Podcasts about this thing

Play Episode Listen Later Jan 29, 2021 84:48

Brand new controversial episode of "This Thing of Ours"

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HOUSTON, WE ARE A PROBLEM!!!

Play Episode Listen Later Jan 22, 2021 93:55

Brand new episode from "This Thing of Ours" Podcast.

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THE CODE

Play Episode Listen Later Jan 15, 2021 100:33

After a brief break, the Pod is BACK for Episode 7 of "This Thing of Ours"

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HOMIE COURT: THE PEOPLE V. DASH THE G.O.A.T.

Play Episode Listen Later Dec 18, 2020 158:53

Special 2-hour episode of "This Thing of Ours" featuring a Call-In w/ Jamie Hancock

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FULL CIRCLE

Play Episode Listen Later Dec 11, 2020

Episode 5 of "This Thing of Ours"

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TRUTH HURTS

Play Episode Listen Later Dec 8, 2020 76:47

Episode 4 of "This Thing of Ours"

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WOMPWOMPWOMP!!!

Play Episode Listen Later Dec 4, 2020 58:08

Episode 3 of "This Thing of Ours". HILARIOUS.

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KNOCK OFFS

Play Episode Listen Later Dec 2, 2020 90:05

Episode 2 of "This Thing of Ours"

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Rabbit Hole

Elemental Podcast | Club de aprendizaje

Play Episode Listen Later Nov 20, 2020 67:28

The pilot episode of This Thing of Ours.

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Episode 47 - Let Us Tell You About "Show Don't Tell"

