i İslam ile müşerref olmasını sağlamış… Esareti sırasında şeriatını ahkamını ve Kur an' ı öğretmiş… Ancak Müslüman olduğu gerçeğini herkesten gizlemek zorundaymış… Aradan geçen sürede Kral Kızını evlendirmek istemiş… İmanla müşerref olan Kralın Kızı bu evliliği yapamayacağını işin içerisinden nasıl çıkacağını düşünerek bitap düşmüş, hüznü ve çaresizliği dayanılmaz bir hal almış… Yine bir gece rüyasında İki Cihan güneşi, Habib- i Hüda, Şefii Ruz i Ceza, Rahmetenlil alemin olan Efendimiz'i (SAV) görüp kendisine kavuşacağı müjdesini almış… Devamı videoda... Gelin, Beraber Yürüyelim...

Crece la polémica tras las elecciones en Nicaragua, luego de que varios países rechazaran reconocer estos comicios en los que el único candidato era Daniel Ortega. Para hablar del tema nos acompañó en Canal 24 Horas, María Inés Ruz, académica del Instituto de Estudios Internacionales de la Universidad de Chile y exembajadora de Chile en El Salvador.

Crece la polémica tras las elecciones en Nicaragua, luego de que varios países rechazaran reconocer estos comicios en los que el único candidato era Daniel Ortega. Para hablar del tema nos acompañó en Canal 24 Horas, María Inés Ruz, académica del Instituto de Estudios Internacionales de la Universidad de Chile y exembajadora de Chile en El Salvador.

El coreógrafo y bailarín, Premio Nacional de Danza 2018 en la categoría de Creación, Antonio Ruz (Córdoba, 1976) repasará su trayectoria artística en diálogo con el periodista Antonio San José en una nueva sesión de Conversaciones en la Fundación. Como bailarín, Ruz inició su carrera en el Ballet Víctor Ullate, donde llegó a ser primer bailarín; más tarde entró a formar parte del Ballet del Gran Teatro de Ginebra y del Ballet de la Ópera de Lyon. Regresó a España, en 2006, para ingresar en la Compañía Nacional de Danza, bajo la dirección de Nacho Duato. En su faceta de coreógrafo, desde 2007 ha colaborado con la compañía Sasha Waltz & Guests (Berlín) y la con compañía de danza española Estévez-Paños & Compañía. Entre sus últimas creaciones cabe destacar Electra (2017) para el Ballet Nacional de España, Ostinato (2018) para La Mov Compañía de Danza, In Paradisum (2021) para la Compañía Nacional de Danza y La noche de San Juan (2021), coproducción de la Fundación Juan March y el Gran Teatre del Liceu. Más información de este acto

Conversaciones en la Fundación: Antonio Ruz en diálogo con Antonio San José. El coreógrafo y bailarín, Premio Nacional de Danza 2018 en la categoría de Creación, Antonio Ruz (Córdoba, 1976) repasará su trayectoria artística en diálogo con el periodista Antonio San José en una nueva sesión de Conversaciones en la Fundación. Como bailarín, Ruz inició su carrera en el Ballet Víctor Ullate, donde llegó a ser primer bailarín; más tarde entró a formar parte del Ballet del Gran Teatro de Ginebra y del Ballet de la Ópera de Lyon. Regresó a España, en 2006, para ingresar en la Compañía Nacional de Danza, bajo la dirección de Nacho Duato. En su faceta de coreógrafo, desde 2007 ha colaborado con la compañía Sasha Waltz & Guests (Berlín) y la con compañía de danza española Estévez-Paños & Compañía. Entre sus últimas creaciones cabe destacar Electra (2017) para el Ballet Nacional de España, Ostinato (2018) para La Mov Compañía de Danza, In Paradisum (2021) para la Compañía Nacional de Danza y La noche de San Juan (2021), coproducción de la Fundación Juan March y el Gran Teatre del Liceu. El diálogo se complementará con la proyección de vídeos e imágenes relacionadas con la actividad del invitado. Explore en canal.march.es el archivo completo de Conferencias en la Fundación Juan March: casi 3.000 conferencias, disponibles en audio, impartidas desde 1975.

Learn how to avoid overfeeding your dog; whether wind affects sound; and how Suffrajitsu helped women win the right to vote. Please vote for Curiosity Daily in the 2021 Discover Pods Awards! We're a finalist for Best Technology & Science Podcast. Voting closes today, and it only takes a few seconds. Thank you! https://awards.discoverpods.com/vote/ More from Rodney Habib and Dr. Karen Shaw Becker: Pick up "The Forever Dog: Surprising New Science to Help Your Canine Companion Live Younger, Healthier, and Longer": https://foreverdog.com/about/ Dr. Karen Becker on Facebook: https://www.facebook.com/doctor.karen.becker  Rodney Habib on Facebook: https://www.facebook.com/rodneyhabib  Follow @drkarenbecker on Instagram: https://www.instagram.com/drkarenbecker/  Follow @RODNEYHABIB on Instagram: https://www.instagram.com/RODNEYHABIB/  Follow @drkarenbecker on Twitter: https://twitter.com/drkarenbecker  Follow @rodneyhabib on Twitter: https://twitter.com/rodneyhabib  Rodney Habib on YouTube: https://www.youtube.com/channel/UCXVR-WWoQ6J4kZNmPwdZkNQ/videos  Is sound affected by wind? by Ashley Hamer (Listener question from Oliver in Glen Ellyn, Illinois) Effect of Wind on Sound Transmission. (2018). Sciencing. https://sciencing.com/effect-wind-sound-transmission-23531.html  ‌softdb. (2019, May 14). The Effect of Wind and Temperature Gradients on Sound Waves | Soft dB. Soft DB. https://www.softdb.com/effect-of-wind-and-temperature-gradients-on-sound-waves/ More from this author. (2020, April 22). How Does The Speed Of Wind Affect Sound Waves Travelling Through It? Science ABC. https://www.scienceabc.com/pure-sciences/does-the-speed-of-wind-affect-how-fast-sound-waves-travel-through-it.html  ‌Why Is It So Loud Today? Understanding How Weather Affects Traffic Noise Levels in Your Community. (2015). https://wisconsindot.gov/Documents/doing-bus/eng-consultants/cnslt-rsrces/environment/trafficnoiseweather.pdf Wisconsin Department of Transportation. British women like Edith Garrud and Emmeline Pankhurst won the right to vote in part by using martial arts by Steffie Drucker women's suffrage | Definition, History, Causes, Effects, Leaders, & Facts | Britannica. (2021). In Encyclopædia Britannica. https://www.britannica.com/topic/woman-suffrage  ‌Ruz, C. (2015, October 5). “Suffrajitsu”: How the suffragettes fought back using martial arts. BBC News; BBC News. https://www.bbc.com/news/magazine-34425615  ‌Keegan, H. (2018, February 6). Everything you need to know about the awesome art of Suffrajitsu. Stylist; The Stylist Group. https://www.stylist.co.uk/visible-women/suffragettes-votes-for-women-suffrajitsu-fighting-ju-jitsu/188142  ‌Tao Tao Holmes. (2015, November 3). The Suffragettes Who Learned Martial Arts to Fight for Votes. Atlas Obscura; Atlas Obscura. https://www.atlasobscura.com/articles/suffrajitsu ‌ Did You Know? Suffragist vs Suffragette (U.S. National Park Service). (2020). Nps.gov. https://www.nps.gov/articles/suffragistvssuffragette.htm  ‌ How Mary Poppins Softened the Image of the Suffragette - JSTOR Daily. (2015, October 28). JSTOR Daily. https://daily.jstor.org/mary-poppins-softened-image-suffragette/  ‌Stevenson, A. (2018, December 11). Will the new Mary Poppins film acknowledge the suffragettes' success? The Conversation. https://theconversation.com/will-the-new-mary-poppins-film-acknowledge-the-suffragettes-success-106771  Follow Curiosity Daily on your favorite podcast app to learn something new every day withCody Gough andAshley Hamer. Still curious? Get exclusive science shows, nature documentaries, and more real-life entertainment on discovery+! Go to https://discoveryplus.com/curiosity to start your 7-day free trial. discovery+ is currently only available for US subscribers. See omnystudio.com/listener for privacy information.

Ruz bilaban itu yogurt ya gais.

Mark and Ruz join me for a chat about Early Adulthood Mark's Plug In: https://markgutierrezjr.com Ruz's Plug In: https://soundcloud.com/user-904067047?ref=clipboard&p=i&c=1&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing --- Support this podcast: https://anchor.fm/jared-wisdom6/support

Interview de Roby Tschopp, conseiller communal à Val-de-Ruz.

20 - 03 - 22 Ruz by Manuel Moucka

En este programa encontrarás: 0:00​ Intro del programa 1:10 Bloque de noticias 3:00 Noticia: My Way eco Bag, emprendimiento chileno llega a París, Francia 10:00 Noticia: Tazki, app de seguridad para el trabajo diario 15:05 ENTREVISTA con Juan José Herrera, CEO de Rocketbot, startup de RPA chilena que acaba de levantar USD 2,1 millones para su escalamiento internacional. 32:40 ENTREVISTA con Ana María Ruz, especialista hidrógeno Verde de Corfo. ¿QUÉ ES EL HIDRÓGENO VERDE? (cómo se hace, se come, para qué sirve? es el próximo salitre o cobre nacional?) ESTRENOS Vía TXSPlus.com, todos los miércoles de 13.00 a 14.00 horas (repeticiones los sábados am) Jueves, publicación en entreprenerd.cl y sus RRSS asociadas: Youtube, Facebook, Apple Podcast y Spotify.

Entreprenerd con Rop Villanueva, Juan Jorge Herrera y Ana María Ruz. 19 de mayo del 2021. by TXS Plus

Jesús Ruz, presidente de ANSAR, Asociación Naturalista de Aragón hablaremos de la recién estrenada primavera en la naturaleza. http://www.ansararagon.com/

En el Día Mundial de la vida silvestre nos vistan Felipe Arauzo, de la Comisión de defensa de Ansar (Asociación Naturalista de Aragón) y Jesús Ruz, presidente de Ansar. http://www.ansararagon.com/

Federico comenta cómo el juez Ruz tumbó la querella del Observatori DESC de Boye afirmando que carecía de "relevancia jurídico penal".

Production et présentation: Jean-Marc Richard Conseiller musical: Vincent Baroni Réalisation: Laurence Boss Technique CONTI 1 A : José Moreno Attachée de production: Dyane Dufault FORMATIONS: Timberjackband http://www.timberjackband.ch/ The Boppin' Sausages https://www.facebook.com/The-Boppin-Sausages-2225774634407791/ Moonglows https://www.pascalfavre.ch/ M-Project https://www.facebook.com/M-Project-officiel-106831817588920/ Les Luusbuebe https://www.facebook.com/LES-Luusbuebe-Orchestre-du-Val-de-Ruz-393249927702509/

Cette semaine, 15 Minutes sʹintéresse à la récolte et la distribution des dons. Avec un cas très précis: celui du Val-de-Ruz. La commune neuchâteloise a essuyé, en juin 2019, un violent orage. Le bilan: un mort, trois blessés et des dégâts matériels énormes. À lʹépoque, une collecte de dons via la Chaîne du Bonheur a eu lieu. Mais un an et demi après, la majorité des sinistrés nʹont toujours rien reçu. Reportage. Par Coraline Pauchard et Martine Clerc

Marián Ruz, responsable de la oficina de turismo de Almonacid de la Cuba.

Depuis ce mois dʹaoût 2020, le Val de Ruz est la plus grande commune romande à plonger ses citoyens dans le noir entre minuit et 5 heures du matin. Lʹécologiste neuchâtelois Laurent Debrot est au micro de Lucile Solari pour évoquer la réussite dʹune opération dʹextinction de lʹéclairage public dont le processus à débuté il y a 8 ans.

Un sac de 17 litres de déchets en deux mois. Cʹest le bilan de la famille Beurret à Chézard-St-Martin (NE) au terme du défi zéro déchet qui a duré une année dans le Val-de-Ruz. Fabienne Beuret, la maman, raconte cette expérience à Isabelle Fiaux.

Hostia: Monika Uhlerová (KOZ), Martin Hošták (RUZ) a Karol Zimmer (generálny tajomník služobného úradu Ministerstva práce, sociálnych vecí a rodiny) Odborári pokračujú v protestoch proti plánovaným opatreniam vlády v sociálnej oblasti. Nesúhlasia so zmenou výpočtu minimálnej mzdy, ktorá má v roku 2021 dosiahnuť sumu 623 namiesto 656 eur, rovnako sa im nepozdáva odpojenie príplatkov od minimálnej mzdy či úroveň sociálneho dialógu. Minister práce sa však opakovane vyjadril, že odborári trvali na nereálnych požiadavkach a nechceli v ničom ustúpiť. Ako o probléme diskutujú odborári a zamestnávatelia? A ako vnímajú návrh rezortu, ktorým chce dať zamestnancom možnosť výberu medzi gastrolístkom a finančným príspevkom na stravovanie? Moderuje: Marta Jančkárová. Diskusiu Z prvej ruky pripravuje RTVS - Slovenský rozhlas, Rádio Slovensko, SRo1. Témy sa dotýkajú najmä oblastí ako sú politika, ekonómia, legislatíva, občianske právo, NRSR - parlament, vláda SR, či európske inštitúcie.

durée : 00:01:42 - Le p'tit cours de breton France Bleu Breizh Izel

Sur les pas (de portes) à Val-de-Ruz, dans le canton de Neuchâtel, c'est la cinquième étape du carnet de route de Karine Vasarino au temps du coronavirus.

What’s good Few Tang Clan?!?! This episode has been a long time coming. We’re talking to my favorite producer and Raleigh’s own, Black Jeruz. First of all, Ruz made his dream come true. He made it from making beats in the bedroom to producing for some of the biggest artist in Hip Hop history (Google it). He didn’t have to, but Black Jeruz shared his success with my team, Writer’s Block Music Group. He helped make our dreams come true too. And for that we are eternally grateful. Buckle in. This is an emotional, funny, transparent and honest conversation between long time friends, collaborators and peers. Sincerely, thank you again Black Jeruz, for coming through a chopping it up with us and more importantly, for being a stand up Man in a game that ain’t really built on being stand up. We hope you enjoy listening to this conversation as much as we enjoyed having it. Make room for the tag…#ConversateForAFew --- Support this podcast: https://anchor.fm/conversateforafew/support

Lets start this Episode with a Prayer! in #17 we talked about; RIP Juice WRLD, Erick getting drunk, Halo Reach for PC, Yesterday (Movie), Brother Nature getting jumped (F**k ADs), Andy Ruiz vs Anthony Joshua 2, Ethan Klein vs kpop, Youtube Rewind, UPS Driver killed, Spotify wrapped 2019, John Lennon death Anniversary, Erick getting bullied by Ruz, Ruz Mix Tape, Erick's newest and long awaited beat, and MUCH MORE!! Hello, Erick and Miguel here to let you know that our new and improved Podcast is here! It's Whatever Podcast, where we talk about pop culture topics, the latest in news and entertainment and other topics. What we say SHOULD NOT BE TAKEN SERIOUSLY WHAT WE SAY IS PURELY FOR ENTERTAINMENT. If you enjoy our content then hit that sub button if you don't it's whatever ¯_(ツ)_/¯