We Make Books Podcast

Play Episode Listen Later Nov 3, 2020 49:28

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. We Make Books is a podcast for writers and publishers, by writers and publishers and we want to hear from our listeners! Send us your questions, comments, and concerns! We hope you enjoy We Make Books! Twitter: @WMBCast | @KindofKaelyn | @BittyBittyZap Instagram: @WMBCast Patreon.com/WMBCast Episode 47: Let Us Tell You About Show Don't Tell (Our usual transcriptionist is taking a well-deserved break. Any drop in quality of today's transcript is totally our fault.) Rekka (00:00):Hi, everyone. Welcome back to another episode of we make books, a show about writing publishing and everything in between. I'm Kaelyn Considine. I am the acquisitions editor for Parvus Press. Rekka (00:08):And I'm Rekka. I write science fiction and fantasy as RJ Theodore. Rekka (00:11):And you know what you've done? You have shown us that you write science fiction and fantasy as RJ. Theodore, you have not just told us Rekka (00:18):Although today I did just tell you. Rekka (00:20):You did just tell me now, but I mean, the books exist. I've seen them. So you've shown us that, but you have also talked at length about different parts and aspects of how you've written these and things that have happened to you, therefore showing us that you wrote them. Rekka (00:34):Or did I just tell you all this stuff? I don't know. What does this rule mean anyway? Rekka (00:41):Yeah. So today we're, we're tackling another one of those,uthose weird, funny little notes that you get from,ueditors and people critiquing your work. And you'll see, "show me, don't tell me" and – Rekka (00:52):Really frustrating because everyone says it and assumes you know what they mean, but if you haven't really processed what it means, or you haven't managed to do it and have someone say, "yes, that's what I mean by show, don't tell," like you just feel a little bit lost. You feel like maybe you are falling behind in the class kind of thing. Like why does everyone know what this means? And I still don't understand? Rekka (01:16):It is difficult, but I think it's one of those things that once you kind of figure out, it's a lot easier to understand what the note means. What, you know, we're trying to get at here is describing something to the reader and making the sentence do a lot of– do work in more than one way is a lot more interesting to read than just a list of descriptions, actions, emotions, or feelings. Rekka (01:41):If you at least identify when you're doing it in the revisions that's going to go a long way to improving your relationship with beta readers and editors later. Rekka (01:51):And improving your relationship with your characters, because we're going to talk a lot about that in this episode too. So– Rekka (01:56):All right. So let's not tell you what the episode is. Rekka (01:59):Let's show you! Rekka (02:00):On the other side of the music. Kaelyn (02:17):In this case, we're here mostly just to tell people things. If we just record this while showing things to each other, it's not going to be very, Rekka (02:25):What we're showing is our competence with writing skills and techniques Kaelyn (02:30):Ah okay. Rekka (02:31):And demonstrating, Ooh, maybe that's it. Okay. I solved it. Don't call it. Show don't tell because that confuses people show, call it demonstrate don't elucidate. Rolls right off the tongue. Kaelyn (02:44):Oh goodness. That's going on a mug somewhere. So yeah, but today we're, we're talking about one of the other great notes that people frequently get back from editors and agents, which is "show me, don't tell me I, I will, I think this is not as quote-unquote unhelpful as, you know, "tighten your storylines, work on your character arcs," that kind of thing. Um. Rekka (03:12):But it's one of the ones that people get early on in their writing because it's supposed to be so helpful, but if you haven't come across it and you don't know how to identify why it's being pointed out in your work, like what the heck does it mean? Kaelyn (03:30):Yeah. So there's, you know, before we, before we get started in too deep into this, let's kind of define some of the areas that we're talking about here. And it's funny because Rekka and I were talking about doing this episode and we both came to this with kind of different approaches to the show. Don't tell me like, things that were important to Ned,uwhile doing some research, I kind of discovered that what Rekka and I both think is important. Most of the literary world doesn't think is as important. Rekka (03:57):Well, we are genre-focused. Kaelyn (04:00):Yeah. Exactly. Rekka (04:00):That just supports that. Kaelyn (04:02):Yeah. So I came into this with like one of my big pet show me, don't tell me a pet peeves is characters. Urecords is world-building and,I– Rekka (04:13):It's not even that it was that you said characters first. So I said, Oh, okay. But also "world building." It wasn't like, I was like, "No, world building first!" This wasn't like a showdown. Kaelyn (04:22):It's always a showdown. Rekka (04:22):It was a telldown. I'll show myself out. Kaelyn (04:28):All right. That's the podcast, everyone. We're done. Rekka (04:30):Like forever. She can't take it anymore. Kaelyn (04:34):Oh God. Okay. but it's funny because then when I was doing research on this and most of these "show me, don't tell me examples. And what everybody's talking about is more of writing and prose and style. So the point of all of it is nobody wants to be bombarded with facts and told "this is the way things are in this book" without actually experiencing it while reading it. One it's bad storytelling and two it's disorienting, Rekka (05:04):But if they're reading it, aren't they experiencing it? Kaelyn (05:07):Well, no, they're not because that's not experiencing it, that's just being read a list of facts and statements. Rekka (05:14):I know I'm playing devil's advocate in case you didn't tell. Kaelyn (05:18):I know. Um so why is this a problem? Rekka (05:23):Because you bore your reader, you don't engage them. You don't pull them through the book. Kaelyn (05:27):Yeah. This is one of those things that, and we rarely, you know, kind of come down to this it's bad writing. It's like, I mean, really, you know, we don't, we don't talk too much about like, you know, universally accepted things that are considered bad writing, but this is one of them because as Rekka said, it's boring, it is not engaging. It's not pulling the reader into the book. Anyone can sit here and rattle off a list of, you know, facts about like the, you know, the kitchen table that had sitting at right now, it was brown and round. Light brown with wood patterns on it. It was made of wood. And that's not really interesting. It distracts from the story. It doesn't paint a scene. It doesn't give you any indication of how the character is feeling or interacting, or considering how to act based on their surroundings or their thoughts. It's bad writing. And it's well, not always lazy, but oftentimes lazy. Rekka (06:30):But it's also not serving a purpose other than to describe the table. And if the table itself doesn't have anything to do with the tension you're trying to build in a scene or inform you what this character might be like, because you know, you're discussing the furnishings of their house, which describes the character. Maybe more than just saying the character can afford lots of nice furniture. You know. Kaelyn (06:58):The, every everything, well, the vast majority of what you write in your book should be serving two purposes. If a monster erupts out of the ground to try to eat our heroes and you have to stop the action and the story to describe the monster, that's serving two purposes. One, you want to describe the monster. You want to know what the heroes are about to fight against, but two, you want them to know how scary this monster is. So the words you use, you don't just say, "it looked like a centipede. It was purple. It had a lot of legs and weird green eyes with lots of facets on them. Venom was dripping off its fangs." Actually "venom was dripping off its fangs" is a good example of what, how to describe it. But instead of stating facts about it, what you should be doing instead is, you know, "the creature erupted out of the ground, spraying rock and sand everywhere. Once they cleared the dust from their eyes, they beheld the monster before them. It was a towering behemoth of," you know, and go on like that, because what you're doing is you're showing that the readers are, or excuse me, that the heroes are freed here. And then you also don't have to tell us that they're afraid. Rekka (08:09):I was just going to say well can't you sum it up and say the monster burst forth from the ground and scared the heroes? Kaelyn (08:14):Absolutely. If you don't want anyone to know what the monster looks like. Yeah. Rekka (08:19):Yeah. So you would use this to do both things, show that the person is scared and the reaction without having to say this is their reaction and do the thing that you'd really like to do, which is, I assume if you're creating a monster as you want to get into what the monster looks like and the creature design. Kaelyn (08:35):Yeah. So in this case you know, what we're kind of talking about here is the last thing I brought up, which is sort of like the style and prose and writing technique of, you know, making your sentences do extra work for you. You're describing the monster and then you're also establishing that it is threatening and our heroes are afraid of it to, you know, circle back to some of the other ones that Rekka and I came up with here. You know, well Rekka you know, had specifically said world-building. Rekka (09:05):Yeah, well, mostly because when you have a genre book, you've got some sort of aspect of the world that you've invented from whole cloth. And of course, you're very proud of that. And of course you want to talk about it. And this isn't to say, like, there's the whole iceberg theory thing, and I'm not going to go into that. That's not what I mean by this. But the idea that you want to keep the book interesting, which means you need to keep the motivation of the reader of wanting to find out what happens next. If you're just describing a setting in your world. Well, it doesn't matter what happens next. That setting is probably unaffected by the plot and the story. And the time you take away from keeping that reader in the story is detrimental to their, you know, their draw into the whole world. Rekka (10:01):So even though you think like, "Oh, my world is so cool. I have to get all this in here." Your reader cares less and less about the world when you keep interrupting the story to tell them about it. So just like Katelyn was saying, do two things with your sentences, you know, throw a little bit of your world building into an action. That's happening in the story. You know, passing the,uneon ice cream shop where all the ice cream was neon of course is what I mean. Not that it's painted neon. That's ridiculous. You know, so like build your world building in the same way that you're going to build your emotional reactions to things in and your physical descriptions of things. So in the sense, your first example kind of was world building. Ubut it was also emotional. And so your sentences need to do at least two things. So they can be emotion and world building or action and world building, or action and emotion, or character and world like, you know, mixing match. Don't just have nouns and verbs in the right order. Kaelyn (11:03):Yeah. So, and then my, my particular pet peeve with the show me don't tell me is is character related. I hate reading books, I hate getting submissions, where all I'm reading about is how a character is. So this and guys, this character, they are just, so This Thing, this, that they're, so This, that it's practically coming out of their ears. Everyone knows that they're, they're, This they're just the most This that there is. And then you see nothing in their actions, thoughts, or speech that would indicate that aside from the author and then usually other characters around them telling you this. Rekka (11:42):Reinforcing it in a very direct and obvious way. Kaelyn (11:45):Yeah. So it's that's, that's one of that is my big show me don't tell me pet peeve is,uif you know, you've got a guy who's supposed to be like the most brilliant, I don't know codebreaker in the entire world, but we don't actually see him break any codes and that's not part of the plot, why is that, you know, why do you need me to tell to know this? Why is that important here? And,uubut you know, there's, there's things that I think you get a little more and you see this a lot in,uyoung adult and teen novels where,uyou know, you want the cool kid, the shy kid, the goth kid, the, you know, where we get these sort of like emotional angles and none of them are actually then displayed in the writing of the character. Uso why... You know, apart from why is this important? Why, why is it bad writing? Rekka (12:45):Good writing is something that someone can enjoy. So if they're not enjoying it– you know, like, okay, across the board, not everyone is going to enjoy every story, but there are things you can do to increase your chances that someone's going to enjoy the story. And one of those things is to control, for example, the pacing and the immersion of the reader in the world. And when you tell someone something, rather than show it to them, you're kind of saying, "No, no, no, no, just trust me on this," without providing the proof. Exactly. And so it's hard for a person to sink into that world and enjoy it if they're constantly thinking, "Well, okay, you say that, but where I, like, what does that mean to this character? Or what does that, how is that going to impact the story or anything like that?" Kaelyn (13:36):Yeah. And I think that where this comes from a lot is this, especially, you know, in genre fiction, like, you know, Rebecca and I work in is "I've come up with this really cool thing, and I need everybody to know all about it. I need them to know about how awesome this world is or how scary this monster is or how cool and bad-ass my main character is." Rekka (14:00):Well we do want to know these things. Kaelyn (14:02):Yes, absolutely. But "if I tell them over and over again, they'll get it," and that is not how you get a reader to internalize things, readers, internalize things by the actions of the characters or the interaction with the world around them. Rekka (14:18):Do you think this is kind of, and I hate this phrase, is this just like a "rookie mistake" where they know they need to convince somebody of this, or they know they need to include this. They just don't know how to go about doing it properly? Kaelyn (14:30):Yeah. And I think it is. I think it's something that you see a lot with new and emerging writers, where you've just got all of these amazing ideas coming out of your ears and you've just, you know, gotta gather them all up and get them on a page. And so what it turns into is just, you know, a list of reasons why this thing is how you say it is rather than seeing people you know, either display those characteristics or seeing the world, or even just the way that you're writing. So a lot of times, you know, as we said, when you, you're going to get into, if you Google, you know, "show me, don't tell me" it's going to be pages and pages of you know, examples and literature and all of these famous quotes and stuff about it. But it goes beyond just style and the ability and the way that you write. Within the story itself, you can't, you know, make a character a certain way by having everyone else around them insist they are that way, but them showing no signs of that whatsoever. Rekka (15:41):So I'm going to give an example with Charles Dickens, A Christmas Carol, because when you think about Scrooge, you tend to think like, "Oh, well he's a cheapskate." I mean, the name is synonymous with cheapskate. This is a thing Dickens did. He made stuff pretty clear just by the way he named people. His story is about his character arc. You think about it, and you're like, "yeah, no, people are pretty clear that Ebenezer's really awful." And you can say "Ebenezer's is really awful," if you were writing the story or you can describe him as "the cold within him froze his old features, nipped his pointed nose, shriveled, his cheek, stiffened, his gait made his eyes red, his thin lips blue and spoke out shrewdly in his grading voice." Like– Kaelyn (16:27):Yeah, that's good writing that. Rekka (16:29):Yeah. And I'm not a huge Dickens fan. He got paid by the word. And so he did go on, but like he was described, he described Scrooge as "a squeezing wrenching, grasping, scraping, clutching covetous, old sinner." Like these are descriptive things but they're adding so much. Right? And then not only that, but the character behaves in such a manner. You're not just told this, but he says, you know, when people come to him and this is what you're saying about like the character supporting like, "Oh, just saying, Oh, you're an old miser, Scrooge," no people come to him looking for charitable handouts for the holidays. As, you know, as being established as, as good and wholesome and Scrooge says, "are there no prisons? Are there no workhouses?" Like, he has an argument with people that shows how you might expect a person to behave and how this person is behaving in contradiction to that. And so it's just like a really, Kaelyn (17:34):No, that's. Rekka (17:34):It's rich. Like the way that, you know, this is, this is seven layers of Scrooge-ness that you get out of these, these, these words that are chosen. And so like in some ways it's good that he was paid by the word. Kaelyn (17:46):Most people in the English speaking world, even if they haven't read a Christmas Carol or seen one of the movies, which by the way, the Muppet version of it is, is the best one. Michael Kane, as Scrooge, there should be no other Scrooges ever. Rekka (18:01):Certainly not Jim Carey. Kaelyn (18:03):Most people know when somebody says like, Oh God, he's a Scrooge. Or, you know, like call you Scrooge. They, Rekka (18:11):It's an idiom now. Kaelyn (18:11):Yes, exactly. Because this was so effective in the writing. So that's a really, really good example of why this is important. Going back to, you know, like new writers and just wanting to get this stuff out there. I just think that information dumps, this insisting upon– the characters that insist upon themselves, is really distracting from the story. Rekka (18:37):Because you can feel it's the writer doing the insisting. Kaelyn (18:40):Yes. It makes you not like the characters. And I'm not saying every character in your book needs to be loved and cheered for, but you usually need at least one to love and cheer for or everyone's going to have a really hard time getting through the book. Rekka (18:53):Yeah. And I'm dealing with that in some of the TV shows I'm watching right now. There are so many important characters, but you at least understand their motivations, even if you don't like them or want to spend any time in their presence. Kaelyn (19:06):Did you just finished The Boys, Rekka? Rekka (19:08):I might have, yes. There's no one left to root for almost. But the, the idea of you insisting, "Mary Sue–" Kaelyn (19:20):Yeah, let's lean in here. Rekka (19:20):"Was So beautiful. Everyone loved her and she looked great in everything she wore." That's, that's great, but I'm not getting anything out of that. Kaelyn (19:32):Well, also, do you see what just happened there? You're not developing a character. You're giving me a list of qualities and traits about them. Rekka (19:41):This is like a job application. Kaelyn (19:43):Yeah, exactly. Let's use Bella from the Twilight series. Rekka (19:49):I think she's a prime example of this. Kaelyn (19:51):Yes. So you know, for those of you who have not read this or have not seen the movies and I, dear God, Kirsten Stewart Um so one of the really common critiques of the Twilight books apart from, you know, like apart from the "dear God, why?" Was, you know, on, a literary level that Bella is an empty vessel and there's debate as to whether or not this was the intention of the author, you know, that she'd just come off as like a very plain uninteresting character with very little personality to speak of, so that young girls reading this could, you know, easily put themselves into, you know, relate to her and say, "I am just like Bella." But what is really infuriating about this character and full disclosure—I have read all of these books. I haven't read the most recent one because why would I, at this point Um one of the things that, you know, a lot of people pointed out about this that is a legitimate critique of Twilight apart from the fact that these are vampires that don't catch fire the sun, but that's fine. It's, it's fine. We don't actually see Bella do too much that would establish her personality. If you took out the fact that this is written from her perspective. And even despite the fact that it's written from her perspective, there isn't a whole lot going on with this girl. She doesn't have a whole ton of defining characteristics other than the fact that she's in love with a vampire. That is her entire personality. We're told things like she's very smart, she's very accident prone. She's very you know, she's a hard worker. Kaelyn (21:38):She's really loyal. The loyalty one, maybe we see a little bit, but I'm not sure if it's loyalty or obsession. One of the running jokes through the whole book is how accident prone she is. I, I could not come up with anything other than sometimes she bumps into people in the hallway there, so this is a good example of, you know, show me, don't tell me where and granted, here's the thing: this may have been deliberate on the part of the author, even though I said, I haven't read the newest one. So,ushe re-wrote the first book from the perspective of the shiny vampire boyfriend. Okay. Uso you're getting everything from his angle and you know what, for the sake of this podcast now, I think I'm going to have to go read this book because it would be very interesting to see Bella from outside Bella, and whether or not she seems to have a personality. And I think that's exactly what this book is. So now.. Dammit, Now I've gotta go read this book. Rekka (22:41):Well you don't HAVE to. Kaelyn (22:43):No. I have to, for the sake of science. Bella, I think is a good example of in terms of characters, "show me, don't tell me" because we just keep hearing all this stuff about her without ever actually seeing her be anything except pretty much completely passive aside from acting dramatically and irrationally when it comes to Shiny Vampire Boyfriend. Rekka (23:05):And you say, this is an effective tool to rope in a certain kind of reader. But it seems to me that if you write a compelling character, you're going to rope in a reader of any type. Kaelyn (23:18):I would hope so because here's the thing, there were, she was surrounded by compelling characters, everything around her was far more interesting than she was. Rekka (23:26):And it was just rubbing off on her, was that the idea? Kaelyn (23:29):I GUESS. You know, like I didn't, I remember talking about this with someone and they were like, "I don't understand why, you know, girls, like all of these young girls love this book so much. Like, I mean the main character is like so boring." And I said, "they're not reading it for her, the reading it for the love triangle, the reading it for Hot Werewolf Guy and Shiny Vampire Boy." Rekka (23:49):Yeah. Kaelyn (23:49):Um Bella's just a vessel to carry that story along in all of this. Rekka (23:56):It just seems like it could also be done effectively with someone who is not an empty vessel. Kaelyn (24:00):Absolutely. And that's the better story. Rekka (24:04):Okay. So getting back to the "show, don't tell," don't don't take too much to heart from the gobs and gobs of money that the Twilight series has made. Please. We would hate for you to go down that dark and disturbing path. Kaelyn (24:16):–To Make a lot of money off– Rekka (24:19):Look, if, if that's what you enjoy reading and that's how you liked your characters... I guess? Kaelyn (24:23):Hey, you know what, look, everybody like knocked Twilight for a lot of stuff. If that's just something you enjoy sitting down and reading and kind of, you know, mindlessly, or in a very engaged way, going through. Awesome. That's great. But Bella is a good example of characters that we were told about rather than shown. Rekka (24:42):Okay. So getting back to the, the origins of this, when it's handed out as advice and who's handing it out as advice and where does it come from? Where's it supposed to take you and how do you want a new writer to interpret the phrase? Kaelyn (25:02):So if I tell somebody, I never just put, you know, highlight something and say, "show don't tell me," I always put a note next to there saying like, "Hey instead of you telling me about how, you know, sharp, this sword is, have the character pick it up and slice something in half." That's way more interesting than, you know, just staring at this sword and describing it in great detail. Rekka (25:27):Although a little