Hi everyone, and thank you for tuning in to another episode of the We Make Books Podcast - A podcast about writing, publishing, and everything in between! In this episode we are talking about a book we hope everyone writes one day: Your second book, the one you are going to work on under contract and with an editor. Writing while working with an editor is very different from when you were off on your own, they have things like opinions and deadlines and they’re going to want to hear what your plans are.  But fear not, this isn’t scary, it’s awesome!  And we’re going to talk about all the reasons it’s great to have someone to work with as well as what to expect from the process. We Make Books is hosted by Rekka Jay and Kaelyn Considine; Rekka is a published author and Kaelyn is an editor and together they are going to take you through what goes into getting a book out of your head, on to paper, in to the hands of a publisher, and finally on to book store shelves. We Make Books is a podcast for writer and publishers, by writers and publishers and we want to hear from our listeners! Hit us up on our social media, linked below, and send us your questions, comments, concerns, and let us know if you took part in NaNoWriMo and how it went! We hope you enjoy We Make Books! Twitter: @WMBCast  |  @KindofKaelyn  |  @BittyBittyZap Instagram: @WMBCast  Patreon.com/WMBCast     Rekka: 00:00   Welcome back to another episode of We Make Books, a podcast about writing, publishing and everything in between. I'm Rekka, I write science fiction and fantasy as RJ Theodore. Kaelyn:           00:09   And I'm Kaelyn. I'm the acquisitions editor for Parvus Press. Rekka: 00:12   This one is a Kaelyn episode mostly because Kaelyn is getting very excited about some work that she's going to be doing with her authors very soon. Kaelyn:           00:22   Yeah. Rekka: 00:22   And she's smiling so big right now because she's just just tickled and loves her author so much. Kaelyn:           00:28   I do love my authors. They're all wonderful people. Um, but we're talking today about your second book and we don't mean your second standalone book. We mean what's coming in your series. Um, it's a very different process and a circumstance to write your second book under the direction of someone than it is your first one by yourself. And, um, I think this goes for both debut authors and people who are then just selling a new trilogy that have just been working something. Um, we keep um, you know, we mentioned at the end of the episode, uh, we'll qualify it here. We say trilogy a lot in this. Really it's any kind of a series. Rekka: 01:13   Right, right. And when we say under the direction of someone else, you've obviously already revised something under the direction of one or two other people. But we're talking about ground up. You know there is, you are starting from scratch. You are starting from the blank page. Kaelyn:           01:27   And there is somebody whose opinion now you have to take into account. Rekka: 01:31   See you keep saying, I hope it didn't sound too scary. That's why it sounds so scary. Kaelyn:           01:36   Because it's an intimidating thing, but we get into all that in this episode. Rekka: 01:40   Um, yeah. So when she says your contract contractually obligated to take their opinion into account, she's like, yes, that's true. Kaelyn:           01:49   Hey, I'm here for the truth. I'm telling it how it is. Rekka: 01:52   But that's kind of why you got into publishing your book with a traditional publisher. You wanted a team behind your book. And so this is, this episode is all about writing your book after you've already sold, possibly published the first book in a series of indetermined length and doing it with a team of enthusiastic book people behind you. Kaelyn:           02:17   Which is fun and exciting. But definitely very different from the first time you did this. New Speaker: 02:21   So we'll get into that in this episode. So take a listen and here it comes. Speaker 2:       02:40   [inaudible]. Rekka: 02:41   You notice I bought two of them. Kaelyn:           02:43   Oh yeah. I thought this was the same one that was inside. Rekka: 02:45   Yeah. Kaelyn:           02:46   It's um, very uh, warm and soft. Rekka: 02:50   And soft. Kaelyn:           02:51   So soft and fuzzy. Rekka: 02:52   Yes. Kaelyn:           02:53   Cause you won't let me have one of the cats in here to keep me company. Rekka: 02:56   I mean the blanket sheds less than the cats do. Kaelyn:           02:59   Fair. So anyway, we're talking today about books and stuff about books, same as always. But, uh, actually we're talking about a specific book at this point. Rekka: 03:10   Oh. Kaelyn:           03:11   Not a specific book as in a specific title, but it is a specific book that hopefully you're going to write one day, Rekka: 03:20   Hey, you know, maybe you might write a book someday and then maybe somebody wants to buy it and then they're like, Hey, is it a trilogy? And you go, of course it's a trilogy. Kaelyn:           03:26   Of course. Rekka: 03:27   Totally. It's totally, totally, totally a trilogy. Kaelyn:           03:30   And uh, so then you have to write the second book Rekka: 03:33   Now, okay. But backup, cause we actually already discussed outside of the recording that sometimes you've already got the second book written. Kaelyn:           03:41   Sometimes you've already got the second book written. So we should back up to once upon a time a little bit here. Once upon a time there was an author who loved an idea so much that they wanted to keep writing about it. So they wrote a book and they sold that book. And then the person they sold the book to said you got any more of these? And they said, sure, do let me just figure out what's going to happen. Rekka: 04:07   And um, in our, in our conversation, we did say that a lot of times by the time the first book has sold, if it's really intended to be a trilogy or more, the, the author has probably begun work in some form or another on the second book. Kaelyn:           04:23   Yeah. So, um, you know, as we mentioned in the intro today, we're talking about writing your second book and we, this is different from our, what's coming next - Rekka: 04:33   Right, cause what's coming next is the, that episode was about like, you being surprised by the question of what, what happens in a book that's not related to your trilogy. This is going back to the trilogy. Kaelyn:           04:46   This is, there's a difference between what are you working on next and what's coming next. So we already did what are you working on next? But this is about, um, the difference between writing the first book of your trilogy and writing the second. Rekka: 04:58   Yeah. Kaelyn:           05:00   So now as Rekka said, um, there's a chance you may have already written it, you may not have, you may have a rough draft, you may have a pretty detailed outline there, any infinite number of versions that this book could exist in. Um, for our purposes here, we're starting by assuming that you sold a trilogy or maybe you even sold the first book and it's a potential trilogy contingent on sales and sales are good. So now they want the other two books. Rekka: 05:29   Um, actually just to clarify that, if they're going to want the next book, they may have decided this before the book comes out and it's actually enthusiasm or excitement is high when they decide that they want the second book. So you may not actually have anyone who's gotten real eyes on the book other than some, um, advanced review copies. Yeah. Kaelyn:           05:47   Um, and we're also assuming that when you sold the first book, it was already written, um, you gotta you gotta be at a special place in your career - Rekka: 05:57   To sell a book on an outline - Kaelyn:           05:58   To sell the first, Rekka: 05:59   ... for your debut. Kaelyn:           06:00   Yeah, yeah, exactly. So that's kind of our baseline where you're starting from and writing the second book is going to be very different than writing the first book because the first book you were functionally kind of doing on, on your own. Um, now of course you're probably involved in some writing groups. You had some beta readers, you had, people you talked to about this. Maybe you even had an editor you hired to, uh, to take a look at it. The thing is that when you're doing the second one, now you have a second party who is contractually obligated to be very interested in reading your book. Rekka: 06:34   Yes. Not just whether it's good or not, but where the entire plot is going. Kaelyn:           06:40   Yes. And you're not going to have an editor that doesn't care about the book period, but now you've got an editor that is very, very interested in this because you've got a story to tell that is not yet written. Rekka: 06:57   And to be fair, if you've been picked up for a partially written trilogy, chances are you've already talked to your editor. Kaelyn:           07:05   There is a very, there is a very good chance. And again, debut authors are not generally at a point in their career where publishing houses and editors are willing to just let them go. Yeah, sure. Let's see how it goes. So they're probably gonna want to talk to you beforehand, find out, um, you know, so I love these characters. I love the setting. I love when this story is going, what's going to happen? Rekka: 07:24   Yeah. Kaelyn:           07:25   Um, with the understanding that that could change as you work through things. Rekka: 07:30   Absolutely. Kaelyn:           07:31   Um, but you will probably have had that conversation. So how is this time going to be different? Rekka: 07:39   One, you're on a deadline. Kaelyn:           07:41   And that's a new and exciting thing and we talked about that in what you're working on next. Rekka: 07:46   What are you working on next. But um, this one is a deadline in your contract, um, specifically. Kaelyn:           07:52   Yeah, this one's like a deadline deadline. Rekka: 07:54   You probably know when you sign your contract, when you need to have this one handed in by. Kaelyn:           07:59   Yeah. Um, so you're going to be working on deadline and you're going to be working with someone who is giving you professional feedback. And I will just say this, that you're required to work with. Um, I don't mean like at most authors I know love their editors and look forward to working with them, but this is somebody that like, you can't just leave an opinion out in the writing group. You have to listen to this person's opinion and they're going to have opinions. Rekka: 08:28   You might be able to debate them a little bit. Kaelyn:           08:30   Definitely debate them. When I say listen to, I mean you have to take it into consideration. You may be able to debate them, you can discuss things, you can come to an understanding. Rekka: 08:37   You can figure out like, okay, I was going this way and you want me to go way over here. What else can we do that we'll both like. Kaelyn:           08:43   You can't ignore this person. Rekka: 08:45   Yeah. Kaelyn:           08:46   Um, and again, I can't really think of any authors off the top of my head who don't like wha - Rekka: 08:55   I'm making faces at her. I do. I do know, because professionally speaking you are, you are on team editor so you probably not going to hear as many stories about authors who don't like their editors. Kaelyn:           09:08   First of all, I'm on Team Author. That's my job as an editor, but - Rekka: 09:12   Well played. No, but you know what I'm saying? Like socially, within the industry, you talk to other editors a lot. Kaelyn:           09:22   That's true. The other thing is that, um, authors, I think because they know I'm an editor, are reticent to say anything about our breed in general/ Rekka: 09:27   Or because you aren't a close friend, they're not going to spill their emotional baggage on you about how their editor's running them through a pepper grinder on this, you know, their second book. Kaelyn:           09:39   It's only because we want to enhance the flavor. Rekka: 09:43   So fun fact pepper makes everything taste good because it opens up your pores and your taste more of it. Anyway, back to what we were saying. Um, your editor wants to open up people's tongues, uh, pores. Uh, yeah. Okay. No, but what I am trying to say is that I do personally know authors who are having a grueling time working on their second book with the editor of their publishing house. Kaelyn:           10:06   Out of curiosity, is it a grueling time because it's a lot, or is it because they don't like their editor? Rekka: 10:12   It's a grueling time because the editor keeps checking their outlines back at them and saying, no, not that do something else. Kaelyn:           10:18   So here you go. Somebody who's going to have opinions. Now, it's interesting what you said outline. Every editor works differently, but a lot of times when you're working on subsequent books in, uh, the tr, you know, a trilogy or a series, what have you, you're going to start with an outline, agree on that and how detailed it is will depend on the editor of the book, the, you know, how intricate the things are that you need to pay attention to. Um, and then you're just going to kind of be sent along on your way, you know. Okay, go write that. Um, you know, like we said at Parvus, I'm a little more involved in the actual day to day writing portions of this, but the whole point is you're going to have to take someone else's opinion into account before you sit down to write what it is you're going to be writing. Rekka: 11:11   I think that is a lot more enticing for many authors than you might imagine. Kaelyn:           11:17   Well, it sounds nice until you're actually doing it. Rekka: 11:20   I'll let this one slide, we'll bring it back later. Kaelyn:           11:24   Okay, look your editor is your partner in this. They're going to want to help you make this the best book it can possibly be. So every relationship, every dynamic is different. But um, you know, maybe you're excited about having another opinion to bounce things off of. I do know some people that just want to be left alone to write their book as they want to write it. And it's a little bit of a rude awakening going like, no, here's this person that you have to talk to about all of this now. Rekka: 11:56   So I break the mold in this sense because I had an entire first draft of my second book before I signed with um, Parvus on book one because as we've covered before, I plan to self publish this. And so what I was planning to do was write all three before I even released the first one so that I could release them close together, get some, you know, dopamine rush from Amazon's algorithm playing into all that. So I, I had gotten a lot further in this then I think is being proposed here as the typical experience. Kaelyn:           12:28   Yeah, and it's interesting because at Parvus we have a few standalone books, some that are turning into trilogies and then some things that we bought at trilogies. So uh Scott Warren's the Union Earth Privateers trilogy, which was the first book we ever got, Vick's Vultures, fantastic book. Definitely check it out. And then he was signed up for trilogy. Now I will say that I did not, I have not really done any work on Scott's books. Um, but he had a plan of where this was going. That was discussed when we said, okay, trilogy. But that was really the only one that we kind of worked on where the author didn't really have much on paper beforehand. Rekka as you just said, uh, you know, had a draft of her second book and knew where the third book was going. Um, you know, things have changed roughly. Rekka: 13:25   Very roughly. Kaelyn:           13:35   But you did know some people like I, I am surprised sometimes when I talk to people and they're like, I don't know, I'll figure it out. And we were joking about this before we started recording because I'm such a planner and a plotter. So like the idea of not knowing how your story ends is like has me like clutching my pearls and gasping and um, but then Christopher Ruz, who's uh Century of Sand Rrilogy, the first book, The Ragged Blade also did an episode and interview episode on this go back. That was episode six, I believe. Um, let me go back and check it out. Really cool about traditionally publishing something that was previously self-published. So that meant that he had books one and two completed already and three like a pretty finished draft. Ruz now in a position, and you were as well, I'm sure where the trickle down changes from the stuff in the first book now have to be addressed in the second book if it's written. Rekka: 14:24   You're referring to the editorial changes that came back from the publisher. Kaelyn:           14:27   Exactly. Rekka: 14:27   Yeah. So I had the advantage of, uh, Colin Coyle kind of gave me some feedback. Uh, Parvus's publisher, uh, kind of gave me some feedback at the beginning of the process that wasn't officially from my editor, but it was something that he brought in and, and those were actually the biggest changes of the, of the process. And, um, he said something that made me realize that he'd misread a scene like the way I intended. It was not the way I came across, which is a good bit of feedback to have. And so by going into fix what he saw, I fixed it for one. Yay. Um, but also I gave myself a little bit of something that has come in extremely, extremely plot devices for the following books and I don't know what book to would have looked like if I hadn't put that in there just to fix a scene so that it was read correctly and now all of a sudden it became a major element. And so that was beneficial to me because it actually tightened things up for me going forward. On the other hand - Kaelyn:           15:39   Yeah, we've been slowly unraveling, um, everything that, uh, that he's been doing. Um, again, I, this is, you know, Episode Six is about traditionally publishing a previously self published book, but there is a lot of talk in it about the changes that we made him go in there and make. And that was just the first book. Um, so the ripple effect out through the second and third is massive. I shouldn't say ripple. We're dealing with small tsunami type things at this point. And he's, don't get me wrong, he's handling it like a champ. But like, it's not that the changes are bad or even difficult, it's that it's a lot to go back and make sure you catch everything. Rekka: 16:26   In the continuity of something that you already know Kaelyn:           16:29   And account for everything. And this is why, um, going into our next point here, I very much like when I'm starting with an author to know where the book is going. You know, I had said like, I am, I am a plotter, I am a planner. Um, I have a rule with the authors I work with. You have to tell me how it ends. Rekka: 16:50   Wheras just for contrast. Um, Ryan Kelly is my editor at Parvus at the moment. And, uh, I asked him if he wanted to see the outline for book three because we had not talked about where it was going. And he's like, yeah, you could send it over. Where's Caitlin would have been like, what? It exists. Why don't I have it? Kaelyn:           17:02   Why don't I have this right now? No, I mean, you wouldn't even send me an outline. I'd be on the phone with you going like, okay, but just tell me what happens. Part of that is because, you know, we buy stories that we love and I am very impatient. Um, I really always just need to know how something ends. Um, so part of it is just a personal, like, I need to know what happens here! Rekka: 17:25   Kaelyn loves spoilers. Kaelyn:           17:26   I don't actually stay far away from spoilers. Rekka: 17:29   Well, as you've said, you didn't want to know how my trilogy ends because you want to experience it as the reader. Kaelyn:           17:35   Exactly. Um, but as an editor, as an editor, I know certain books are going to need things seeded in the beginning of it. So I kind of want to know how everything's going to make sure that it fly off the rails at the end or we're dropping in something that came out of nowhere that readers are going to go, well hang on a second. Rekka: 17:56   So you bring up a really good point because these are the kinds of things that your editor can point out, um, about structure, about. Like you need to Chekov this rifle. You know, like you need to make sure that people feel satisfied by this even if they weren't expecting it, that it's grounded in the reality of your world building or your plot or whatever, or things you've introduced,. Kaelyn:           18:29   A, a twist ending or a big reveal as only as good as you've set it up to be. Rekka: 18:29   Right. Kaelyn:           18:29   Like it needs to feel surprising, yet inevitable readers should be able to go back - Rekka: 18:36   And see all the clues, Kaelyn:           18:37   And find points where they're like, Oh, okay, I got it. Rekka: 18:40   So like for example, the movie Memento. Kaelyn:           18:42   Yes. Rekka: 18:43   That is one where you watch it the second time you're like, damn, this was all in here. Kaelyn:           18:48   If you want to take it even further Fight Club that is, you know, the weirdness of that movie aside despite the groups that have co-opted it's uh =. Rekka: 18:57   Okay. So yeah. Kaelyn:           18:59   It's still a great movie. Um, but the book even too, and you know, obviously they had to do things very different in the book in the movie, but you go back and watch that and you're like, yeah, no, okay, I see it now. Um, so depending on the nature of your book and depending on where it's going, that's something your editor is going to be very interested in. Rekka: 19:18   But not only that, but as I was starting to say, as an author, you really should want someone who's, who's got that second pair of, you know, critical eyes, um, figureative eyes to put it on your story and say like, Oh, that's what you're doing with this. Well here's what I suggest before we put out book too. Cause like book one's already, you know, pretty much signed, sealed and delivered to this man. If you haven't got it seeded book two before it gets published while you're in revisions for that is a great place to seed those elements that are going to make it more satisfying when you bring it in for the landing on number three. So your editor's going to say, Oh, that's where you're going. Well what if we do this? You don't want someone who isn't paying attention to where the story's going because they might guide you into a corner that you can't get to that ending anymore. Kaelyn:           20:05   Yeah, and this is one of those, uh, you know, writers I think a lot of times fall into the problem, which is a totally understandable problem of can't see the forest through the trees. Having an outside perspective where sometimes editors are picking out parts of the book that are more important than the writer realizes they are. Um, you know, I always say like your favorite part of the book might not be the best part of the book. Rekka: 20:35   Your favorite part of the book is probably a turn of phrase or a certain scene and emotional feelings. Kaelyn:           20:40   I am, I thought, I always ask authors, especially like, you know, when they're, the books published or something or you know, okay, we've got the final draft, you're done. What's your favorite part of the book? Every single time I've been surprised. Rekka: 20:53   Really. Kaelyn:           20:53   Um, just because it's a personal thing and there maybe, you know, it might even have something to do with what was going on with you when you were writing it, but the whole point is that you're, you know, a detailed outline that you're providing to an editor is going to allow them to look at this with a bigger perspective of what is happening in this, what is happening in the characters, what the growing themes in the book are and where the setting and the plot is headed. And that is something that a lot of times now trilogies are being bought in such a way that the first book is sold and then the second and third, not always, but you know, they may buy all three at once or they could say second and thirds contingent upon, you know, what's going on with the first. So listeners, I'm sure you'll notice that with a lot of trilogies, and by the way, YA especially does this a lot. The first book kind of wraps up to a point. There are definitely lingering things. There's plots to build off of stories, problems to resolve, but the first book kind of wraps up and then two and three seems to completely take on a new life of its own. Um, again, very, very common in YA. Rekka: 22:11   And that's because you don't know if that's going to be it. Kaelyn:           22:14   Yeah, exactly. Um, so getting an outline with this stuff, um, things could change very much after, after book one, but the outline and the perspective that it's going to give the editor is really important to help the writer get through this process and get to the, I don't want to say satisfying because that implies a happy ending. Rekka: 22:38   There's a difference between like, inevitable conclusion, you know, like not feeling like you spent all your credit in the first book. Kaelyn:           22:49   Exactly. Yeah. Um, one of the examples I always give with this is, um, Cassandra Claire, do you know who she is? Rekka: 22:59   The Mortal Instruments? Kaelyn:           23:00   Yeah. Um, which that must of, that first book must have been published coming up on 20 years ago, which is so strange to think it's that old it is. But she was kind of one of the pioneers of what we now call urban fantasy. Um, like I remember being a teenager and picking up that book as someone gave it to me and was like, you have to read this. And I actually remember looking at this going, this is set in a city that's boring. That's not how this kind of stuff should go. And so anyway, you know, this was saying this to qualify that like this was kind of a new thing they were trying to figure out. But, um, then reading an interview with her that she did, um, explaining that she had to give them an incredibly detailed outline of where all of these books were going. And this is, you know, I don't know if anyone listening has read these, but the last book is full of twists, turns, reveals, shocking identities, you know, and so they wanted to see, okay, where's the groundwork that you're laying for this to get to this ending? Rekka: 24:13   And especially for the publisher, if this book is supposed to put that genre on the map, they need to make sure that this is the standard that people are going to hold it. Kaelyn:           24:21   Yeah, there were, if I'd be very interested to see if anyone kind of like has ever sat down and figured this out. I'm sure someone has. But there were a bunch of urban fantasy things that all came out around that same time. And I would argue that of that initial like group of releases, hers was far too, she's still writing these, um, they just keep giving her contracts to write trilogies in, in this world. And like now she is to the point where she can just go, I don't know, I guess one about