irresponsible. Kaelyn (25:28):Well, it depends what you're slicing in half. You know, if there was a watermelon that you were about to eat anyway, then sure. You know, Rekka (25:34):Yeah but the sword doesn't deserve to be used as cutlery! Kaelyn (25:38):Depends on the sword. Rekka (25:39):Okay. So two characters arguing over whether or not they can use the sword to cut the watermelon. "I'm Not saying it won't cut the watermelon. I'm saying that's not an appropriate use of our family's sacred sword." Rekka (25:49):"And I'm saying that we all want the watermelon. I see nothing else around except the family sacred sword. Don't you think your family would want us to have the watermelon?" Rekka (25:56):"And we'll wash it right away. We'll hang it back on the wall over the hearth. Everyone will just think we polished it. It'll look better. Everyone will be happy." Kaelyn (26:03):And then we get watermelon. Rekka (26:04):And then later, monsters attack and the edge of the sword is dull because you cut the watermelon with it and everybody dies, the end. Kaelyn (26:10):Oh. Very good Rekka. Very good. Yeah. So when I highlight these things, what I'm trying to communicate to the reader really at the core of it is either one, you were slowing down the story or two, you're missing an opportunity to contribute something to the story. Be it, you know, establishing of piece of information we didn't know before, giving the characters a chance to kind of show their feelings or their emotions a little bit you know, having an action rather than a description. The author who wrote Fight Club– Rekka (26:47):Palahniuk. Kaelyn (26:48):There you go. Chuck Palahniuk. I remember reading something that he wrote and I actually, I did go and look it up before this, and he, to remember doing exactly he said. But he doesn't like what he calls Thought Verbs thinks knows, understands, wants desires. What he's saying instead is make sure you have an Action Word in there. Kaelyn (27:14):And by that, like, instead of saying like, you know, "understands," describe what they're understanding. They smelled something and it triggered a memory and they remembered this. They, you know, reach their hand out in the dark and touch something and realized it was the centipede monster from earlier in the story. It ate both of those heroes and unow it's hiding in the dark. Rekka (27:38):He's back. Kaelyn (27:39):Yeah. He's back, the centipede monster's here forever. So, sensory and action details are a good way to avoid telling people about it because what you're doing then is you're making the character experience something and you're making them relate things to you and have to describe it. You can't just say "Rekka smelled something," you need to say, "Rekka smelled something foul. It made her nervous. It reeked of death." Because now what you're doing is you're describing what Rekka smelled. You're giving us a sense of her emotional state. And you're implying that there is probably a dead body somewhere. Rekka (28:14):Right. Kaelyn (28:15):So you're setting up the scene. Rekka (28:17):And I did find the Lit Reactor article that you're talking about with Chuck Palahniuk's words. And so "instead of characters knowing anything, present details that allow the reader to know those things" is kind of how he phrases it. So instead of a character wanting something, you have to describe the thing so that the reader wants it. In the sense of Twilight, you're putting the character in that main character's shoes, except you're not doing it by making those shoes empty for the reader to step into. You're actually tying them onto the reader's feet yourself. Kaelyn (28:50):Okay. That's– There you go. Yeah. And that's exactly what it is, is it's immersive. Every story is told from something's perspective, be it, you know, a super advanced alien life form or a somehow borderline sentient rock. They're both still experiencing things. Now they're experiencing them very differently, but that's your job to communicate in the book, and just telling us what they're experiencing is not immersing the reader. If you're a rock on Mars, just sitting there going "wow, I'm just this rock of Mars. It's really red and dusty here." Rekka (29:23):See, I thought you were going for Sylvester and the Magic Pebble when you talked about being a rock. Kaelyn (29:27):Oh, that's a good book. Rekka (29:28):That's an excellent book. Kaelyn (29:30):Scared me when I was a kid. Rekka (29:31):Scared you, really? Kaelyn (29:32):I don't know. It's just like, so for those of you who haven't read Sylvester and the Magic Pebble, first of all, go, go read that. But it's a story of a donkey who finds a magic pebble. Rekka (29:43):I think his parents give it to him. Don't they? Kaelyn (29:45):I thought he found it in a Creek and if he holds it and he realizes he can make a wish and the wish will come true. And he's being attacked by a lion at one point, and I'm not sure geographically where takes place. Rekka (30:00):It was Oatsdale, of course. Kaelyn (30:01):He's being attacked by a lion and wishes that he were a rock because the lion won't attack a rock. Except then he realizes he's dropped the pebble and he's not holding it anymore and he can't wish himself to be back from being a rock. Yeah. And he stays a rock for a really long time. Rekka (30:17):Well, that's what I'm saying, this is the point of view of a rock. Kaelyn (30:20):Yeah. But no, it's actually really sad because his parents think like he's dead and like go, you know, search for him forever. And like, they keep like standing on top of him to like search for him and sitting on him and crying about him. And it's, it's a really weird children's book. You know, so if you're, you know, as I said, the rock on Mars and you know, it's still dull, dull, boring life. And then all of a sudden robot shows up your prose and your sensory words and your, you know, way that you're experiencing, and the things that you're seeing obviously have to change in order to communicate the excitement of the rock, because "Hey, robot!" Rekka (30:58):Which you can't call to or wave to, or walk over to, or offer ice cream to. Kaelyn (31:03):Maybe it's going to pick you up to study you. Rekka (31:07):If you're lucky. Kaelyn (31:07):Yeah. And then what if, you know, you start to fall in love with the robot, but it turns out that it's not actually the robot because it's a bunch of people in NASA controlling the robot, but you don't know that. Rekka (31:16):I don't know, the robot's got algorithms. Kaelyn (31:19):Yeah. That's true. How do you fix this? How do you avoid falling into this trap? Rekka, have you ever had to kind of reconcile with this? Rekka (31:29):I was just thinking like, I wish I'd grabbed the notes, but Ryan Kelley, my editor at Parvus, when we were working on Salvage, one of the things he did was point out a few areas,uwith the one character Emeranth where some opportunities were there that I had missed to make her as clever and as caring and as smart as she could have been. And so his suggestion was something along the lines of like, "this is a great opportunity to show her doing the governing that she's forced into" and that sort of thing. Kaelyn (32:00):Yeah. That is something that I frequently make notes of is it's not even, you know, with the writers at this point that I'm getting bored, it's that you're missing an opportunity to have this person do something and, you know, be the bad-ass that you're saying they are. Be the clever person that you're saying they are, the great leader, the great fighter, the coward, you know, any, any number of these things Rekka (32:23):He said when he was pointing out a spot that needed showing, not telling he wasn't saying "show don't tell" waggling a finger and then moving on like, "Oh, my job is done. What a good editor I am." He was saying, "I would suggest that you use this to build this character into the character you say they are." And now Emeranth's scenes make me get all, like we be in shivery on the regular. So... Kaelyn (32:49):"Show don't tell" helps develop, you know, whether it be like your world building, your character, or just even your writing technique, it's going to give you a more rich style. You know, like at the most basic level you don't say you know, "Stephanie was a selfish immature entitled girl." You write a scene where Stephanie's throwing a fit because everybody forgot to throw a surprise party for her dog's half birthday. Rekka (33:20):So we talk about this broadly, we've talked about children's books, we've talked about movies, we've talked about YA books and all kinds of stuff, but are there genres in which this applies less or more like, are there expectations of like, "yeah, no, I actually just want you to get out of my way with this character and let me use them as an avatar for myself in this story." Kaelyn (33:46):I don't know if there are, genres where it's acceptable. I'll be honest with you. This is something that I think is pretty universally frowned on. This is one of the few sort of constants. You know, that said, anytime you're writing something, there's going to be instances where you have no choice but to do a little bit of quote-unquote telling you know, be it because maybe it's a really fast-paced scene and you want to keep the reader engaged and you want to keep the action going. So it's, "he parried left. She swiped, right. He ducked, she dodged they've rolled on the ground," you know, like you're. Rekka (34:20):But that's action. Kaelyn (34:21):Exactly. Yeah. Rekka (34:22):It's engaging. And if we're using Chuck Palahniuk's example, like that's exactly where you want to be, is more in the physical. So if you are telling and, but it's action beats, would you say that's better than telling in thought beats? Kaelyn (34:38):Absolutely. Yeah. Rekka (34:39):Okay. So then my question is, what role in this conversation specifically, would you say adverbs play? Kaelyn (34:49):Ooh. Rekka (34:49):I feel like there's some bleed in, you know, between the two. Kaelyn (34:52):I think adverbs are, like any other thing in life, good in moderation. You know, there's again, and this is another thing that there's a lot of people with very strong opinions about there, about– Rekka (35:05):Never ever ever use adverbs. Kaelyn (35:07):Yeah. That's impossible. Rekka (35:09):Right. Kaelyn (35:09):It's simply, it's simply, it's like not ending your sentences with a preposition, it's like just not the way the English language works. So what Rekka's referring to here is, you know, some editors and, you know, people who get all stuffed up about this stuff. Will say, I don't want to see you write "'Oh, you'll see,' Rekka said slyly.'" I want to hear "Rekka closed the laptop and turned to me with a sly smile on her face and a glint in her eye. 'Oh, You'll see,' she said." Notice how I made it not an adverb. Rekka (35:44):Yeah. By not connecting it to the say. Kaelyn (35:46):Exactly. Yes. And yeah, there is this little kind of weird nebulous area there where like, you're like, "well, I'm describing what she's doing. It's, it's kind of an action." But at the same time, you're telling me what she's doing, rather than showing me with a sly smile on her face. Rekka (36:05):That's I would point out that in the, the example, your quote-unquote correction, we also have things that ground us in the space. And so one, a person who might feel the need to tell you what everyone is thinking might also feel the need to show all the actions in the right order, what hand they're using. Like "she used her left hand to close the door while she scratched her nose with her right, with the fingertips of her right hand," you know, like being very specific about everything. Kaelyn (36:36):Yeah. That's interesting that you bring this up because what you're doing now is you're crossing into a different literary problem. We are past the "show, don't tell" and we are into the "excessively detailed for absolutely no reason." Rekka (36:47):And we will maybe talk about that in another episode. Kaelyn (36:49):Yes. But that is, that is a good point. Is that there is a certain, you know– we get past a certain telling like capacity and into the you're now describing the placement of every single thing in the room for no reason. Rekka (37:05):This is a game of twister. Kaelyn (37:05):Yeah, exactly. Yeah. Rekka (37:07):But what you did was you combined the two things to say, like, we've moved ahead with the story because the laptop has been closed or maybe "Rekka closed the laptop and grabbed her jacket. 