this character? Excellent here, have some money. Rekka: 24:52   Um, life goals. Kaelyn:           24:54   Yeah. Yeah. But um, well, I mean she had like a movie, a television series, you know, they were not great. Rekka: 25:02   Well, I have often said that my dream film result for anything I write would be that the film is optioned, the option is renewed and renewed and renewed. It never happened and it's tied up in options and I keep getting paid for it and nobody ever touches it and makes people mad about it. Kaelyn:           25:23   I always joke that like, you know, if I ever wrote a book or like even if they were like going to, you know, some part of this book got a option for a movie and they'd be like, we want to do this. My answer would be cool. Uh, I'm going to go to film school, I'll come back, I'll come back to you in three or four years because I'm in charge of this. I don't trust you. Rekka: 25:45   I've had conversations with Kaelyn, um, outside of recording these podcasts and this is so 100% true. Kaelyn:           25:53   I don't trust you to do this the right way. Rekka: 25:56   And look, the thing is you're not wrong. Kaelyn:           25:58   That's the thing. Rekka: 25:59   Track record is more 90% likely that this series is not going to be handled carefully or correct. Kaelyn:           26:05   Well, I will say, and just a funny little side story, um, Necropolis PD, I gave my cousins and my aunt copies of this book and they were like, I could see this as, you know, this movie. And they're already casting it and listening to them cast it is infuriating me because they're casting all of these young, very handsome, you know, debonair men for the character of Jacob Green. And if you don't know what I'm talking about, go read Necropolis PD it's a fantastic book. Rekka: 26:34   Do go read it. Kaelyn:           26:35   Um, and I'm already fighting with them going, no, it's not. No, that's not what he's supposed to look like. That's not, he's supposed to act. So yes. Um, no one touches these books except us. Anyway, so your editor is going to be far more involved in the structure of the book then they were the first time around when you were working on this by yourself. Rekka: 27:03   Because I promise you this is a very good thing. Kaelyn:           27:03   Yeah, Rekka: 27:07   I really think it is. I mean like yes, you're going to have your outlying cases where like this is not the, the system that works best for you. But I think many authors I can speak for are always wondering if they're doing the right thing for their series. Are they taking it in the right direction? And this is a checks and balance. Kaelyn:           27:24   This person is legally obligated to talk to you about this. Rekka: 27:27   And it matters to me so much that my trilogy stick the landing. Kaelyn:           27:33   Yeah. Rekka: 27:33   Cause I mean my experience with so many books series is, well one you of course have the ones that get canceled before they're finished, which is horrible. Um, but two you have the ones that it feels like the author just kind of ran out of ideas or didn't have a clear plan and they kept setting up fantastic, wonderful world-building and situations and politics but didn't know how to resolve the situation. Kaelyn:           27:55   *cough* Game of Thrones. Rekka: 27:58   Yeah, sorry. Something in our throats. But it matters to me so much and I want somebody else's opinion on this. Kaelyn:           28:08   Yeah and I mean this is generally, you know, we've talked before about like working with an editor. You can go back and listen to our episode Will My Editor Tells Me It's Shit? And um. Rekka: 28:18   You guys love your books and you just want to talk to people about them, but you also want to be sure that you're handling them well. Kaelyn:           28:24   Am I doing it right? Rekka: 28:25   Am I doing this right? Kaelyn:           28:27   Here's the thing. Rekka: 28:28   Yeah. I mean, go ahead. Kaelyn:           28:30   There's no right. Rekka: 28:31   Yup. Kaelyn:           28:31   Because you've got to be the one to decide what's right for your book. Rekka: 28:34   Okay. So this is not me saying, dear editor, how do I finish this? Kaelyn:           28:39   Yes. Rekka: 28:39   This is like, okay, here's what I'm seeing. Kaelyn:           28:41   Yep. Rekka: 28:42   Does this satisfy the arc that's been set up across the series so far? Kaelyn:           28:46   Do you feel like as a reader of this rather than a creator of it, that you think this came to a good, satisfying, logical ending and they're going to point to spots and say, well this feels like it might be a little thin here or this feels like a jump or this doesn't seem in keeping with the character, that's what they're supposed to do. Rekka: 29:05   And you get those things before this. And this is the point of this whole episode. You get these things before you've invested two years in polishing a manuscript. Kaelyn:           29:13   From, you know, the editor side of things. Um, I try to be sensitive and aware of the fact that this person who was working on this before had pretty free reign to do what they wanted with it. Now granted, I probably did take it and make them - Rekka: 29:31   Right. And that's. Kaelyn:           29:31   And make them do some stuff and that's the baby step into, into the end of the pool. Um, but I personally, and I think most editors will do this, you know, is the, the check in, how are you doing? How are you feeling about this? Anything bothering you? Is there parts that you want us to work on or pay attention to more? Are there any parts that you don't feel great? Are there parts that you really feel great about? And then those are the ones I make them go change. Rekka: 29:59   Yeah. Well, and that's the thing. It's like every conversation when you get revisions back from your editor, you're like, yeah, I knew that part wasn't quite right. Kaelyn:           30:09   Very rarely do I get, um, you know, Rekka: 30:11   Shock and surprise. Kaelyn:           30:14   Of like no, that was perfect. Rekka: 30:14   That's exactly how I pictured it. Kaelyn:           30:16   Yeah. Um, very rarely. Um, writers I think don't give themselves enough credit a lot of times for how aware of the strengths and weaknesses of their own books they are. Rekka: 30:26   Well, so often I go to my editor because I've gotten to the point where I know something's funky about it, but I don't know where the smell is coming from. Kaelyn:           30:34   Every time I get a draft back from Ruz, the note in the draft is something like that. Just take it. Rekka: 30:39   I never want to look at this again. Kaelyn:           30:42   Um, yeah, exactly. Rekka: 30:44   Sorry. I thought it was talking about myself. Um, Kaelyn:           30:47   Oh, so that's not just him. That's all of you. Rekka: 30:49   All of us. Well that's what I'm saying. You know, like, yes, we, we know something is wrong, but the, when the relief we feel when the editor pinpoints, the thing that we couldn't see is amazing. The editor's job is to wipe the petroleum off the lens so you can see in sharper detail like where the work needs to happen. Kaelyn:           31:11   Yeah. And bringing it back around is that okay when you're doing a second, third X number book, especially within the same, um, you know, at the same trilogy or just in the set, in the same world with maybe the same characters. Um, the editor is going to be involved a lot more from the beginning. Now, you know, as Rekka says a lot of times that's exciting and that's a good thing to have. Um, but I would like to point out that this is somebody now who, I was joking before, you're legally obligated to take their opinions into account, but you're legally obligated to take their opinions into account. Because here's the thing, if I guarantee you in your contract, there is a clause that says we're not publishing this if we're not happy with it. Rekka: 31:58   Right. I mean, okay - Kaelyn:           31:59   Acceptance of the manuscript is, is a big, it's a short clause that it's got big implications. Rekka: 32:09   Yeah. Kaelyn:           32:09   And you know, I'm not trying to say this to scare anyone, like, well, if I don't do exactly what they say, they're going to cancel my contract. It's not that. And if you're working with somebody who would do that, you probably don't want to be publishing with them, but you have to take into account that yes, your editor is your editor and they're on the creative side rather than the business side of this. But at the end of the day, there's probably a sales and marketing team behind them that is saying, look, for the sake of argument, let's pretend that you know, the book has already come out your first book. And they're saying it's sold to really well in this demographic. Um, the feedback we're getting, people really like this part. Rekka: 32:55   All of our five stars come from this genre reader. Kaelyn:           32:58   Exactly. They're not going to make you rewrite everything based upon that. But that is absolutely something that will be taken into account. So if they're saying, look your books - Rekka: 33:10   If you lean away from that group of readers. Kaelyn:           33:13   Maybe your book was borderline YA and the YA community just pounced all over it and this became, you know, a runaway success within that group. But then book two is taking a really hard left. Rekka: 33:27   Or it takes place 20 years later and they're no longer any youths to be. Kaelyn:           33:32   Yeah, actually that's interesting. You'd probably get around that. Say this is the thing, if you pose these things to me, I'm going to try and come up with solutions for them. Um, but it's taking a really hard left into something that is not going to appeal At all to the large readership of the first book. That's going to be a conversation. Rekka: 33:48   Right. I mean, so I always read that clause more as you phone in the manuscript. We are not going to print it, which is - Kaelyn:           33:59   Yes, that's an obvious implication. But there is that second layer of - Rekka: 34:02   Where you saw this going is not where - Kaelyn:           34:04   We're not sure we can get anyone to read this. Um, you know, if you are writing a book about, this is the thing, anything I say here, I'm going to put ideas in Rekka's head. Rekka: 34:17   Either that or you're looking around to my studio and you're going to get ideas and you're just going to end up describing one of my stories that I've already written. Kaelyn:           34:26   There's a lot of figurines around here I can. So if we, you know, if you're writing a book about like super powered, uh, teenagers, you know, trying living in their secret hideaway and trying to find out, you know, trying to gain contact with the aliens who made them this way or what have you. And uh, you know, we end on a, we've made contact with them. Let's see what happens. And then in the second book it turns out it's not aliens, it's Godzilla, but like actually Godzilla and like no aliens and it's, your editor is going to look at that and go, this is not what your first story was about and this is a trilogy. Rekka: 35:08   And this is not what your first story was setting up because each story is like, you know, your first sentence or into your first paragraph, your first book is going to earn you the readers for the second book. In fact, those are going to be, you know, the readers who care the most about what happens in book two because they've already read book one. Kaelyn:           35:24   And I think we kind of, you know, we want to give writer,s creators for that matter as much autonomy to, create the way that they see things going. Um, you know, you'll see on Twitter all the time like, and it's correct that authors are not obligated to readers. They are not there to write what you want them to write. Rekka: 35:53   It's not fan service. Kaelyn:           35:54   Exactly. I agree with all of that. But I will say that people who have invested time, money and emotional mental energy in your book deserve to not then be kicked in the ass. Rekka: 36:11   So like if you're having an idea that's so far off the board from what you set up in your first book, just save that for the next series, you know? Kaelyn:           36:20   Or you know, I'm going to talk to you, your editor about it. I guess if there's like, if it's, if you planned that all along and you've, you know - Rekka: 36:25   And this is another thing, it's like if you know where that was going, if you planned it all along, make sure they know that before book one revisions are done because maybe they can help you set that up so it won't surprise and ass kick anybody. Kaelyn:           36:37   But again, you've probably already talked to your editor about this. And so again, this is where the accepted manuscript clause comes into play. Depending on how detailed you got and depending on you know, what their plan was for you and your book and your marketing and stuff. There may actually be specific things written into the contract about the book, which I know sounds like such a crazy micromanaging type thing to do Rekka: 37:02   But it's, it shows the more detail that you know about the series when you're signing the contract, the more detail will appear in the contract. You know, like if you don't know what, if you don't know that it's going to be a trilogy for sure, but they want your second book, they're going to say in an unnamed science fiction novel of no less than a hundred thousand words or whatever. But if they know that it's going to be the sequel, then it's a sequel set in the same world. Kaelyn:           37:28   Or yeah, they will put in their set in the same, you know, whatever legal words they're going to use. But world of the first book of this with the same characters with the same, you know, basically what they're doing is they're telling you we want more of this, Rekka: 37:41   We want more of exactly this. Um, don't pull a fast one on us. Kaelyn:           37:46   So if you come back with something that is completely not that they will, they're probably won't accept the manuscript. Rekka: 37:52   Well, they can just point to the contract and look, look, that's not what we bought. Kaelyn:           37:56   Yeah. It's not meant to be scary. I'm not trying to like freak anyone out by, uh, by saying this, you know, it's just something to keep in mind. Rekka: 38:01   And in fact, she really doesn't mean for this to be scary because the whole point of this episode is, Hey, you get to work with a buddy, you have a safety system. Kaelyn:           38:10   Exactly. Rekka: 38:10   And this, and somebody that you can just go, okay, I wrote this chapter. I can't tell if I'm hitting it, you know, and just like you can get a response back within a reasonable timeframe and it says, yeah, no, this is great. Keep going. And like who gives a thumbs up every now and then, like on demand is really awesome. Kaelyn:           38:28   Good job. Rekka: 38:29   And also correction, you know, like path correction. If you aren't really, you know, if if feel weak about it, is it nerves or is it really bad and your editor can tell you. Kaelyn:           38:40   Yup. So, um, Rekka: 38:42   Okay, but that okay, but here's the one thing that's weird about this whole process. Your editor before has seen you at your best. You're polishing the script now. Now you are, you are going to show them the piles of dirty laundry on the floor of your bedroom. Kaelyn:           38:55   No, no one is surprised by the curtain being pulled back. Rekka: 38:59   But it's different. Kaelyn:           38:59   It's different. Yes. Um, Rekka: 39:01   I definitely know that. I don't make my sentences, you know, they're not the final sentences in the first draft. Kaelyn:           39:08   Yeah. Um, no one is surprised by the current being pulled back here. That's not, you know, anything that is going to shock and horrify your editors. Anytime you get a draft back, there's going to be an understanding of how rough it is. You know, like if it's like, look, there are sentence fragments in here. There are parts where I trailed off and started drawing in pictures of the pizza I was going to eat after this. Rekka: 39:29   There's pizza inside. Kaelyn:           39:31   So there's expectations there. There's realistically adjusted perceptions Rekka: 39:37   But it is weird too, to feel like you were on your best behavior and now suddenly like this is, this is you with it all hanging out. And not only that, but like you're coming to them with a little bit of like, Oh, I don't know, like I need help with this. Like not only like did you pretend to have it all together and know where the series was going when you sign the contract. Um, now like they're seeing it at its scrappiest and, and you are asking for like, what should I do next with this? Kaelyn:           40:05   Yeah, yeah. Rekka: 40:06   But conversations you have are going to be so exciting and ideas thrown back and forth and all that kind of like, they want this to be the best. Kaelyn:           40:14   I mean, my favorite part of editing books is, is the plot. Um, you know, Rekka: 40:19   So that's good for people who need help with the plot. Kaelyn:           40:22   Yeah. Yeah. That's, um, my absolute favorite thing is I'll ask Ruz if maybe it's okay if I put a picture online of like one of the things that I sent him, but um, it's like I love just getting a piece of paper sitting down, writing out this happens, this happens drawing arrows and circles and dots and you know, paragraph on the back of each one explaining what each one was to be used as evidence in court against us. But I love doing that and I end up with some truly bonkers looking pieces of paper but it's, it's so much fun. Rekka is far more organized. She has post-its and, Rekka: 40:57   Thumbtacks and index cards. Kaelyn:           40:57   Spreadsheets, and color-coded index cards. Rekka: 41:02   So this does make me feel like we should add the caveat of you are working directly with a lot of unagented authors. Kaelyn:           41:13   Yes, yes we are. Parvus has a lot of unagented authors. If you have an agent, however you're going to be working with them a lot. Rekka: 41:22   Yeah. This, this might be a process while you are on submission with the first book, which again, same, same issue where the editor at the publisher may cause some the catastrophic ripples. But you can still work with a buddy and you might even get the buddy system in a little bit earlier in the process. Kaelyn:           41:42   Yeah, agents over the last few years, I would say probably, especially within the last decade, but before that as well have really taken on much more of an editorial role. Rekka: 41:53   And not all of them still not like there are plenty that are pretty hands off once you've sold the property. Kaelyn:           41:58   But um, you know, it's very normal before, you know, when an agent takes you on as a client and you decide what they're going to try and sell for you, it's very normal for them to give editorial suggestions and direction. Rekka: 42:11   When we talk to Caitlin McDonald, she said that she will probably go over a story at least twice. Kaelyn:           42:16   Yeah, exactly. And um, you know, depending on the agent, how polished it's going to be when, you know, they try to sell. It probably depends partially on who they're trying to sell it to and um, what editors, they know, how they work and what they're going to be looking for. But for your other books, again, it depends, varies agent to agent. Rekka: 42:36   I know authors whose agents will definitely be editorial for the book that goes on submission. But after that they don't want to steer the, uh, the author and the incorrect direction when the editor might come back and, and - Kaelyn:           42:49   Yeah, they'll kind of go, well that's you and your editor. That's, you know, what your - Rekka: 42:52   You can copy me on big conversations. Kaelyn:           42:54   Exactly. Yeah. You know, again, it depends so much of this, this industry is so subjective depending on how the person works. Rekka: 43:00   Because there's every person in the mix as a different ingredients and you don't come up with the same, I mean, no book is, you know, direct copy of another. Kaelyn:           43:09   From my perspective, every author is different. Rekka: 43:12   Right. Well that's what I'm trying to say is that each author, each editor, each agent are different personalities with different preferences. And by combining those things, you get a chemical reaction that results in a different kind of book than it would with different ingredients and different people. Kaelyn:           43:26   Yeah. No, and I've mentioned this in previous episodes where we've talked about editorial kind of stuff. And I will say, as I said before, this is me, I can be pretty flexible with how I work. So I try to work with how things work best for the author. If they want to talk to me a lot about this kind of stuff, I am thrilled and over the moon to talk to them. If they really just kind of want to go off into their corner, work on it and come back to me when they have something, that's fine too. Um, you know, I will, they do have to tell me how it is. Rekka: 43:59   Well, yeah. So suppose you, Before they start writing this draft, they've probably already talked to you about the outline. Kaelyn:           44:04   Well that what I mena, and even with the outline, if they want to go into the, you know, go off into their corner, figure out how they do and then come back to me with it. Um, or if they want to talk once every couple of weeks or you know, text me about, that's fine too. I as the editor try to be a little more flexible. I know not everyone does that. I think they try to, if they can, they'll make any reasonable accommodations. Um, Rekka: 44:28   Reasonable accommodations. Like we said, this is, you know, professional situations, still would, it shouldn't devolve into unprofessional like demands on the either side. Kaelyn:           44:32   Oh yeah, yeah, exactly. Um, but anyway, the whole point is that, you know, everyone works differently. If I can help accommodate someone to, so that I can get the best possible book out of them. Of course I'm going to do that. Rekka: 44:53   Yeah. New Speaker: 44:54   On that note, uh, one of the things a good editor knows how to do is cut things off when they're taking too long. So, uh, we've been talking for a bit and I think we've said, I think we covered everything we need to. Rekka: 45:04   A couple of chapters that are coming out. Kaelyn:           45:05   Yeah. Yeah. We'll, we'll do some editing of our own. Rekka: 45:08   We'll blend that, that information into the rest of it. Kaelyn:           45:11   Yeah. So, um, you know, that was a kind of just talking about the difference between writing your second book in a trilogy first your first and we just, we keep saying trilogy just because - Rekka: 45:20   So what we're really referring to is writing a book under the direct supervision of the editor rather than writing a book you hope an editor will buy. Kaelyn:           45:29   Um, we just keep saying trilogy because it's so industry standard at this point. Rekka: 45:33   It is pretty typical. Although, you know, like not always, a lot of really successful stuff become long running series. Kaelyn:           45:39   Yeah and um, I don't know if you've noticed this, but um, again, especially in YA, I'm noticing it's quadrilogies, now we've moved away where, we're upping the stakes here. Rekka: 45:50   Well, I think you see this a lot in um, you know, film and TV also if something's working, give us more of it to sell it to the crowd that already loves it because they're going to show up for it. And it's like, it's very business, salesy minded, but like, hey. Kaelyn:           46:08   Don't you want to sell books? Rekka: 46:09   I mean, think of the, it's not new. Think of the Foreigner Series by CJ Cherry, you know, like this long running series. Nobody says no to them if they're selling, right? So if you've got a built in audience, then you could probably talk your publisher and do a few more series Kaelyn:           46:25   There are series that will go until the author decides time to stop. Rekka: 46:29   Or they die. Kaelyn:           46:30   Or they die. Rekka: 46:30   Then they bring in a second author to work on that series and keep working on it until they say stop. New Speaker: 46:36   es. So, um, anyway, so that was, you know, about working with an editor verse working on your own. Um, hopefully that didn't completely, hopefully that came off not scary. Rekka: 46:50   See, like I said, I see a lot of hope in and um, this is a collaboration now. Kaelyn:           46:56   Yeah, definitely. Rekka: 46:57   You know, so I see a lot of hope in that. It's a very lonely thing to write a book. It's a very lonely thing to write a book. You don't know if anyone will like. So when you can have someone saying, you know, this is working, this is working or you know what, it would be working if we did address this and your editor is not going to write the book for you. So it's not taking away your autonomy. Is it not taking away your creative control, it's just going to steer you towards success both story-wise and hopefully like, you know, sales wise because again, you're both in this because you hope the book will sell in a way that has a return Kaelyn:           47:30   Yeah, exactly. So, um, thank you so much everyone for listening. Um, as always, you can find us online. Rekka: 47:38   Yup. We are @WMBcast on Twitter and Instagram. Send us your questions there. You can post them straight onto our wall if you are happy to have those questions, you know, identified under your name. If you are asking a question anonymously, you can DMS on Twitter. They are wide open. So uh, come on in and ask us your publishing, writing and everything in between questions and we'll address them in future episodes. We'll either, if they're a big topic, we can, um, you know, pick those out and do entire episodes or we can - Kaelyn:           48:09   We are open to suggestions. Rekka: 48:10   Yeah. And we, yeah, definitely. But we can also do like a listener questions episode again. We've done one of those after Submissions September. Kaelyn:           48:16   Maybe we'll wrap up the year with that. Rekka: 48:18   Yeah. Maybe a 2019 listener questions a year end review kind of thing. Yes. Um, yeah. So send us your questions. We need them now that we've announced that player in that and you can find us at patreon.com/WMBcast and your support would be greatly appreciated to help us run this podcast and the quality to which you have become accustomed. We appreciate you listening and we especially appreciate folks who leave reviews on Apple podcasts and they've finally decided it's called Apple podcasts. Kaelyn:           48:48   That was, that took a while to. Rekka: 48:50   That did take a while, well they waited for the Apple like, um, event in September and we were waiting to find out what that was going to be. So thank you again for listening and we will talk to you again in two weeks.    