'You'll See.'" That implies movement. Kaelyn (37:21):Yes. But you're leaving is she being threatening? Rekka (37:25):I wasn't going so much for the sly as talking about like trying to get more action in, in that sense. Kaelyn (37:29):Yeah, exactly. Rekka (37:30):In the case of being sly, then you might say "Rekka closed the laptop, grabbed her jacket and narrowed her eyes as she shut the lights off. 'You'll See.'" Or whatever. Kaelyn (37:39):Yeah. So yeah. Are there times where you have to, you will have to tell rather than show? Absolutely. Are adverbs a never use them? No, I mean, you will, at some point have to use an adverb, but they are a slippery slope to telling, not showing, even though they sound like you're doing a good job of describing something, they're really telling rather than describing, Rekka (38:00):They are skipping the cues that we want in the story and they are jumping right to the judgment. So what you're doing is you're telling the reader how to feel rather than making them feel that. But one thing you did mention earlier, real quick, that I just wanted to get back to before we wrap this up, is the idea of a fast paced scene where there's a lot of action and maybe you've just, you know, watched a Jason Statham movie and you feel like you need to really show all that action and show and describe the, say, like train– underground train tunnel they're in while they're running around chasing each other. But if stopping to describe the space they're in means that you lose that momentum, then it may still be in the physical, but it could also be more telling than we need. You know, "I nearly slipped on a loose piece of old soggy newspaper" or something like that. That's still– Kaelyn (39:02):Gross. Rekka (39:02):That brings you back into the action, increases the threat because you could fall down now, versus like "the train station had been abandoned since 1970, despite many attempts by the local politicians to renovate and drum up support for a Renaissance of the train museum, which was founded by so-and-so." Kaelyn (39:24):Yeah, Exactly. Rekka (39:26):That's world building! Kaelyn (39:27):We don't need to know all of that. Rekka (39:29):That doesn't serve your action scene with Jason Statham, who's got to get in that train car and then take off his sweater and use it to defeat his enemies. Kaelyn (39:36):Yeah. Because unless the enemy he's defeating is the corrupt politician that was siphoning money out of the budget to restore the train station. All we need to know is that has been abandoned for about 50 years. Rekka (39:46):Yeah. And some gross newspaper will communicate that better than a history lesson. Kaelyn (39:51):Just to round this out. You know, somebody comes back to you and is like, Hey, show me, don't tell me you're kind of going, "Oh, well, what the heck do I do with this?" Take a look at the sentence or the paragraph in particular that they're calling attention to and try– read it out loud, try to figure out if it sounds like the paragraph or the sentence is doing double work to you. Is it conveying more than simple statements of fact or very straightforward descriptions of what people are doing or how they appear or a feeling? Rekka (40:24):Is it a list of judgements of a thing versus list of evidence to support that judgment? Kaelyn (40:30):Yeah. I would say that, listen, this isn't, you know, we're being kind of catty about this in terms of, you know, like this is one of those universally considered bad things, but this is also very hard. This is one of the reasons why it's difficult to be a good writer. Because we, as humans are used to, when you describe something, you know, like, "Oh, I went on a date with this guy. Oh, cool. Let's say like, well he's tall and he has Brown hair and blue eyes and he's got a scar on his eyebrow. And,uhe, you know, plays the saxophone and he works as a barista." Like you're telling me, like, you're just listing this stuff about a guy who is a real living, breathing person, but that's a totally acceptable thing that we do all the time. Uyou know, a friend of mine is like, "Oh, let me tell you about my new boyfriend. I don't need poetic soliloquy about, you know, his feelings on the bass versus the alto saxophones,uand why he prefers one and the childhood trauma surrounding that. Umou know, I just like to know that he plays the saxophone. So that's a normal thing for us with how we talk and how we describe things to people in everyday life. However, when you're doing that, you're looking at your friend as they're doing that and you're and you know, says like, "'Oh, he, you know, plays the saxophone and he's a barista.' Rekka rolled her eyes. This was Kaelyn's fourth barista of the year. Second one that played the saxophone. Where was she finding these men?" But Rekka knows that that's going on in her head. Rekka (42:01):Right. But you put that in the story and suddenly there's context again. Kaelyn (42:05):Exactly. But for regular conversation, you don't need context. And hopefully if that's what Rekka's actually thinking, she's not going to start narrating her internal thoughts to me, because then I'm going to– Rekka (42:15):Oh! That's a great idea. I'm going to start doing that now. Kaelyn (42:20):Um so it's a hard thing to do just because of the way we're used to conducting ourselves in our daily life. We don't need to, you know, I don't need to describe to Rekka the fact that I'm sitting in my kitchen right now and I'm wearing a sweater because it's finally getting a little bit chilly here, but I still have some of the windows cracked open... Because one, Rekka doesn't need to know that two, she can see me in the sweater and probably see the window behind me. In stories you don't have that. So you need to make your sentences do as much work as they can, otherwise you are just describing lists of actions, emotions, and feelings. Rekka (42:57):And this might be a great opportunity to take the book that made you feel the most feelings, and give it a skim and see how their prose sounds compared to yours in areas where you're being told this needs some showing versus telling. I mean, the best thing to do is to pay more attention to people who are making you feel the way you want your reader to feel when they read your book. Rekka (43:19):"What Can I do to become a better writer? How should I get started writing?" And my first answer is always you need to read a lot. Rekka (43:25):Always. Never stop reading. Kaelyn (43:27):Really. Never stop reading, because having all of these things in the back of your head, you know, it's not stealing. Think of it as a research. How did this author, that I really liked this book, how did they handle this problem? How did they make sure, how did they grab me by, you know, the heart and really squeeze it for this one scene? Kaelyn (43:45):Like, what did they do that left me in tears here? What did they do that made me stand up and cheer? Why did I stay awake until three in the morning? Because of something I read? You know, so don't think of that as copying. It's not that I think of it as research. Rekka (44:00):Right. Cause you're not going to take their words and use them in your book. You're going to figure out what they did and find how that parallels what you're trying to do. And that's a good thing, you know? Chances are, they did that too. Kaelyn (44:15):Yeah, exactly. So anyway, I'm not sure how much advice that was on Show Don't Tell, but at least hopefully that was some information about why it is important and what people are trying to say when they point it out to you. Yeah. And if this is something you struggle with, don't feel down about that. It's hard. We don't think about practicing writing, but like you really do have to practice writing. Now granted, practicing is doing revisions, but you know, I think we think like you practice piano and then, you know, you don't really have anything to show for it at the end, but practicing can still, you know, it's the same way as like, you know, practicing cake decorating. Maybe it's not great, but you still have a decorated cake at the end of it. Rekka (44:56):Yeah. Rekka (44:57):Yeah. And you can use that to look back and say how much you've improved because your next cake has way more skill applied to it because you've learned Kaelyn (45:05):Plus cake! And even if it doesn't look pretty, maybe it tastes really good. Rekka (45:09):Exactly. You know, when you keep writing, that's how you keep improving. You're not going to sit down and plunk out one amazing novel and never write again. And it will need revision and whatever you write is going to need a second draft or is going to need at least another pass. There's little you can do to avoid that. The more that you write, the less often that you will fall upon some of these like quote-unquote rookie mistakes, you'll make all new mistakes of more advanced variety, but you will get better. And reading more, writing more, and you know, getting other people's opinions will help. There are critique groups out there on the internet, you know, that you can join and you'll get feedback of varying harshness and helpfulness, but like, it will help you. When you critique other people's work, it will help you critique your own work. Because if you can sit back and read it like you were reading someone else's work, how am I going to help this person understand what I'm trying to say I think it needs? Because sometimes you need to rubber ducky your own thoughts a little bit. Kaelyn (46:18):You know, at the end of the day, you hope that you get to a point where somebody puts a note in there of show, don't tell and you go, Oh, of course, right. You don't just sit down and be awesome at writing. That's not how this works. As I said, hopefully that at least kind of clear some of the mystery around the "show, don't tell me." Rekka (46:38):Hopefully clear some of the frustrations so that, you know, when you see those words, if they aren't paired with concrete advice, then you can back up and take a look from, you know, a little bit further away from where it is in your mind and say, "okay, what, what do I think I'm communicating that I'm not communicating?" Kaelyn (46:58):Exactly. Rekka (46:58):Because that's what it comes down to a lot of the times, it's like, okay, you say this person's great. Or you say this monster is scary, but – Kaelyn (47:04):You know that in your head for these reasons and you're not showing it to me, the reader. Rekka (47:09):Yep. Kaelyn (47:09):Well, I think that's, that's pretty much it. I guess that's what we got there. Rekka (47:12):We did manage to go on at length, despite me thinking it was going to be pretty straightforward. I got a whole bunch of these really straightforward quickie episodes planned that are going to be at least the normal length, if not longer. So if you're looking forward to those, make sure that you are subscribed to the podcast. If you have questions about any other kinds of editing tips that you've received in your manuscripts that you were like, "what, what?" Kaelyn (47:35):What is this note? Rekka (47:36):"Kaelyn, Explain this to me, please. Tell me I don't have to do whatever this is saying. "I Think did it say rewrite? Is it saying revise? No, I don't want to just tell me it's perfect." if you have any questions for us about these random topics that editors mark up in your manuscripts, and you're not really sure what they mean, or you want to know how to avoid them in the future, or advice you see that you still don't quite understand, just let, let us know, for sure, @WMBcast on Instagram or Twitter. Kaelyn (48:09):We like, we like these episodes. These are fun. Rekka (48:10):And we love to answer questions and we love to help people. So let us help you. And hopefully we have helped you. And if you feel that we have, you could really help us out by sharing these episodes with a friend who might be interestedUm do make sure that you're subscribed and not just clicking the link that we post on social media because having more subscribers helps other subscribers potentially find us. And also um, really helpful in getting subscribers to find us is to leave a rating and review on Apple podcasts or, you know, generally any review is helpful anywhere, but the Apple podcasts really seems to still have the corner on the market for that. Kaelyn (48:46):That's very true. Rekka (48:46):And, and if you are super, super appreciative and want to show that with currency, in gratitude or in an expression of the editor's fees we've saved you, you can go to patreon.com/WMBcast. We are not trying to steal the work from the professionals. We love all editors, present company included. Kaelyn (49:07):Thank you. Rekka (49:08):We will talk to you in two weeks. Kaelyn (49:10):Thanks for listening, everyone. Rekka (49:11):Thanks everyone.