Hello guys and gals, on this weeks episode we do a podcast after our friend Ruz's rap show. We talk about our new Rodecaster Pro, we thank our subscribers, our Area 51 Ad, Jeffrey Epstein, Erick only sees one girl, Miguel quit his job, Trippie Redd removes song with Playboi Carti, Young Thugs new album, YBN Cordae, Avengers Endgame Blu-ray release, Erick Works at Best Buy, we use Adobe Premiere now, Hong Kong protests, Skyscraper Cemeteries and much more! Like and Subscribe if you enjoy and rate us if you listen!!

Tuvimos un gran invitado con nosotros; Iván Ruz, animándonos a ser un mensaje de Dios en la vida de las personas y enseñándonos que para Dios los recursos no son un problema. Te invitamos a ser la semilla en la vida de alguien. Siembra, cuida y luego ve crecer. "Tú eres el mensaje, esa fue la palabra, sin más, ni místico, ni emocional. Lo creí y lo vivo por fe" Iván Ruz, 04/08/19.

Hi everyone, and thank you for tuning in to another episode of the We Make Books Podcast - A podcast about writing, publishing, and everything in between! We Make Books is hosted by Rekka Jay and Kaelyn Considine; Rekka is a published author and Kaelyn is an editor and together they are going to take you through what goes into getting a book out of your head, on to paper, in to the hands of a publisher, and finally on to book store shelves. Like last week, this week we are doing something a little different.  First and most exciting, we have our first guest!  Christopher Ruz, author of The Ragged Blade joins Rekka this week to talk about his book’s long road to publication.  Second, that’s right, it’s just Rekka on this episode.  As Kaelyn will explain in the intro, she’s Ruz’s editor at Parvus Press and wanted to give he and Rekka the opportunity and space to talk about what it’s like working on your own verse with an editor.  They had a great conversation and we think you’ll really enjoy it. The Ragged Blade is currently in stores and online and you can (and should) find Christopher Ruz online @ruzkin on Twitter and www.ruzkin.com.  Check him out and tell him that Rekka and Kaelyn sent you. We Make Books is a podcast for writer and publishers, by writers and publishers and we want to hear from our listeners! Hit us up on our social media, linked below, and send us your questions, comments, concerns, and any lingering thoughts or feelings about Endgame that you just can’t get out of your head. A transcription of this episode can be found below. We hope you enjoy We Make Books! Twitter: @WMBCast  |  @KindofKaelyn  |  @BittyBittyZap Instagram: @WMBCast  Patreon.com/WMBCast === Transcript ===     Kaelyn:00:00 Hello everyone and welcome to another episode of the We Make Books Podcast, a show about writing, publishing, and everything in between.  I’m Kaelyn Considine and I am the ‘editor half of the podcast and this week we decided that we’re going to do something a little bit different.  Uh, the first part is that we have oh first ever guest, author Christopher Ruz, whose book ‘The Ragged Blade’ was released a week ago today, which would make that June 4th for those who might be listening at another time.  Um, the second thing is that I’m not on this episode, and the reason for that is that I’m Ruz’s editor at Parvus Press and we wanted to have Ruz on because he had a really interesting journey of getting his book published.   Um, you’ll hear all about it in this episode but it went from a short story, to a self-published novel, to a traditionally published novel,  by my publishing company, Parvus Press.  And we wanted to hear all about everything that led up to getting this published, and uh especially working by yourself to self-publish verse working with an editor.  So, in the interest of podcasting journalistic integrity, I recused myself from the episode so that Ruz and Rekka could have a conversion on the real ups and downs of traditional verse self-publishing and working on things on your own verse working with a professional editor.  Um, it’s a really interesting conversation, they both have some very interesting stories about how they got to where they ended up in their publishing careers.  So it’s a really great episode, it sounds like Rekka and Ruz had a lot of fun recording it, um, I gave them carte Blanche to uh, talk about anything they wanted, including me, and uh, they did not hold back.  And u, as always, we’d love to and want to hear back from our listeners.  Any questions or feedback, or just general feelings you have about what you’re listening to – you can find us on Twitter @wmbcast and on our website, ‘wemakebookspodcast.com’ and you can email us there if you want it send us a question or a comment and we’re always happy to happy, if you’d like to have them remain anonymous.  So, I think that’s everything, and we hope that you enjoy this episode with author Christopher Ruz. 02:02[Intro music] Rekka:02:17   All right. So today I have snuck out of Kaelyn's supervision and I have uh, gone behind her back to speak to one of the authors at Parvus that Kaelyn edits for. I am speaking today to Christopher Ruz who is the author of the ragged blade, which as we are releasing this episode on June 11th, is now a week old. And so we're going to be talking from the other side of the release date. So um, Ruz has zero insight as to what it is like to have had the book out for a week. So we won't get into that unless you want to design your own fantasy week. Like, oh, it's amazing. 1 million copies sold in the first day. This is just astounding and I'm so touched. Rekka:03:01   Well look, Ruz:     03:02   Say it into being Chris. Ruz:     03:04   We've all got our fingers crossed for that. That um, we'll just, I'm just going to wait and see right now, Rekka:03:10   RIght. Ruz:     03:10   Right now, a week before it launches, we're recording this. I'm in this weird sort of nether world where I don't know whether to be excited or scared and I'm just waiting for the publishing train to run over me and see what comes out of here. Rekka:03:22   Sorry. The correct answer is why not both? Ruz:     03:25   Yeah, probably yes. Rekka:03:26   Um, frightened. Terrified. Uh, elated. Excited. Why aren't more people paying attention to me? Because don't they know I have a book coming out. And how is everybody just going to the grocery store and walking their dog? Like normal? Ruz:     03:43   Yeah, I've gone through that a couple times. Yeah, just counting down the days. Um, so here in Australia, I think the book comes out on my Thursday and the US's Wednesday, so that's also really frustrating that I can't actually celebrate simultaneously with the rest of the world. But is what it is. Rekka:03:58   Well, I mean you could, you just have to forego sleep. Ruz:     04:01   I just have to, but I like sleep. Rekka:04:03   Yeah. Sleep is wonderful. Ruz:     04:03   I really like, I really like my sleep. Rekka:04:06   That's, that's good. That's healthy. All right. So you might survive if you do uh practice. Good sleep efforts to, uh, to write the entire series as opposed to, you know, petering out because you've gone without sleep for the last two years. Rekka:04:22   [laughter] Rekka:04:22   I mean, I know Kaelyn can be awful, but um, I'm hoping, you know, she lets you sleep occasionally. Ruz:     04:28   She's been pretty good with that so far actually Kaelyn's been very relaxed on deadlines. I don't know how she is for her other authors, but to me she seems to give me a little bit more slack so I'm maybe I'm special. Or maybe, Rekka:04:40   I have the benefit of not being one of her authors, so I just assume the worst of her Ruz:     04:48   [laughter]and you assume right. Rekka:04:50   Exactly. So I'm sorry Kaelyn, who is going to edit this episode and for, so our audience knows if she left that in, it's because she is the worst and she's proud of it. Ruz:     04:59   [laughs] Rekka:04:59   Um, so your story, I mean like we're not just having you on because we have easy access to you as a Parvus author. And we could always just say like, hey, we're not going to put your book out unless you come on and talk to Rekka on We Make Nooks, but, um, we really want talk to you. And by we, I mean the royal we obviously, um, about the path that this novel has taken because it is not a typical story of uh novel publishing. And, um, I think it's, it's one that's really interesting. It's going to give some people some hope, I think. But it's also like, um, it's just a really interesting story that the path that this novel has taken. So I'm gonna let you introduce it. Um, why don't you give us your latest, um, elevator pitch because I love it. Ruz:     05:49   [laughter] Rekka:05:49   And, um, then also like tell us the background, the, and I'll just interrupt as I do to ask questions. Ruz:     05:58   Yeah, no problem. So the pitch that we've worked out, which only came to us in the past week is essentially, um, it's an epic fantasy novel where a Bi guy and his young daughter are running away from extremely clingy ex boyfriend, who also happens to be a magician and the dictatorial ruler of his small kingdom. And so father and daughter are running away across this huge, wild, untamed desert, full of magic and demons and monsters. While his magician boyfriend is in hot pursuit along with his Zombie tracking dog. Rekka:06:36   I mean, that's like every Tuesday. But you met us to tell it in a way that's new. No. Ruz:     06:42   [laughter] Rekka:06:42   Um, I am, about 11 chapters in 12 chapters in, as it turns out. Um, and I have really been enjoying the, like I feel the sand, you know, I can feel the sand in the narration and the, um, exposition and this experience of the main character, Richard, who is escaping somebody that is so clearly, he's not just a magician. He is pretty much the magician. Right. Ruz:     07:13   Yeah. Rekka:07:13   And that's an ominous threat that's in every scene. So every time he like stops to pick a rock out of a shoe, you're just like, no, keep going. Keep going. Ruz:     07:25   [laughter] Yeah. That, um, that sort of atmosphere of constant dread and um, and that very, very tense pursuit to something that I tried to keep up through the whole novel. Uh, it's, it's very mad Maxy in a way, even though, um, even though fury road came out well, well into the, the writing of this book, I think it actually has that same sort of feeling of never being more than, you know, a couple of steps ahead of this incredible force that's pursuing you. Um, and it was really cool that you, you mentioned that you really feel what it's like to be in the desert because I tried to channel a lot of my own experiences into those scenes. So, Rekka:08:05   And that's just between your house in the mailbox. Ruz:     08:08   Little bits. So I grew up obviously in Australia, um, but my parents house backed onto this massive wild nature reserve, which is just kilometers and kilometers of completely untouched Bush land. And I just got there and get lost for hours, deliberately get lost and then wander in circles in the heat and the scrub and try and find my way back home. And so I'd actually developed a system of creating landmarks and attaching stories to little landmarks that I found along the way and essentially built up my own little fantasy map in my head that would let me navigate, you know, from my parents' house, six kilometers west into the bush and then back again. And so that's the sort of feeling that I was always trying to channel is that, um, the potential in the landscape and the danger that's always looking around every corner and just try to pick your way from one landmark to the next in order to stay alive. Except in my case, the threat was if I wasn't backed by a six o'clock, my parents would, you know [laughter] it wouldn't be good Rekka:09:14   It wasn't a zombie canine chasing you. Ruz:     09:18   No, but it felt like it. Rekka:09:19   Something a little bit worse. Ruz:     09:20   When you're seven years old. Yeah. Your parents Rekka:09:23   Getting sent to your room. Ruz:     09:25   Yeah. That's a scary prospect. So hmm. Rekka:09:28   So this is, this book is coming out through Parvus press, but it is something that you have previously self-published. So that's like, that's the really interesting part. I mean, obviously the book is interesting. As I said, I'm, I'm a third of the way through it. And obviously, I'm like, okay, shut up Ruz. I need to go finish this now. But, um, the, the story of how you self publish this and then ended up, uh, well not re-, but like submitting it to Parvus and then going through Parvus to turn it into something entirely new, almost with just like, well, I'll let you tell it as I said, but, um, that's the story I really want to draw out of you today because I think it's interesting. And I, as I said before the call, we have clearance from Kaelyn to talk about every aspect of this. I have had authors on before whose work was published after it was self-published, but they have been told like, you do not speak of this. So I think it's just really interesting to get this side of the story from somebody who has permission to talk about it openly and freely. And you know, like there may be as much like black sharpie over this episode as you can imagine in a Mueller report. But let the, while you and I are talking Ruz:     10:41   Right, keeping it topical Yup. Um, yeah, yeah. Let's go into it. Um, so if you go way, way, way back, um, this whole trilogy started as a short story. Um, so one of my first successful short stories, I think I've been writing for quite a while, but this is the first one that I actually felt like, you know, when you finish your first thing and you look at it and you're like, Hey, this isn't actually terrible. Rekka:11:07   Yes. Ruz:     11:07   And you have that moment where you're like, oh, I've graduated from awful writer to semi awful. Rekka:11:14   I'm cogent. Ruz:     11:16   Yeah. So I had that moment. And, um, I love the short story, which is just - this story forms, which is the, basically the backstory of the Ragged Blade. So if you're reading the ragged blade, you'll find that the present narrative jumps back into the past at various points where we're falling two stories simultaneously. And the short story was what is now the backstory. And I loved it. And um, sent around it didn't get published, but it picked up a Writers of the Future, um, award, which I was pretty stoked about. And so I thought, all right, how can I expand this? Spent a lot of time expanding it into not just one novel but three. So I, I already had this large plans sort of mapped out. So I smashed that out, um, over a period of a couple of years. And this is going all the way back to like 2007, 2008. So this has all been a long time in the cooking and I tried to sell the books everywhere. I think I queried everybody on um, agent query ran through the whole list, of publishes and nobody was biting. And looking back on it, it's pretty obvious why it wasn't that great of a book at the time. So I think it was about 2010 I gave it one more editing pass and self published. And so that was the start of my big self publishing career. Um, I say big self publishing career, it hasn't been Rekka:12:35   But you do have many titles like, you know, compared to what a traditional, um, well this let's say this is your first traditionally published novel. Ruz:     12:45   Yeah. Rekka:12:45   You quote unquote debut as a traditionally published author, but you already have a whole stable of stories that you've written and released and gotten reviews on and it's, it's not like you've just been, um, quietly publishing into the void this whole time. Ruz:     13:02   Yeah. Yeah. I do have, um, a bit of stock there. Yeah. It since I first published the ragged blade on back then it was called century of sand. Yeah. I've put out, um, and other I think four horror novels. Um, 10 or so spy novellas like I kept stacking up, but honestly my heart was always in Century of Sand I really wanted it to go somewhere and um, and people were enjoying it as I self published it, but there was still something missing. I think I still needed some professional eyes on it. And so it had been self published for five or six years when Parvus put up their first uh, roll call on Reddit that we're looking for people with a novel to pitch. And so I spoke to Colin there and I showed him century of sand and he said this isn't bad but it's self published. Um, we're not super interested in that at the moment and honestly Rekka:13:55   Which is the response that is going to be typical for most authors. You've already self published something that a publisher is going to say, yeah, we want it to be the first ones to release your book, not the second ones. Ruz:     14:05   Yeah. And I think that's perfectly fair. It was, it was a fair response. Also, we had chat about the amount of work that we need to go into it and he said, okay, if we were to take this on, we're going to have to break it into tiny parts and rebuild it from scratch. And I, maybe this is, this is arrogance, but I was really hoping he'd just say this novel is Great. We love it. We are going to buy it. We're going to do a spell check and send a straight out there and it's going to be beautiful. It turns out that was not the case. Rekka:14:31   No, Ruz:     14:32   It was, it was nowhere near that state. So yeah, me and Parvus we parted ways very amicably. And um, I kept in touch with Colin and we talked about different writing advice and publishing advice. So I think about two years after that, just every couple months we'd say hi and um, I didn't know Kaelyn at the time, but to any listeners, I can really recommend that if you are pitching you should pitch to Parvus and Colin because Colin is just lovely. Rekka:15:01   Um, as compared to Kaelyn. Ruz:     15:03   Kaelyn is, Kaelyn is terrible, terrible and terrifying, but Colin balances around a little bit. So, um, so yeah, I kept writing and started pitching another novel. I'm a Scifi story called God Factory and Colin had to read through that at some point and he came back to me and said, hey, I think your writing is actually improved quite a bit in between writing Century of Sand and writing God factory. If you could go back to century of sand and revise it to the same standard as God factory, we might take another look at it. And at that point I'd, I think I'd woken up at to the actual realities of publishing what goes into it and what goes into the editing process. So I was much more open to the idea of just trashing century sad down into its component pieces and building it up again. So it was with that promise and also the fact that I had the other two manuscripts for this entire trilogy ready to go. You know, me and Colin were able to shake hands and, and make the deal. And then we started the process of editing and Oh my God, it was even worse than I thought Rekka:16:15   [laughs] You thought you