Whats Next!? Episode 89: The Platform

Whats Next!?

Play Episode Listen Later Oct 27, 2020 61:00

Booker T. Washington is in the building... Shouts to the classes of 2003 and 2004, walk with us! I want to also extend my gratitude to my lodge brother LeAndre Prince who believed in me enough to allow me to capture his creation! Thank you for watching my work and giving me the opportunity. K.O.I. #XIX #IIWII... On this episode, LeAndre defines himself (6:50) as a chameleon because He sees himself as someone who can blends in and can adapt. He thinks people should take (9:50) the no matter where you are in life you can't say I can't. You have to find a solution that challenges you even if its not in your comfort zone. Things are Possible. He describes the creation of S.L.A.B. comedy (10:45) as a connection that started with his older sister and SLAB's older brother, making them brother-in-laws. They joked a lot in the church and SLAB came to Prince with and idea to do comedy shows. Prince sites, that he's running a business and that people are compensated to show that their time is worth it. Prince talks about the obstacles concerning his first show (21:10)! We sneak in a snippet of the JusCallMe Prince presents a SLAB Comedy show featuring (S.L.A.B. & Young Simba 25:53). The song thats on his mind(35:10) Losing my way by RKJ and for me Because of you by Echol Remix and This Thing of Ours by MMG (Rick Ross, Wale & Omarion) ft: Nas. With 68 days left, (40:36). Finally we find out Whats Next!? for Prince. This episode is dedicated to my son! I love you John Ross Dike II bka Baby D rest in paradise/Heaven; when I see you again I would have served my purpose! Sit back, relax and enjoy Episode 89 of the Whats Next!? podcast a production of Still Visionary Inc. Follow LeAndre Prince http://www.instagram.com/juscallme_prince Peace and Blessings!! John Ross I http://www.stillvisionary.com (VISIT!) http://stillvisionaryinc@gmail.com (EMAIL!) http://www.facebook.com/Stillvisionaryinc (LIKE!) http://www.twitter.com/johnrossdike; http://www.twitter.com/still_visionary http://www.instagram.com/johnrossdike; (FOLLOW!) http://www.instagram.com/still_visionary (FOLLOW!) http://www.linkedin.com/in/john-ross-dike-0a6a75173 (CONNECT!) http://still-visionary.tumblr.com

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Cerveza Otway: una alternativa artesanal

Play Episode Listen Later Oct 8, 2020 38:10

En nuestra sección de emprendedores conversamos con Cata Bonilla y Kalle Johansson, quienes empezaron a vender cervezas y otras bebidas fermentadas a través de Instagram. Inspirados por el Great Otway national park en Australia, comenzaron a buscar la manera de transportar a otras realidades a través del paladar y un modelo sustentable. ¿Quieres ayudarnos?, ¿Quieres donar? Ingresa a https://www.patreon.com/elementalpodcast |Nuestra página|: http://www.elementalpodcast.cl/ |Twitter|: https://twitter.com/elementalpodcas (@elementalpodcas) |Facebook|: https://www.facebook.com/ElementalPodcast/ |Instagram|: https://www.instagram.com/elementalpodcast/ |Youtube|: https://www.youtube.com/channel/UCzbMsT2QA6TTaYrzLr6t1AQ |Subscríbete en Spotify|: https://buff.ly/2x0X8KA |Subscríbete en iTunes|: https://buff.ly/2BKkvgf |Subscríbete en Stitcher|: https://buff.ly/2GYSu5H |Subscríbete en Podbean|: https://buff.ly/2H0Uw5p |Subscríbete en GooglePodcast|: https://buff.ly/2GIzUj2 Links y notas del Show: Cerveza Otway: https://www.instagram.com/cervezaotway/ 00:00 | Intro | 02:11 | Origen | 06:06 | El sonido del emprendimiento | 13:14 | La magia de la cerveza | 17:04 | Los desafíos | 26:22 | Aprendizaje | https://www.goodreads.com/book/show/142050.This_Thing_of_Darkness https://www.goodreads.com/book/show/32953496-el-quijote?ac=1&from_search=true&qid=xEd6RQxwYd&rank=5 https://www.goodreads.com/book/show/5571.Cradle_to_Cradle 34:53 | Cierre | Pedro García-Huidobro (@pedroghg) y Santiago Allamand (@stgoallamand) discuten sobre distintos libros todas las semanas. Agradecimientos especiales a: |Redes y Comunicaciones|: Rosario del Valle |Música Intro|: Osvaldo Guzmán |Sonidos Adicionales|: Osvaldo Guzmán |Musica Cierre|: ”Rollin at 5" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

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Day for Night with Caridad Svich: Episode 18: Hear/Here from This Thing of Ours by C. Svich & excerpt from Will Arbery's Heroes of the Fourth Turning

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Play Episode Listen Later Aug 4, 2020 19:57

Day for Night with Caridad Svich, a series that looks at the intersection between theatre & poetry in the edgelands. Episode 18: selection entitled Hear/Here from This Thing of Ours by Caridad Svich, and an excerpt from Will Arbery's Heroes of the Fourth Turning (published by Concord Theatricals). Content warning: some curse words. * Listener Support is appreciated. --- Support this podcast: https://anchor.fm/caridad-svich/support

My Top Instagram Content Creators for The Month of July

Views With Joemario

Play Episode Listen Later Aug 2, 2020 22:43

You got to have to want to hear this; 1. Isabella Ayomobi 2. Boma dateme 3. Lazy Lizard Blog 4. Tamara Aig 5. The Halimat Magaji 6. The Mozimo 7. Ayo The Creator 8. This Thing called Fashion 9. Nuella Rose 10. Em Etetim Honorable Mention *Zona (Sandra Afamefuna) THE FOOD CRITIC I LIKE “Opeyemifamakin”