were just going to take it down to paragraph level - Ruz:     16:17   Just a nightmare. Rekka:16:17   and put it back together. Ruz:     16:19   Yeah, I thought, you know, oh well we'll check out some dialogue, visit some themes. Cut out some bad scenes. Holy Crap. Rekka:16:28   [laughs evilly] Yeah. um Parvus may be kind of, you know, quote unquote new in town, but they, they really will like put a book through its paces in order to get it to the point where they feel like, yeah, no, we want to put her name on this. So even when they say like, yeah, we want to buy your book, they're like, yeah, just you wait. Ruz:     16:47   Yeah. It made me realize that even after I think seven or eight rewrites for me to get it to the point where I was happy to sell, publish it, it was really still just a larval stage. There was so much in it that I hadn't seen. Um, there's so much that you can't see when you just head down in your own book for years. Rekka:17:07   Yeah. We absolutely way too close to it. Ruz:     17:10   Yeah. Um, and the changes that they recommended, it thought I, at first I thought that they were insane. Rekka:17:18   [laughs] Rekka:17:18   I'll say the first time I got into a Skype call with all the, um, the team at Parvus and they recommended some of the most sweeping changes. Um, I guess the books already out, so I can probably discuss some Rekka:17:28   Mm hmm Ruz:     17:28   Umm, minor spoilers. Um, for example, the first change they wanted was that I take two major characters and combine them into one, which is not impossible usually, but these two characters don't even run in the same timelines. Rekka:17:42   Right. Ruz:     17:43   So in the original book, there was a mentor character essentially like you call them an Obi-Won - Rekka:17:48   Right Ruz:     17:49   Style character who goes on an adventure with the magician over this long period. And then eventually meets another young soldier called Richard who he trains up. And um, Richard eventually takes on his mentors mantle. And this is two overlapping storylines of about, each one's about a 30 year storyline and they only meet for about five years in the middle. Rekka:18:16   Mmm hmm. Ruz:     18:16   And so the first piece of advice I got was we need to merge them into a single character, in a single storyline. And like that's not a couple paragraphs here and there. That's just, Rekka:18:27   Yeah, that's like the entire frankensteining essentially of two halves of a story. Ruz:     18:34   Yeah. Um, so yeah, a 60 year story got squeezed down to about 20 or 30 years. Two major characters who only ever intersected for few years suddenly became one. Motivation's got tangled, storylines all got tossed around and I hated it at first. I thought it was insane and it was not going to work and we're just going to tear the heart out of my book. And by the time I was done with that first editing pass, I thought their geniuses, Rekka:19:03   [laughter] Ruz:     19:03   This is so good now. It was in every respect. Rekka:19:07   Mmm hmm, so it became a much tighter story as a result and, and you had to figure out motivations as you said. But I assume that means like everything became a lot more clear as to um, what you know was driving the story. Ruz:     19:23   Yeah, everything was clarified because basically as I was speaking to the editing team, they'll pointing out that one character, the, that Obi-Wan style mentor character he had a stronger emotional bond or emotional tie with the primary villain. Then my new character Richard. And if I transpose the two characters and actually imported motivations from one end to the other, suddenly we have this incredibly, um, uh, it would be become a story driven by relationships as opposed to plot circumstance. Rekka:19:50   Mmm hmm. Ruz:     19:50   And as soon as I started making those changes, it actually, it was like a flower sort of unfolding. I saw all these potentials in, in these previous scenes and the way they'd spiral out across the whole book and then across the whole trilogy. And yeah, I loved every change I made after that. Rekka:20:05   Now .... Ruz:     20:05   I didn't like that I had to write the changes Rekka:20:08   Yeah, exactly. Ruz:     20:08   But I liked what happened after I'd made the changes. Rekka:20:11   [laughter] So as you said, you've already had written books two and three of this trilogy now and, and this little change, um, or not so little, but you know, like this one change rippled out. And so, um, I know from watching you and Kaelyn interact on, on Twitter that you've been working probably just as hard on books two and three as you did on book one to get everything back into line. How is the, um, continuity, like are you having a lot of trouble getting to a point in going, oh God damn it. No, I changed that too. Ruz:     20:45   Um, it's actually been okay. Rekka:20:47   Okay. Ruz:     20:47   I was really surprised that there was even more editing work to be done in book two. Rekka:20:51   Mmm hmm. Ruz:     20:51   Um, but because we finished book one before we even opened up the manuscript for book two, um, little actually flowed reasonably smoothly. I had a nice roadmap to work from. Rekka:21:04   Mmm hmm. Ruz:     21:04   Yeah. Book two was a mess as a result of these major changes because, um, as you notice in book one, we've got these dual storylines running and that continues through books, books two and three. It's the same structure for all of them. It's um, it's a present day adventure with storytelling, which takes us back to the past. And that's this running theme and the storytelling part in book two is massive. It's probably a third of the book as opposed to a couple isolated flashbacks and I just have to trash the whole thing. Rekka:21:33   [laughs] Ruz:     21:33   I was like 40, 50,000 words straight in the, in the bin. Rekka:21:37   As a result of losing Obi-Wab? Ruz:     21:40   Yeah. Rekka:21:40   Yeah. Okay. Ruz:     21:41   Cause yeah, he wasn't there anymore. Rekka:21:43   Yeah. Ruz:     21:44   Obi-Wan didn't exist. His mentorship and training didn't exist. Um, my new character, Richard suddenly had all these existing motivations and fears and doubts. So yeah, we started pretty much from scratch and so Kaelyn is holding onto a manuscript of a revised manuscript of book two at the moment and there's almost nothing left from the original Rekka:22:07   Of the original. I've done that. Ruz:     22:08   A couple of cool a couple cool fight scenes. Rekka:22:10   Yeah, Ruz:     22:11   That's about it. I think we retained like maybe 20,000 words out of 140, so it was just a butchery. Rekka:22:20   That's a - that's a nice bite that you got to keep. Ruz:     22:21   Yeah Rekka:22:21   When I rewrote Flotsam, I think I kept all of three paragraphs Ruz:     22:26   Oh wow. Rekka:22:26   Of the entire original manuscript and, and you know, I think some character name stayed the same, but um, yeah, I mean mine's a whole long backstory of its own. I worked with the editor that I was eventually at Parvus when I, um, before he was at Parvus and I had hired him to help me work on it on its own. And, um, any we did, we like took the entire massive thing that I've been working on for like 10 years and just said, okay, we're just gonna put that over here. It's safe, it's fine, Ruz:     22:55   [laughter] Rekka:22:55   You know, but, um, you know, how about, how about we do a new first chapter and go from there. And so I did, I did the same thing. I ended up rewriting the whole thing just about from, and then, um, this was before I submitted it to Parvus and then I wrote book two again, still before I submitted it to Parvus, submitted it to Parvus, they had some more changes, which were small, subtle scenes that affected a whole heck of a lot. Ruz:     23:21   [laughter] Rekka:23:21   And then, um, and then now I'm like basically every written book two again. So yeah, a whole lot of empathy for you there. And that's anyone working with Kaelyn. I can't even imagine. What Kaelyn would do to me. I'm sorry Kaelyn. She- she assigned to the task of torturing you. But instead we're just like talking about her. [laughter] Ruz:     23:40   I think it wouldn't make me so angry if they weren't always right. Rekka:23:43   Yeah. That's the worst part. Ruz:     23:45   But they are always right. Rekka:23:45   They're just terrible people. Just like knowing stuff. And having good advice and seeing it from a distance and also, you know, from a marketability, it's, it's always good to have somebody who's got like a little bit of that, um, market in mind. You don't want to necessarily let that dictate everything, but it definitely, like when they're reading a book, they're thinking, is the audience gonna make it through the scene or do we need to tighten this up? And that makes very frustratingly effective, you know, method for like going over it and editing again. So we hate them, but we love them, but we hate them. Ruz:     24:23   Yeah. At the same time, all the time. Rekka:24:25   Yeah. So, um, how long, like is this whole process you said like 2007 ish. You were releasing it for the first time, sorry. Ruz:     24:34   No, no, 2007. I started writing. Rekka:24:36   Started it. Okay. Ruz:     24:38   Yup. Um, can't remember the exact date, but I know it was in 2007 or very early 2008. Um, wrote it over about a year, revised it and then started submitting. Rekka:24:53   Shopping it, yeah. Ruz:     24:54   Yeah. Maybe around end of 2009 and kept it up all through 2009, 2010 until I decided to self pub. And that was right at the beginning of that early kindle revolution. Rekka:25:06   Boom, yeah. Ruz:     25:07   Yeah. Unfortunately I didn't quite get to ride the kindle. Boom. It turns out it turns out that even during a boom, it's a very selective boom. Rekka:25:14   Yes Ruz:     25:14   So, um, but I had a lot of fun self pubing and I learned so much through the process. So no regrets there. And then Rekka:25:24   Yeah you had covers you had layouts. Um, now you are also a graphic artist. Ruz:     25:31   I am a pretty average graphic artists. Yeah, I know some Photoshop. Um, I'm an art teacher from my nine to five, so that helps a little bit. So I understand composition and color theory and everything, but the, the real nitty gritty I'm not an expert on. And so for those covers, I hired an artist off deviant art to do, he did all three covers at the same time. Um, to the best that my, my budget could Rekka:25:57   Right. Ruz:     25:57   stretch at that time. And um, I, I love those covers still. They're pretty rough. Rekka:26:04   Yes Ruz:     26:04   But they're still pretty cool. Rekka:26:04   You had three covers that you, um, commissioned on your own. And did you, um, did you hire layout artist? I mean, how much of the production process did you get to learn as a result of doing this that then sort of helped you, uh, understand where like Colin was coming from, when, when he'd later say like, oh we have to do this, this and this. Ruz:     26:25   Okay, so for the self pub process, um, as said, I paid an artist to the covers but I do the topography and myself. Um, and I also put turn those covers into full paperback wraparound covers. So I only commissioned a standard ebook cover size, so I had to adapt those. And then, um, my wife does web design and she was the one who realized that kindle documents are just web documents. Yeah. So she converted my book into a Nice html and then everything else was me. So compiling, publishing, promoting, um, I just figured that out as I went along and it was awful. Rekka:27:09   [laughter] Ruz:     27:09   It's just a horrible process and I'm so glad that it's somebody else's problem now. Rekka:27:14   So that's an interesting point. Like you have books that are self published and it looks like you probably can plan to continue self publishing at some level. Um, cause you have series that are, are self published, um, that you did not enjoy the process and it's not something where you're thinking to yourself, oh, you know, it's nice that Parvus wants this, but like I hate waiting on them to do a thing or I like I would have done that differently. Is Not something that's entering your mind at this point. You're just really glad to have a team. Ruz:     27:48   Yeah, I love having a team and there are definitely parts of the self pub process that I love. So the immediacy of it. Um, being able to just smashing book together and run through it myself and then throw it out into the void is brilliant and obviously no waiting. Rekka:28:04   Yeah, Ruz:     28:04   Is brilliant because it's been a two year process from the time when I signed the contract with Parvus to The Ragged Blade actually coming out. Um, but at the same time working with the team there and actually having professional editors has done so much for the quality of the book, like a Ragged Blade would not have been a good book without their help. Um, and I love, I love what it's become as a result and I really wonder what would happen if I had that same professional input and uh extra sets of eyes on my self published work because for me the only thing that matters is telling the best story that I can. Rekka:28:40   Right. Yup. I feel you there. That was definitely a thought when I, um, was trying to decide what to do because, you know, I was also thinking, oh, I'll just self publish this. I don't want anyone else's, you know, um, decisions or like neglect affecting this book's ability to be out in the world. Because I knew long it took to get a book published through traditional publishing and I said this, you know, I'm not going to wait that long and they're going to want change stuff. Stuff like, you know, those usual thoughts that I think lead to self publishing a lot. It wasn't even so much the like, oh, it's, it's terrifying and painful to put myself in front of other people and like hope that, you know, I get approval from somebody. Ruz:     29:18   [laughter] Yeah, yeah ... Rekka:29:18   It was just more like, I don't want anyone else's opinions in the way, but let me tell you, other people's opinions are fantastic. Sometimes it's really nice to have other people's opinions and also, you know, like the resources where, um, it's a lot of work to commission a cover artists and, um, do the art direction, do the layout. So I think it's interesting. Um, I think it's interesting that like you and I, well we ended up in the same place. We even sort of took the same steps, but at the same time, like for totally different reasons where I was just like, I don't, I don't want anyone else's approval. I just want to do this. And, and you would have been very happy with someone else's approval, but you also got tired of waiting around for it. Ruz:     29:58   Yeah, pretty much. Rekka:29:59   So just to recap the timeline, um, because we did start to trace it in detail. So in, um, 2010, you said you self-published and then Ruz:     30:09   2010 or 2011, I believe. Rekka:30:10   Somewhere around there, right around that time, which is funny. That's the same time that I decided that I was going to self publish this in 2016 is when Parvus opened. So their first call was when you, um, submitted to them and then it was 2017 when you had the relationship with them where you had sort of stayed in touch and they were keeping an eye on what you were doing. Like some weird creepy uncle and told you . Ruz:     30:40   Yeah. That's about it, yeah. I think it was mid 2017 and it happened because I got back in touch with Colin. I just finished, I just finished polishing and polishing, polishing, um, the final book in this Century of Sand Trilogy. And I was looking at how will I was doing on Amazon with my self pub and it wasn't going so great. And meanwhile, Coin and Parvus had just released, um, I think at that time they'd put out Vick's Vultures, maybe one and two. Rekka:31:06   Okay. Ruz:     31:07   And Rekka:31:08   Court of Twilight then. Ruz:     31:10   Yeah, I think this was pre flotsam. Rekka:31:13   Yep. Ruz:     31:14   And they were doing really well. And so I messaged Colin and I actually got in touch by saying, okay, my books aren't going so great, but I've got the third book ready. So the trilogy is wrapped up. So it's a whole sort of trilogy product now. Um, what would you recommend for me really getting this off the ground? You know, should I commission new cover artists? Um, should I start a marketing program? How much should I invest in these various areas? And that was the trigger where he said, Oh, you finished the book book three now and I've seen your recent writing. That's not too bad. Let's have a chat. And so yeah, that was mid 2017 and then it was the third quarter of 2017 when the contract came through and I printed it off on my school printer and, and snuck away to my cubicle to sign it and scan it before anybody caught me misusing school property. Rekka:32:01   So yeah. So it's interesting and that's actually advice that Colin has always given is don't be afraid to ask questions of other people in the industry because everyone in the industry wants to help and they're interested in, you never know what could happen as a result of like asking, you know, starting up a conversation and you didn't go in with it like, Hey, you rejected me once, but now I've got three of these. So you know, like it's going to be three times as good or, or whatever. Ruz:     32:27   [laughter] Rekka:32:27   Someone might've said, um, it was, hey, you know, you've been really helpful over these past couple of years. Would you mind giving me some more advice? Basically, you know, I appreciate your time, etc. I'm sure you were very polite, but, um, and, and that turned into an unexpected conversation with Colin of, Hey, I've been thinking about that book in the last year and a half or so. Ruz:     32:50   Yeah. Like keeping in contact with people in, in the industry, in all respects is essential. And I have never once encountered anybody in the industry from authors up to publishers and promoters who doesn't want everybody to succeed. There is, there's no competition here. I mean you might see competition between big publishers vying for top spots on New York Times bestsellers list Rekka:33:14   Of course, yeah. Ruz:     33:14   But when you get down to down to the human level, everybody here wants everybody else to win. And there is nothing lost by just making as many friends, like genuine friends as you can and keeping in touch and lifting other people up because it leads to unexpected things for you and also for them. So yeah, really glad I didn't lose Colin's email. Really glad that I just chatted with him like a friend. I didn't expect any publishing deal to come out of it. I just wanted a friend's advice on how to proceed and he was lovely and he gave it. And I've gotten that same feedback and help from everybody who I've ever talked to in the industry. Rekka:33:51   That's awesome. And we just recently had our episode of interviews from the Nebulas where, um, we talked to over 20 people. Not all of them had sound quality that made it into the episode, but we talked to over 20 people and from um, you know, the new authors who were coming there to meet their agent for the first time or, and hadn't sold their book yet to authors who had been around the block a few hundred times. You know, John Scalzi you know, like everyone there was just everyone here's friendly, don't worry about it, you know, talk to people on a like relate on a personal level and you are going to find so many people that can help you or just like be friends and be a friendly face. So, um, yeah, I definitely, I would echo what you're saying. And speaking of John Scalzi since we just, um, got off Twitter before we got on this call. Ruz:     34:48   Yeah, yeah. Rekka:34:48   You had the, the fun experience. This is one of the, like the nice things about being traditionally published, I have to say is going Twitter and seeing a stack of books that has arrived at John Scalzi's house and he takes the photo and he throws it up on Twitter and there's your spine. And how's that feel? Ruz:     35:08   That was just really weird because I've been following Scalzi for years. Again, really lovely guy. I met him for like five minutes back at Worldcon 2010 and he at that point, he was, he's just blowing up everywhere. Rekka:35:25   Yeah. Ruz:     35:25   Old Man's war. And I think the second Ghost Brigades was out and he was the name everybody knew and he was just such a chill guy. Rekka:35:32   Yeah. Ruz:     35:33   As everybody is. And so I've been following him for years and watching this, his ARC piles turn up on Twitter. I'm thinking one day maybe, Rekka:35:41   Maybe. Rekka:35:41   One day, Nah, Nah, impossible. Ridiculous. And then I wake up this morning and people are re tweeting Scalzi's book pile and there's The Ragged Blade. And I actually got this sort of full body, weird contraction, like the whole universe is just pressing in, just going it's appening. So I freaked out a little bit and then I sat down and had a cup of tea and tried to calm down prior to this interview. So yeah, that was cool. And um, and it obviously it does happen. Don't let go of your little, your dreams to turn up in other people's ARC piles cause it happens. Rekka:36:19   Yeah. There's something like, I love that. Um, I love that everyone is so like environmentally conscious now that they're like, oh, you know, maybe ARCs are sort of not the thing that we should be just mailing out unsolicited things like that. But so it's so nice to see a book just randomly appear in a pile of, you know, books that maybe it's, it's not even so much like that person's influence on social media, but just someone you respect and someone that um, does something like that, so nice for the community. Like, um, loves to get excited about new releases for other authors. And that's something I don't really think you get on the self publishing side is, is that sort of like, um, like community shiver of an, of an ARC pile, you know? Ruz:     37:09   Yeah. I think if we go entirely e ARCs from, from here on the, it's going to be a massive loss. Rekka:37:18   It's so sad. Ruz:     37:18   There is something very communal about sharing those books around and being able to pass books physically from one hand to the next and, and let this, you know, people's stories escape into the wild like that. I am an environmentalist but I'm never going to give up my paper Rekka:37:36   Right, I know Ruz:     37:36   book until I die. Sorry guys. Rekka:37:37   Yes. There are industries out there doing much worse for the forest than, than our little books. I have to say that. Ruz:     37:42   Yeah. Yeah. Sorry everybody. But I love my books. Rekka:37:45   I do like that my um, Star Trek level data pad can hold like all these books and that's very handy. But yeah, it's, it's just there's the cover art and an ebook and an ereader. It's just not the same. And the spine. Ruz:     38:02   It will never measure up. Yeah. We have, in this house we have two kindles and my wife and I both have, you know, reading apps on our phones and we still spend like 10 times more on paper books than we do on ebooks. So Rekka:38:16   Yeah, Ruz:     38:17   I'm sorry. It's an addiction. It's never going to stop. Rekka:38:19   Yeah. And that's not one that I think anyone should ever give up. That would be terrible for us. Ruz:     38:23   Yep. Rekka:38:24   Alright. So you have, um, okay. You have traveled to the future where your book is already out. Ruz:     38:31   Yup. Rekka:38:31   Now is the time to ask your future self and maybe like you'll hear the echo in a few days and be able to answer yourself. Um, what questions do you have for yourself that you would ask June 11th, Ruz? Ruz:     38:47   What I want to know from June 11th Ruz besides the obvious, you know, did it sell well? Is the sort of, Rekka:38:54   We're just assuming a million copies on the first day. Ruz:     38:59   Um, I'd like to know how to ignore what's happening with the current release and keep my head down on editing the second book. Rekka:39:08   Yeah. Ruz:     39:08   Because I think it's going to be really easy to just get carried away with obsessively checking reviews and sales numbers and lose myself in that instead of, Rekka:39:17   Absolutely. Ruz:     39:17   Yeah. Instead of focusing on the actual important tasks of just telling the next story. So, Rekka:39:22   Well I will, if you need me to. Ruz:     39:24   Future Ruz, get to work. Rekka:39:24   I will be sending you direct messages on Twitter because I saw your little, um hint at what your next story was and I absolutely want to read that. So I will be bothering you on June 4th to say, hey, how's that story going? What's your word count? Ruz:     39:37   Uh, that one. I don't know if I'm going to start that one until Century of Sand three is most of the way done right now. I'm just in the researching stage. I know, I'm sorry. Rekka:39:49   That's the worst thing about knowing writers is hearing what their project is and knowing you're not going to read it for like three or four years Ruz:     39:55   Minimum. Rekka:39:55   Just for the record. Now you're the worst. Ruz:     40:00   I knew that already though. I've been the worsr for a while. Rekka:40:04   So do you have, um, I, I didn't ask Kaelyn already. Do you have release dates that you know, ballpark release years, for books two and three then? Ruz:     40:13   Um, hopefully very ballpark. We're looking at book to coming out at the same time next year, so May to June and book three the year after that. Rekka:40:21   Okay. Ruz:     40:22   So we'll keep you on a pretty tight schedule. Rekka:40:23   Yeah, yeah. Perfect. Ruz:     40:25   Having having the manuscripts already ready in a embryonic form helps a lot and also having a rough plan for editing helps a lot. Rekka:40:33   Okay. Have we not covered that this isn't even an embryo. This is a string of DNA. Ruz:     40:38   Okay. So with the second book I've already, I've already run through the second book. Okay. It has been polished to the new Parvus plan and so now it fits all the timeline changes that we made to the first. Um, it's still pretty rough like it is, it is a mess, but at least it sits in the same timeline and continuity. And so Parvus has that now hopefully they're going to get that back to me within a couple of weeks to a month and then they want that one wrapped up hopefully by the end of this year. So then we'll have a six month lead time for printing promos, line edits and everything. Fingers crossed. So yeah, hopefully one a year, which is a really scary schedule. Rekka:41:21   Scary for the self publisher or scary for like, oh my God, I put 18 months into the ragged blade. How am I going to do the rest of this in eight months? Ruz:     41:30   Oh, if I wasn't working, if I was, if I was a happy little fulltime writer. Rekka:41:36   Yep. Ruz:     41:36   Then this would be no issue because there was a time when um, when I was self publishing and I was having some success, I quit work and for a year and a half I just wrote and I was putting out three full length novels a year, really happily plus short stories and promos and novellas and that was no issue. But now I, I'm doing a grownup job, Rekka:41:58   Not just the grownup job. This is not a nine to five. You are teaching students and so you've got lesson plans like you, this is not a job you get to leave at work. Ruz:     42:07   Yeah. So I am horribly, for anybody listening, I'm a part time teacher so I'm only actually in school and being paid four days a week and I think I clocked a minimum 70 to 75 hours a week every week Rekka:42:23   Pay teachers more, everyone who can hear me. Ruz:     42:26   Yeah, so, so you can do the math on that as to how much time I spend working out of school and then try to figure out where I fit writing in between. But looks, if Stephen King's can pull off being a high school teacher and raising three kids in a caravan, then I should really not complain. Rekka:42:45   Yes. But eventually you will aspire to become Stephen King and then you can quit the teaching job and become a full time writer and go up to a cabin in the, in the snowy hills and finish your book. Ruz:     42:56   Oh, that's what we're all aiming for. I suppose. You know, everyone wants to hit that point, but I guess the reality for pretty much every author is that there's always going to be the, the nine to five in the background. Rekka:43:08   Okay. So you bring up a good point. Um, you used to write, um, significantly more output in a year and I saw you had some really great advice in a blog post on your site about how you reapproached after you became a teacher because as you said, it's very difficult to find those times where you can dedicate to your own work. So what was the advice for one, you know, run through the advice that you had and, and you know, it's, it's been awhile since you wrote that blog posts. Like how is it going? Cause there's always updates and life always changes, behaviors are easy to settle into. Ruz:     43:46   Yeah. So I think the advice I gave was mostly um, cutting out distractions, really compartmentalizing your time, um, finding really small achievable goals and just repeating them over and over. I'm setting time constraints. So what this all means is that sit down in front of your computer, disconnect the Internet, set yourself a a hundred word goal, right? Just 100 words within two minutes or three minutes or whatever time you want to use. Like I usually aim for 500 words and half an hour. That's my approximate thing. And keep an eye on the clock. So if you get distracted, you can, you've always got somebody looming over your shoulder, you know, the time is looking over your shoulder. Um, and there were, I can't remember all the tips off the top of my head, but they really just Rekka:44:38   One was a dedicated writing space and you know, be aware of where you write best. Ruz:     44:41   Yep. Yeah, that was something that I found, um, I really lost track of as I became a teacher was it, I'd come home from work and I'd sit in the living room doing marking until like eight or nine o'clock and then I'd open up my laptop and try and sit there still in the living room writing on the couch and it was terrible. I just couldn't get anything done because it just didn't feel like a professional writing space. So you have to find the space that actually feels like the professional space with that's your shed out the back or study or, um, I, I found that I write really well on trains because I can't get internet. Rekka:45:15   Yes. Ruz:     45:15   So yeah, find the space, cut out all distractions and such and then instead approached in tiny little bite size pieces of achievement. And that worked really, really well for me for awhile. Um, so in my school holidays I was, I put out, I did an entire rewrite of Century of Sand 2 and wrote a fresh novella in the space of a couple of weeks using that method, which was amazing for me. And then I got back to school and I got given unexpectedly a whole bunch of new classes to teach. Um, and they've just eaten my life since then. So that method has its gotten fractured a little bit. Yeah. Rekka:45:55   It's often that the methods wrong though, I think. Um, it's just something you have to rededicate yourself to because as you said, like you had this moment where like not only were you returning from a holiday but you are returning to like a entire structural shift in your schedule. So rather than say like, okay, I need to like I have this chance to, to set my schedule going forward. That includes this time you just sort of went, Whoa, what is happening? And then like you let the schedule get away with taking over is what it sounds. Ruz:     46:32   Yeah. Rekka:46:32   I didn't mean to couch you just now, but I'm just like, I just didn't want you to disparage your own advice because I think it's your advice is even more important now. It's just a matter like we have to be constantly self evaluating and be mindful of like what we're allowing ourselves to get away with. Because as I said, writers do tend to be a little bit distractible. And if you could sit on the couch for 45 minutes and think that you're still going to get your writing done, you absolutely will. Right? Ruz:     46:57   Yeah. Yeah, no look, you're right. The method is fine. It's me that is not living up to my expectations. Rekka:47:04   I didn't mean to really go there. But you know, Ruz:     47:06   No, no, you did. Rekka:47:08   I was told to torture you. Ruz:     47:09   Yeah. Yeah. Rekka:47:11   I have now achieved that. I feel good. Ruz:     47:14   If I ever get a chance to sit down and reapply the method that works great. So, um, like right now I've, I've got an amazing six day weekend, which is ridiculous concept. So I'm going to, I'm going to sit down and block out distractions and try and smash it out, some edits on a novela project and see if I can get myself back into the headspace. So fingers crossed that I still have that particular magic. Rekka:47:39   Now, not to mention... Ruz:     47:40   And you yelling at me on Twitter will probably help, Rekka:47:43   I will yell at you on Twitter. But of course like at the end of the six day weekend is also your book launch. Ruz:     47:48   Yeah. [laughs] Rekka:47:50   So this is the perfect time to take my advice and not let like major shifts like get you off course when you finally, you're setting yourself up. So Ruz:     48:01   Yeah. Rekka:48:01   Cause I have to, I have to leave with some advice here. So Ruz:     48:05   Yeah. Um, Rekka:48:07   Of course I don't have a book coming out on Tuesday, Ruz:     48:10   [laughs] Yeah, but you've been through this, you know, you've been through this yourself now more than once. So yeah, breaking down big goals into nice, manageable smaller goals doesn't just make them more achievable. It, um, I think it actually removes a lot of the weight ] Rekka:48:23   Yeah ... Ruz:     48:23   That sort of psychological weight attached to them. So it makes you feel like you don't have to be perfect with each one. You just have to get each tiny step out of the way and it Rekka:48:34   Right and the first draft doesn't need to be edited, you know, like Ruz:     48:37   Yeah. Rekka:48:37   That's just not the order of the things happen ever. Like it never works that way. Ruz:     48:41   Just has to exist Rekka:48:43   Yeah. Ruz:     48:43   And it exists one paragraph at a time and that paragraph doesn't have to be perfect. You just have to put it down. So yeah, that's if, of all my advice, that'll be the most important part is just keep nibbling away at it steadily and don't worry about quality, just get it done. Rekka:49:02   Perfect. That's true. And now you can go follow it Ruz:     49:06   Yeah ... Rekka:49:06   While you're trying to keep that Internet unplugged next week, which is going to be torture for you. Ruz:     49:13   Yeah, I'm not looking forward to that, but it has to be done. Rekka:49:16   Yeah Ruz:     49:16   Um, and if you really want, since you're so psyched about it, I will write a tiny little intro teaser to this new project that you really want to see. Rekka:49:25   Yes. Ruz:     49:25   So at least then I'll have, I'll have something concrete and I can start adding to it instead of just being a nebulous concept. Rekka:49:32   Exactly! Awesome. See, I'm so helpful. I love being helpful and also I get stuff. So awesome. I'm looking forward - Ruz:     49:41   It's also blackmail. Rekka:49:43   Well no, it's coercion at the worst. Ruz:     49:45   Yeah. Rekka:49:45   Um, so I am looking forward between now and your launch day to read the other 60% of the book. Uh, the Ragged Blade, which again launches in the US on June 4th. And um, and I'm looking forward to writing a review to add to the pile of reviews that you can watch, uh, go up on launch day when you are totally not plugged into the internet at all. And um, everyone else can go check it out. It's um, at uh, ruzkin.com Ruz:     50:15   Yup, R - U - Z Rekka:50:15   is the website which would be newly launched, you say? Ruz:     50:18   Yeah, R-U-Z-K-I-Ncom. And we're hopefully going to have a new version of that up in the coming days before the launch because my current website is a tragic mess, but you'll never see that mysterious listeners. Rekka:50:33   You'll have the new one ready. Ruz:     50:33   Yeah. Rekka:50:34   So that will, that's good. That'll keep you busy between now and then. Just remember tiny steps Ruz:     50:39   Yup. Rekka:50:39   And, and so a good luck on the launch and of course, uh, from the future. It was wonderful and we're also impressed and everyone loves it. And um, obviously we can't ask Kaelyn if she has any other questions or comments because she was not allowed in this interview. She had to recuse herself as your editor from trying to lead the witness and in all those terms. Um, so yeah, good luck and congratulations Ruz:     51:05   Thank you so much. Rekka:51:05   and thank you so much for your time and I hope that you are able to enact your, uh writing plans so that we can see all the other stuff that you're going to bring into the world. Ruz:     51:18   Appreciate it. Wish me luck and um, you have an awesome week as well, hope you enjoy the rest of the book. Rekka:51:23   I will let you know if I don't. Ruz:     51:25   Yep, I trust you. Be Honest. Rekka:51:28   Exactly. Thank you so much Ruz for your time and um, I yeah, it's Saturday morning there, so enjoy the rest of your day Ruz:     51:36   Yup, will do. Rekka:51:36   And your holiday. Ruz:     51:39   Thank you. Thank you. Rekka:51:40   We will let people know how that launch is going to, I'm sure. Ruz:     51:44   Fantastic. Rekka:51:45   Thanks, Ruz. Bye.    