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Day for Night with Caridad Svich: Episode 14: from This Thing of Ours by C. Svich & excerpt from Alan Read's Theatre in the Expanded Field

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Play Episode Listen Later Jul 29, 2020 18:49

Day for Night with Caridad Svich, a series that looks at the intersection between theatre & poetry in the edgelands. Episode 14: gardens of fear scene from This Thing of Ours by Caridad Svich & excerpt from Alan Read's Theatre in the Expanded Field (Bloomsbury Drama). Listener support is appreciated. --- Support this podcast: https://anchor.fm/caridad-svich/support

Day for Night with Caridad Svich: Episode 13: scene from This Thing of Ours by C. Svich, & excerpt from Status by Chris Thorpe

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Play Episode Listen Later Jul 24, 2020 16:01

Day for Night with Caridad Svich, a series that looks at the intersection between theatre & poetry, in the edgelands. Episode 13: scene entitled Book from This Thing of Ours by Caridad Svich, and excerpt from Status by Chris Thorpe (Oberon Modern Plays). Content: some curse words used. LIstener Support is encouraged. --- Support this podcast: https://anchor.fm/caridad-svich/support

Day for Night with Caridad Svich: Episode 12: from This Thing of Ours by C. Svich & excerpt from CARMEN DISRUPTION by Simon Stephens

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Play Episode Listen Later Jul 24, 2020 17:24

Day for Night with Caridad Svich, a series that looks at theatre & poetry in the edgelands, in the wilderness. Episode 12: scene from This Thing of Ours by Caridad Svich, and excerpt from Carmen Disruption by Simon Stephens (published by Bloomsbury Methuen Drama) Listener Support is appreciated. --- Support this podcast: https://anchor.fm/caridad-svich/support

Day for Night with Caridad Svich: Episode 11: The City from This Thing of Ours by C. Svich & excerpt from Tim Etchell's ENDLAND

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Play Episode Listen Later Jul 22, 2020 20:22

Day for Night with Caridad Svich. Episode 11: The City (scene one) from This Thing of Ours by Caridad Svich, and excerpt from short story "About Lisa" from Tim Etchells' ENDLAND published by Andotherstories (2019). Listener Support is appreciated. --- Support this podcast: https://anchor.fm/caridad-svich/support

My Self Discovery Journey with Bolutife Oladele

HerOwnHero Podcast

Play Episode Listen Later Jun 23, 2020 31:17

Welcome back Heroes! We reversed the setting of this episode by placing me, on the hot seat. On this episode, I sat with Bolu Oladele to discuss the process i took to birth my ebook - A Hero Girl's Guide to Self Discovery. This lockdown gave us the chance to self reflect and I did just that. I went to an intense study of seeking and searching, Now you do not have to do that because I’ve gathered all of these resources into this workbook for you to learn about the most important subject in the universe – You! Yes you! I believe this is the perfect time to take some time out alone and know yourself inside and out, because only then, can you truly begin your path to self discovery If you've enjoyed this podcast, kindly share with your network and leave a review for us . we'll love your feedback about this episode Show Notes Get my ebook This Thing called Purpose Iyanla Vanzant Fix My Life ASMR Get My YouTube Playlist My Journey to Self Discovery: How I upgraded my life Bolutife Oladele Instagram Twitter Blog

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SINGLE(Sin•gle)adjective Too fabulous to settle for less

This Thing called Love

Play Episode Listen Later May 30, 2020 10:20

Society feels like something is wrong with us if we are single. But what does it mean to be "single?" Join the host of This Thing called Love podcast- Gracie has she discuss on the concept of being single,reasons for being “single” and advice to all the singles . --- Send in a voice message: https://anchor.fm/thisthingcalledlove/message

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Healthy Wealthy Wise 01 | How Our Reaction to Covid-19 is Similar To Doing an Ironman Triathlon

Master of Some | Health & Fitness as a Metaphor for Life

Play Episode Listen Later Apr 22, 2020 21:47

This short episode is an experiment of sorts called Healthy, Wealthy and Wise.In our spare time we naturally talk about fitness, wellness, finance and the self improvement that we gain from all of those things. Those conversations sparked the framework for this episode and series.Hopefully you can learn a bit from our personal lives to apply it to your own life and get more healthy, more wealthy, and more wise.There is a chance we might extend this out past Phil and me and look to get other health, fitness and self improvement junkies on board to talk some sh*t about their own health, wealth, and wise journeys.Phil goes into detail about his diet to get back from a cold (non Covid-19/Coronavirus related), his remote pivot with his new business (This Thing of Ours), and is interested in talking more about mental health and thinkings about their thoughts and feelings around the anxiety with Covid-19/Coronavirus pandemic.Daren talks about his 5K DIY race changeup when the pandemic first struck, tries somewhat timed the market okay to save his a$$, and thinks about how his reaction to Covid-19 is similar to doing an Ironman Triathlon (Spoiler: He wants to say he got through it just fine)Be sure to subscribe, rate, comment and share the Master of Some podcast on Apple, Spotify, Stitcher, Acast or whatever you choose to listen to us on. Send us your questions, concerns, insights, suggestions, love letters, and hate mail to talksomeshit@masterofsomepod.com or hit us up @masterofsomepod on our socials Instagram, Facebook, Twitter. All the dope music can be found here, courtesy of Daren aka DLake Creates.PODCAST PRODUCTION BY POD PASTE See acast.com/privacy for privacy and opt-out information.

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Situationships a.k.a What are we?

This Thing called Love

Play Episode Listen Later Apr 20, 2020 23:54

We've all been in a relationship that wasn't really a relationship and it can be difficult trying to navigate the grey areas. Join the host of This Thing called Love podcast -Gracie and her 2 beautiful friends Aj & Precious has they discuss situationships , personal experience setting rules, the grey areas and what to do once feelings are caught. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thisthingcalledlove/message

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Faith Saved My Mafia Marriage - Cammy Franzese

Big Impact Radio

Play Episode Listen Later Apr 1, 2020 41:46

Welcome to the Big Impact Ep 163 and our fascinating conversation with Cammy Franzese, wife of former Colombo Mob Boss, Michael Franzese. She shares the story of how faith brought them both through some very dark days of crime, prison, and healing. Inspiration and powerful! Be sure to get Cammy's book: This Thing of Ours: How Faith Saved My Mafia Marriage

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41: The Coronavirus Episode

Gourmet Music Podcast - UTR Media

Play Episode Listen Later Mar 18, 2020 103:06

In this era of social distancing, gourmet music might be needed now more than ever! Dave shares some spiritual reflections and hand-curated songs that speak to the effects we are all feeling from the Coronavirus. And, for a moment of levity, we share the world-premiere of the "COVID-19 Out-Of-Context MegaMix" ------------- TRACK LIST FOR EP.41 -------------- "The Same Song" - Andy Gullahorn "Somewhere Down the Road" - Amy Grant "Slow Down" - Jonathan Ogden "We Will Survive" - Andrew Peterson "Nothing to Fear" - The Porter's Gate w/ Audrey Assad "Give Me Peace and Rest" - Zach Winters "COVID-19 Out-of-Context MegaMix" - Dave Trout + 21 Artists "Becoming" - Cindy Morgan "Worry" - Andrew Osenga "Because You Are" - Christopher Williams "This Thing is Not Going To Break You" - Christa Wells "Not Done With You Yet" - The Classic Crime "We Are Not As Strong As We Think We Are" - Rich Mullins "Good" - Sarah Hart "Settle" - The Mosleys "Benediction" - Josh Garrels ---------------- CREDITS ------------------ * Host/Producer - Dave Trout * SPONSOR 1: Jordan and Jessa - https://is.gd/jandjsp * SPONSOR 2: David Vaters - https://is.gd/vaterssp * Help support UTR's ministry & loss of 2 revenue-generating events - https://utrmedia.org/donate * Email: gourmetmusicpodcast@gmail.com (c) 2020 UTR Media. All Rights Reserved. A 501(c)(3) non-profit organization, more info at https://utrmedia.org

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The Filmmaker and the First Tsar: The Legend of Sergei Eisenstein (with Joan Neuberger)