L’Arche d’Evelyne Evelyne Gaze Stauffacher est zoothérapeuthe à Dombresson dans le Val-de-Ruz. En Suisse on appelle sa spécialité de "la médiation par l'animal." Ses animaux : des Huskies de Sibérie, des chevaux, des chèvres, des poules, des lapins, des tourterelles qui permettent à des enfants en rupture, en difficultés scolaires ou avec des troubles divers, d'apprendre – grâce aux animaux – à retrouver motivation & confiance en eux. Un petit groin de paradis Les Frères Tomas et Eleuterio Alcala de Vaumarcus (NE), ex-cadres supérieurs dans des multinationales, sont affineurs de Jambon, dont le Pata Negra. Au Portugal, dans une magnifique propriété agricole de 5000 ha, ils élèvent chez Stéphanie Gicot, des cochons noirs rustiques qui vivent en quasi liberté, dans des paysages hors norme: entre les immenses forêts de chênes lièges et une magnifique réserve naturelle, sanctuaire d'oiseaux, ils évoluent dans une nature préservée aux essences magnifiques. Des espèces sauvages rares côtoient des animaux de rente et tout ça en harmonie.

T2/E6 Cristián Bofill conversa con la ex embajadora, María Inés Ruz, sobre El Salvador

T2/E6 Cristián Bofill conversa con la ex embajadora, María Inés Ruz, sobre El Salvador

Rusz się4 Niedziela Adwentu, C; Mi 5,1-4a; Ps 80,2ac.3b.15-16.18-19; Hbr 10,5-10; Łk 1,38; Łk 1,39-45, Winnica 23 grudnia 2012 rokuKliknij po wersję tekstową: http://funawi.pl/rusz-sie/

Welcome to episode 197, I’m back and it’s just me this week. Someone alerted me to a shocking issue regarding invitations to connect this week and it got me thinking about the ineffective way that LinkedIn introduce new features. It seems that introduce features on a slow roll-out and rely on their users to report issues…..but what if we don’t or aren’t able to spot a problem…….based on the evidence of this week, it appears that such issues just remain until someone does report it. …..and that is simply not good enough! More of that later but as usual I scanned the internet to find any interesting articles about Linkedin, I found a few but it has been noticeable this year that LinkedIn’s own blog seems to be focussed mainly on job seekers - very few LinkedIn users are looking for jobs so why are Linkedin writing virtually all their blog articles for jobseekers? So far this year on LinkedIn’s main blog 9/10 (and the last 9) have been jobseeker focused! Interesting Stuff I Saw This Week People Still Spend an Insane Amount of Time on Facebook, But Trust it Much Less than LinkedIn Results from a report released by Business Insider I’m not sure how people it interpret ‘Safe to participate or post’ but LinkedIn was by far the most trusted with 48% of the votes (Facebook was 2nd with 24%). LinkedIn is clearly seen as more reliable for ‘real’ content and a place where you will get less abuse This is good news for LinkedIn ads Six Ways Millennials Can Take LinkedIn To The Next Level Interesting article, not just relevant to millennials Number 1 is ‘Make it fun’ - this is such good advice. Yuck! to CV style profiles! Activity (inc post searching) is great advice Number 6 (stop being cheap) is unrealistic and unnecessary for most Remember LinkedIn? A year on from the $27bn Microsoft takeover - was it worth it? Very little has changed on LinkedIn - as they said would be the case at the time of the takeover! LinkedIns revenue is growing ($1.3bn in the quarter) Microsoft say that LinkedIn is “performing better than we expected, and I think today we would even say it's a more strategic asset than we even maybe thought a year ago.” #LinkedInLocal I will be attending three Linkedin local events in the next month or so; Aberdeen 22nd February Manchester 14th March Warrington 15th March (this has changed from the 8th as stated in the show) The #LinkedInLocal concept is really taking off with an amazing 48 events happening in February and March across the world including Bristol, Leeds, San Francisco, Paris, Las Vegas, Edinburgh and Lahore to name a few To find an event in your area go to https://linkedlocally.com/explore/   Post of the Week A great video post from José Chávez-Ruz that hits the mark for being relevant, interesting and highly shareable.   New Feature LinkedIn are improving the skills endorsements feature (mobile only at the moment). Now when you endorse a skill you are asked to grade the level And then give it some context In addition you can now see the actual number of endorsements on mobile, rather than the previous 99+ Will this make skill endorsements relevant? I very much doubt it - too little too late, endorsements are not taken seriously because previously they were too easy to give. Adding the extra steps to endorse does make them more credible but you can’t separate the new ones from the old ones! I personally think this is a tactic to stop those ridiculous ‘Auto-endorse’ bots that are becoming popular…….more of that subject next week when I will be debating LinkedIn automation with John Nemo. If you have any thoughts or questions about automation, please get in touch as soon as possible. Your Personalised mobile invitations have not been sent! I was truly shocked to find this out this week - thanks to an eagle eyed connection who spotted it. For years I have been encouraging people to personalise their invitations to connect on mobile by using the 3 dot ‘More’ menu rather than the blue Connect button. It would appear that this invitation (the actual invitation, not just the message) have not been sent!! I have no idea how long this has been the case……quite possibly since it was added as a new feature (years ago). The problem seems to be mainly on the iOS app although a few Android users are experiencing the same issue. You wouldn’t know there is a problem as it states the invitation has been sent but when you check your sent invitations, it does not show and I have confirmed on 4 occasions now that the recipient does not receive anything!! Outrageous! This is, I believe a direct result of LinkedIns ridiculous feature launch policy that appears to involve zero testing or quality control and relies 100% on the user reporting a problem……but what is the user is unable or highly unlikely to spot the fault? It’s time that LinkedIn stopped letting their members down and implemented a proper, thorough quality control testing procedure. Do you agree? “How do I stop those irritating badge posts from LinkedIn appearing on the left of my screen while I'm working? The ones which talk about how it bases choices it offers me on my interests or posts or some such nonsense. I've only really noticed them this week” ANSWER This would appear to be an early release of a new notification. It is not possible to stop these types of pop-ups but you can give feedback to LinkedIn that you find them irritating and perhaps they will think twice about rolling it out further.

C’est une maison du 18 siècle, accrochée à la colline, quelque part dans le Val-de-Ruz. Sa propriétaire souhaite la rénover, mais craint de froisser l’âme de la vieille demeure paysanne. Elle fait alors appel à Patrimoine Suisse afin que la belle bâtisse pâtisse le moins possible des travaux à venir. Un reportage de Raphael Engel

Troisième numéro de la quatrième saison d'Au miroir de Clio, l'émission d'histoire de Radio Campus Rouen, émission animée par Luc Daireaux, radiocampusrouen.fr/au-miroir-de-clio/, aumiroirdeclio@gmail.com, #AumiroirdeClio sur twitter.com Émission publiée le dimanche 13 novembre 2016 Thème : La vie et l'oeuvre de Pierre Sineux Invitée : Françoise Ruzé, professeur émérite des universités, spécialiste d'histoire grecque. Photographie (prise par Pierre Sineux, le 11 mai 2007, au Musée national archéologique d'Athènes) du dieu de l'Artémision (Poséidon ou Zeus).

Programa número 24. Esto es VEL. Un programa de Radio Vórtice. 60 minutos para analizar los titulares y eventos de actualidad, te ofrecemos claves esenciales para descifrar lo que realmente esconde la noticia. Separamos la noticia de la propaganda. De la mano de Diego Camacho y Ana Camacho. Noticias analizadas: - Ahora sabemos por qué Marruecos tardó tanto en aceptar la ayuda de España en el rescate. El juez Ruz propone juzgar a once altos cargos de Marruecos por crímenes en el Sáhara Occidental - La inteligencia francesa podrá acceder a datos privados sin control judicial. - El padre, la abuela y la tía de la Reina Letizia serán juzgados en Oviedo por alzamiento de bienes. - El Gobierno de Grecia nacionaliza el sector eléctrico, sube el salario mínimo, reabre la TV pública y se reúne con el embajador de Rusia. - Un juez obliga a un banco a devolver dos euros por una comisión “abusiva”. - La familia del espeleólogo Martínez se suma a las acciones judiciales del club. - Hablamos de las Jornadas nacionales de podcating 2015. Este año son en Zaragoza. Con Paco Cester.

ESPAÑA: - Victoria del PSOE en las elecciones andaluzas - Madrid recibe a las Marchas de la Dignidad - El fraude del caso Terra Mítica llega a los juzgados - El juez Ruz da por concluida la investigación de los papeles de Bárcenas - Duelo en España por uno de los accidentes aéreos más importantes de Europa EUROPA: - 150 personas fallecen en el vuelo Barcelona-Dusseldorf - Sarkozy frena a Marine Le Pen en la primera vuelta de las elecciones francesas - Francia abre una investigación tras hallar cinco cadáveres de bebés ASIA: - Arabia Saudí responde a la llamada del presidente de Yemen y lanza una operación militar sobre el país - Human Rights Watch denuncia ataques de la oposición contra civiles en Siria - Las mujeres de Afganistán se movilizan tras el linchamiento de Farjunda AMÉRICA: - Uruguay no acogerá más presos de Guantánamo - La UE despierta su relación estancada con Cuba - 37 personas fallecidas en un accidente de tráfico en Perú ÁFRICA: - El Parlamento de Sudán del Sur decide prorrogar tres años el mandato de Salva Kiir - Boko Haram secuestra a más de 400 mujeres y niños en Nigeria - La CITES alerta sobre la caza furtiva de elefantes en África OCEANÍA: - Australia impide la salida de 230 presuntos yihadistas en los aeropuertos - Encuentran en el noreste de Australia el mayor cráter de asteroide del mundo - El gobierno australiano niega la ciudadanía al actor neozelandés Russell Crowe

Hoy en nuestro estudio 4 destacados caricaturistas: Mundo del Periódico Digital El Blog, Otto Meza, caricaturista de Periódico Digital El Faro, Ruz y Alecus, caricaturista de El Diario de Hoy.

Comenzamos este programa criticando la redacción de titulares, a que lo medios generalistas ya nos tienen acostumbrados, para con la participación de D. Daniel Sancho, adentrarnos a analizar la pugna política que mantienen por la continuidad del juez Ruz, poniendo de manifiesto la falta de uno de los principios fundamentales de la justicia: la predeterminación del juez. Tras ello D. Antonio nos analiza el concepto de las sentencias de conformidad a través de varios enfoques, tanto internacionales, como históricos o filosóficos.

Comenzamos este programa criticando la redacción de titulares, a que lo medios generalistas ya nos tienen acostumbrados, para con la participación de D. Daniel Sancho, adentrarnos a analizar la pugna política que mantienen por la continuidad del juez Ruz, poniendo de manifiesto la falta de uno de los principios fundamentales de la justicia: la predeterminación del juez. Tras ello D. Antonio nos analiza el concepto de las sentencias de conformidad a través de varios enfoques, tanto internacionales, como históricos o filosóficos.

Hoy seguimos hablando de Ucrania a pesar de que la prensa no considere el asunto como el más importante en política internacional. Los rebeldes de Donetsk dan un ultimátum a las tropas ucraniana en la región. Miroslav Rudenko, copresidente del territorio que se ha proclamado independiente de Ucrania, declaró: “Nuestros militares dieron ayer un ultimátum a Ucrania para que retire sus tropas en un plazo de 24 horas. Si esto no ocurre, nuestros militares pueden obligarles a retirarse por la fuerza”. Para Trevijano esto no es sorprendente. Ahora se presenta una nueva situación más complicada entre Ucrania y Rusia y entre Rusia y EEUU. Putin está esperando a ver que ocurre en las elecciones del día 25. Tiene la esperanza de que otros resuelvan el asunto y así no tener que tomar decisiones. Otro ultimátum es el que ha dado Rusia a Ucrania para que se salde la deuda del gas. Mientras, ha firmado un contrato de suministro con China por 30 años. Por otro lado, la Guardia Nacional de Ucrania ha confirmado el secuestro del Coronel Yuri Lebed, comandante de la Unión Operativa Territorial del Este, que agrupa bajo su mando ocho unidades militares en las regiones militares de Donetsk, Lugansk, Jarkov y Suma. Seguimos con noticias sobre corrupción. La juez Alaya imputa al presidente de Unicaja por el fraude de los ERE. El juez Ruz busca a otro político en Suiza, pide datos sobre otras seis cuentas. El juez constata la financiación ilegal y los sobresueldos del PP. A raíz de esto Trevijano analiza con ironía la campaña que están haciendo los partidos pequeños para desprestigiar la abstención. Que tienen argumentos absurdos para promover la participación en estas elecciones europeas. Según esta teoría “algo ha cambiado” no sabemos que, e intentan convencer al electorado para hacerles creer que la abstención favorece a los partidos mayoritarios, y que votando se acabaría con el bipartidismo, que ilusamente identifican como la fuente de todos los males. Argumentan los partidos pequeños que votando ahora conseguiríamos la verdad y la libertad. Analizamos otra noticia que también está relacionada con este asunto: “Rajoy reanuda la campaña de perfil bajo”. Como el cojo que corre huyendo de los leones dice al resto de la muchedumbre “no corráis que es peor”. Los partidos mayoritarios en este caso están siendo mas listos que los pequeños. Ha presentado el programa Baldomero Castilla, con Pedro Gómez, el análisis de Antonio García-Trevijano y Manu Ramos en la labor técnica.

Hoy seguimos hablando de Ucrania a pesar de que la prensa no considere el asunto como el más importante en política internacional. Los rebeldes de Donetsk dan un ultimátum a las tropas ucraniana en la región. Miroslav Rudenko, copresidente del territorio que se ha proclamado independiente de Ucrania, declaró: “Nuestros militares dieron ayer un ultimátum a Ucrania para que retire sus tropas en un plazo de 24 horas. Si esto no ocurre, nuestros militares pueden obligarles a retirarse por la fuerza”. Para Trevijano esto no es sorprendente. Ahora se presenta una nueva situación más complicada entre Ucrania y Rusia y entre Rusia y EEUU. Putin está esperando a ver que ocurre en las elecciones del día 25. Tiene la esperanza de que otros resuelvan el asunto y así no tener que tomar decisiones. Otro ultimátum es el que ha dado Rusia a Ucrania para que se salde la deuda del gas. Mientras, ha firmado un contrato de suministro con China por 30 años. Por otro lado, la Guardia Nacional de Ucrania ha confirmado el secuestro del Coronel Yuri Lebed, comandante de la Unión Operativa Territorial del Este, que agrupa bajo su mando ocho unidades militares en las regiones militares de Donetsk, Lugansk, Jarkov y Suma. Seguimos con noticias sobre corrupción. La juez Alaya imputa al presidente de Unicaja por el fraude de los ERE. El juez Ruz busca a otro político en Suiza, pide datos sobre otras seis cuentas. El juez constata la financiación ilegal y los sobresueldos del PP. A raíz de esto Trevijano analiza con ironía la campaña que están haciendo los partidos pequeños para desprestigiar la abstención. Que tienen argumentos absurdos para promover la participación en estas elecciones europeas. Según esta teoría “algo ha cambiado” no sabemos que, e intentan convencer al electorado para hacerles creer que la abstención favorece a los partidos mayoritarios, y que votando se acabaría con el bipartidismo, que ilusamente identifican como la fuente de todos los males. Argumentan los partidos pequeños que votando ahora conseguiríamos la verdad y la libertad. Analizamos otra noticia que también está relacionada con este asunto: “Rajoy reanuda la campaña de perfil bajo”. Como el cojo que corre huyendo de los leones dice al resto de la muchedumbre “no corráis que es peor”. Los partidos mayoritarios en este caso están siendo mas listos que los pequeños. Ha presentado el programa Baldomero Castilla, con Pedro Gómez, el análisis de Antonio García-Trevijano y Manu Ramos en la labor técnica.

Nunca había conocido a un artista tan enfocado y tan claro con lo que quiere hacer. Jamsha juega un rol protagónico en todas las etapas de su producto: desde la conceptualización de una canción, la producción de la misma (junto con Eggi Ruz), el video obligatorio que le acompaña y su distribución a través de las redes sociales. Se puede decir que Jamsha es un artista independiente por convicción. Humilde y amigable con cojones, me abrió las puertas de su estudio, Trash Toy, para hablar de su música, su estilo y sobre todo; su antiguo manejador, Luis Raúl (RIP).  

Analizamos el mal uso que hace la prensa del idioma español. Casi todos los días vemos que hay algún error en los titulares de los periódicos españoles, muchos de ellos son por cuestiones políticas y tiene como objetivo la manipulación de la información. Hoy destacamos el titular de El País, “El juez Ruz asume que Bárcenas se lucró con la caja B del PP”, en el fondo al elegir el verbo asumir se está exculpando al PP en el asunto Bárcenas. En los últimos 15 minutos hablamos de Europa, mejor dicho de la Unión Europea, del Banco Central Europeo, de la inflación / deflación, y de la caída del PIB de Europa como consecuencia de las sanciones a Rusia. Nos referimos a la Ecuación de Fisher en relación a la inflación. Ha conducido el programa Baldomero Castilla, con la intervención de D. Antonio García Trevijano y con la colaboración técnica de Pedro Gómez y Manu Ramos.

Analizamos el mal uso que hace la prensa del idioma español. Casi todos los días vemos que hay algún error en los titulares de los periódicos españoles, muchos de ellos son por cuestiones políticas y tiene como objetivo la manipulación de la información. Hoy destacamos el titular de El País, “El juez Ruz asume que Bárcenas se lucró con la caja B del PP”, en el fondo al elegir el verbo asumir se está exculpando al PP en el asunto Bárcenas. En los últimos 15 minutos hablamos de Europa, mejor dicho de la Unión Europea, del Banco Central Europeo, de la inflación / deflación, y de la caída del PIB de Europa como consecuencia de las sanciones a Rusia. Nos referimos a la Ecuación de Fisher en relación a la inflación. Ha conducido el programa Baldomero Castilla, con la intervención de D. Antonio García Trevijano y con la colaboración técnica de Pedro Gómez y Manu Ramos.

Hoy hablamos de la Celebración del Día de la Hispanidad, del origen de la nación española en el día del descubrimiento de América y la conquista de Granada en 1492. En segundo lugar nos ocupamos sobre la noticia que leemos en el diario EL Pais y que trae el titular: "El gobierno pide a los empresarios catalanes que frenen los planes de Mas, Gallardón da por agotadas las posibilidades de una negociación política. El ministro de justicia dice esta tremenda barbaridad: que la sociedad civil catalana había quedado capturada por la política. La tercera noticia trata sobre el juez que cerca al PP de Castilla la Mancha al investigar un soborno en su campaña, implicando a Cospedal, Barnenas y Sacyr, y relacionando financiación del partido, donaciones, tontos que firman y basuras. Otra noticia relacionada con el asunto anterior es sobre el juez Ruz vincula dos donaciones al PP con ingresos del ex-tesorero en Suiza Gobierno y Fiscalía respaldan a juez Alaya, tras el acoso de sindicalistas. Como noticia graciosa: Salvador Mera secretario de UGT en Cadiz e imputado en el caso ERE, que afirma "los sindicatos hicimos un trabajo de escándalo que tenemos que cobrar" Han dirigido el programa Jesús Murciego y Adrián Perales, con la intervención de D. Antonio Garcia-Trevijano y la ayuda técnica de Pedro Gómez.

Hoy hablamos de la Celebración del Día de la Hispanidad, del origen de la nación española en el día del descubrimiento de América y la conquista de Granada en 1492. En segundo lugar nos ocupamos sobre la noticia que leemos en el diario EL Pais y que trae el titular: "El gobierno pide a los empresarios catalanes que frenen los planes de Mas, Gallardón da por agotadas las posibilidades de una negociación política. El ministro de justicia dice esta tremenda barbaridad: que la sociedad civil catalana había quedado capturada por la política. La tercera noticia trata sobre el juez que cerca al PP de Castilla la Mancha al investigar un soborno en su campaña, implicando a Cospedal, Barnenas y Sacyr, y relacionando financiación del partido, donaciones, tontos que firman y basuras. Otra noticia relacionada con el asunto anterior es sobre el juez Ruz vincula dos donaciones al PP con ingresos del ex-tesorero en Suiza Gobierno y Fiscalía respaldan a juez Alaya, tras el acoso de sindicalistas. Como noticia graciosa: Salvador Mera secretario de UGT en Cadiz e imputado en el caso ERE, que afirma "los sindicatos hicimos un trabajo de escándalo que tenemos que cobrar" Han dirigido el programa Jesús Murciego y Adrián Perales, con la intervención de D. Antonio Garcia-Trevijano y la ayuda técnica de Pedro Gómez.

Volvemos sobre los acontecimientos que ocupan las noticias del día. En primer lugar nos ocupamos de Gibraltar en el que consideramos las noticias tanto en periódicos nacionales como británicos e incluso la edición de Newsweek polaca para realizar un análisis cruzado de los enfoques en la prensa. Seguimos con Egipto donde se realiza una reflexión sobre la diferencia entre civilización y cultura para enfocar bien el conflicto entre los Hermanos Musulmanes y la democracia todavía por venir en el país del Nilo. Además se pone en cuestión la posibilidad de una guerra civil realizando un análisis político, económico e histórico. En el tercer bloque hemos querido dar un repaso al caso Bárcenas y la actuación del juez Ruz teniendo en cuenta la noticia sobre el requerimiento de los ordenadores del acusado. La tardanza en solicitar esta información, aún en manos del PP, unido a las evidencias que existen hasta ahora, son sometidos a análisis. Repasamos la clasificación que ha publicado la universidad Jiao Tong de Shangai en la que nuevamente vuelven a salir mal paradas las universidades españolas. Comprobamos la evolución de diferentes universidades de importancia y volvemos brevemente sobre España para comprobar cómo la falta de prestigio afecta a las instituciones aparentemente más sólidas como la monarquía cuya imagen vemos que sigue cayendo. Concluimos con la ayuda de Vicente Dessy y un breve repaso a las noticias en la América Hispana. El programa ha contado como siempre con el análisis de Don Antonio García-Trevijano, la conducción de Jesús Murciego además de las corresponsalías en Varsovia de Jose María Alonso y México con Vicente Dessy. Como colaboradores técnicos han estado Jacobo Olmedo y Manuel Ramos.

Volvemos sobre los acontecimientos que ocupan las noticias del día. En primer lugar nos ocupamos de Gibraltar en el que consideramos las noticias tanto en periódicos nacionales como británicos e incluso la edición de Newsweek polaca para realizar un análisis cruzado de los enfoques en la prensa. Seguimos con Egipto donde se realiza una reflexión sobre la diferencia entre civilización y cultura para enfocar bien el conflicto entre los Hermanos Musulmanes y la democracia todavía por venir en el país del Nilo. Además se pone en cuestión la posibilidad de una guerra civil realizando un análisis político, económico e histórico. En el tercer bloque hemos querido dar un repaso al caso Bárcenas y la actuación del juez Ruz teniendo en cuenta la noticia sobre el requerimiento de los ordenadores del acusado. La tardanza en solicitar esta información, aún en manos del PP, unido a las evidencias que existen hasta ahora, son sometidos a análisis. Repasamos la clasificación que ha publicado la universidad Jiao Tong de Shangai en la que nuevamente vuelven a salir mal paradas las universidades españolas. Comprobamos la evolución de diferentes universidades de importancia y volvemos brevemente sobre España para comprobar cómo la falta de prestigio afecta a las instituciones aparentemente más sólidas como la monarquía cuya imagen vemos que sigue cayendo. Concluimos con la ayuda de Vicente Dessy y un breve repaso a las noticias en la América Hispana. El programa ha contado como siempre con el análisis de Don Antonio García-Trevijano, la conducción de Jesús Murciego además de las corresponsalías en Varsovia de Jose María Alonso y México con Vicente Dessy. Como colaboradores técnicos han estado Jacobo Olmedo y Manuel Ramos.

Carlos Ruiz Moisa, conocido como RUZ, uno de los mejores caricaturistas de El Salvador. Su trabajo lo vemos publicado en las páginas de El Diario de Hoy. Amena charla, que compartimos además con el geólogo español @geoxarli Carlos Fernández, como invitado tuitero.