The Slavic Connexion

Play Episode Listen Later Feb 28, 2020 53:27

On this episode we have the privilege of speaking with History professor and Eisenstein expert Dr. Joan Neuberger who among many things is also co-host and co-creator of 15-Minute History podcast and the public history project Not Even Past. ABOUT THE GUEST: https://minio.la.utexas.edu/colaweb-prod/person_files/0/373/joan_neuberger_profile_image.jpeg Dr. Neuberger received her PhD from Stanford University in 1985. She is currently a professor in the History Department at the University of Texas at Austin. Dr. Neuberger studies modern Russian culture in social and political context, with a focus on the politics of the arts. She is the author of an eclectic range of publications, including Hooliganism: Crime and Culture in St Petersburg, 1900-1914 (California: 1993), Ivan the Terrible: The Film Companion (Palgrave: 2003); co-author of Europe and the Making of Modernity, 1815-1914 (Oxford: 2005); and co-editor of Imitations of Life: Melodrama in Russia (Duke: 2001) and Picturing Russia: Explorations in Visual Culture (Yale: 2008); Everyday Life in Russian History: Quotidian Studies in Honor of Daniel Kaiser (Slavica, 2010); and The Flying Carpet: Studies on Eisenstein in Honor of Naum Kleiman (Mimésis International. 2017). Her most recent book is This Thing of Darkness: Eisenstein's Ivan the Terrible in Stalin's Russia (Cornell: 2019). We encourage you to check out her public history site, Not Even Past, www.notevenpast.org and also the related podcast "15-Minute History" at www.15minutehistory.org which she co-hosts and co-founded. Both are great and fun resources! NOTE: This episode was recorded on February 21, 2020 at the University of Texas at Austin. Thanks for listening and if you like us and support open academic programming, please take a second to rate the show on Apple Podcasts, TuneIn, or on our Facebook page. We so appreciate your support!! CREDITS Co-Producer: Tom Rehnquist (Connect: facebook.com/thomas.rehnquist) Co-Producer: Matthew Orr (Connect: facebook.com/orrrmatthew) Logistics/Assistant Producer: Cullan Bendig Associate Producer: Lera Toropin Associate Producer: Samantha Farmer Associate Producer: Milena D-K Supervising Producer: Kathryn Yegorov-Crate Production Assistant: Luis Camarena Executive Editor/Music Producer: Charlie Harper (Connect: facebook.com/charlie.harper.1485 Instagram: @charlieharpermusic) www.charlieharpermusic.com Executive Producer & Creator: Michelle Daniel (Connect: facebook.com/mdanielgeraci Instagram: @michelledaniel86) www.msdaniel.com DISCLAIMER: The views expressed on this episode do not necessarily reflect those of the show or the University of Texas at Austin. Special Guest: Joan Neuberger.

14: ADAPTATION with R. J. Palacio, Neil Gaiman and Margaret Atwood

Waterstones

Play Episode Listen Later Jan 28, 2020 37:12

Books have provided the inspiration for countless films, plays, musicals, TV series, and other works of art. In Adaptation we speak to R. J. Palacio about seeing her best-seller, Wonder, transferred to the big screen. We hear from Neil Gaiman about the different ways he has adapted his own work into other forms and which he thinks have worked the best. And Margaret Atwood speaks to us about seeing The Handmaid's Tale become a phenomenon and her own adaptation of the works of Shakespeare. Books mentioned: Wonder, The White Bird, The Ocean At The End of the Lane, Coraline, Good Omens, The Handmaid's Tale, The Testaments, Hag-seed, This Thing of Darkness, An Astronaut's Guide To Life On Earth, Not The End of the World

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Universal/Blumhouse, Leave That Thing Alone!

Tutor Reviews

Play Episode Listen Later Jan 27, 2020 33:16

Nope... You just can't recreate this. John Carpenter has put his stamp on what was based off of a classic novella, and what was made in 1982 still holds up. The 2011 prequel tried to live up, but was a CG fest, yet pretty fun to watch. But this, this screams "No" all across the arctic. This Thing (pun intended) needs to be left to freeze for another thousand years or so. Enjoy, y'all.

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Thursday Thrillers for January 9th, 2020

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Play Episode Listen Later Jan 9, 2020 2:36

The capers begin on Thursday Thrillers with Rich Frohlick and our trio of thrilling tales begins with Black Jack Justice #44, followed by Harry Strange #311, and finishing with the conclusion of This Thing of Ours. Kick your Thursday up a notch on Mutual! Learn more about your ad choices. Visit megaphone.fm/adchoices

Thursday Thrillers for January 9th, 2020

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Play Episode Listen Later Jan 9, 2020 1:51

The capers begin on Thursday Thrillers with Rich Frohlick and our trio of thrilling tales begins with Black Jack Justice #44, followed by Harry Strange #311, and finishing with the conclusion of This Thing of Ours. Kick your Thursday up a notch on Mutual!

Thursday Thrillers for January 2nd, 2020

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Play Episode Listen Later Jan 2, 2020 2:39

It's the first Thriller for 2020 Thursday! Host Rich Frohlich brings you Black Jack Justice #43, Harry Strange #310, and the fourth episode of This Thing of Ours. Three toughs to get the New Year started right, on Thursday Thrillers! Learn more about your ad choices. Visit megaphone.fm/adchoices

Thursday Thrillers for January 2nd, 2020

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Play Episode Listen Later Jan 2, 2020 1:54

It's the first Thriller for 2020 Thursday! Host Rich Frohlich brings you Black Jack Justice #43, Harry Strange #310, and the fourth episode of This Thing of Ours. Three toughs to get the New Year started right, on Thursday Thrillers!

Thursday Thrillers for December 19th, 2019

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Play Episode Listen Later Dec 19, 2019 2:11

Attention fans of Action! Thursday Thrillers is on the air! Host Rich Frohlich gets into the fight with BHarrry Strange #309, and the third episode of This Thing of Ours! Thrills guaranteed on your Thursday! Learn more about your ad choices. Visit megaphone.fm/adchoices

Thursday Thrillers for December 19th, 2019

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Play Episode Listen Later Dec 19, 2019 1:26

Attention fans of Action! Thursday Thrillers is on the air! Host Rich Frohlich gets into the fight with BHarrry Strange #309, and the third episode of This Thing of Ours! Thrills guaranteed on your Thursday!

Thursday Thrillers for December 12th, 2019

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Play Episode Listen Later Dec 12, 2019 2:35

Mystery! Adventure! Action! Thursday Thrillers! Rich Frhich's lineup this week includes Black Jack Justice #41, Harry Strange #307-Witchslayer Part 3, and finally the amazing This Thing of Ours #2! Fantastic tales today's Thursday Thrillers! Learn more about your ad choices. Visit megaphone.fm/adchoices

Thursday Thrillers for December 12th, 2019

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Play Episode Listen Later Dec 12, 2019 1:50

Mystery! Adventure! Action! Thursday Thrillers! Rich Frhich's lineup this week includes Black Jack Justice #41, Harry Strange #307-Witchslayer Part 3, and finally the amazing This Thing of Ours #2! Fantastic tales today's Thursday Thrillers!

Thursday Thrillers for December 5th, 2019

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Play Episode Listen Later Dec 5, 2019 3:40

It's Thursday! Time for your Thrills beginning with Black Jack Justice #40-Albatross, followed by Harry Strange #307-The Witchslayer and the premiere of This Thing of Ours from Scott Spaulding! Great thrilling adventures on your Thursday! Learn more about your ad choices. Visit megaphone.fm/adchoices

Thursday Thrillers for December 5th, 2019

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Play Episode Listen Later Dec 5, 2019 2:55

It's Thursday! Time for your Thrills beginning with Black Jack Justice #40-Albatross, followed by Harry Strange #307-The Witchslayer and the premiere of This Thing of Ours from Scott Spaulding! Great thrilling adventures on your Thursday!

MontcoRadio_ep84_KeemoDropThat 20191018

CommonWealth Radio

Play Episode Listen Later Oct 22, 2019 113:58

Pottstown producer Keemo Drop That brings his newest single and breaks down his future in the hip hop game,his new projects,things goin on in town and philosophy on music. O.D.o.g. & No Luv also introduce the 1st segment "Classic or Trash it" where they go threw song submissions from signed & unsigned artists. Send clean radio edits to djnoluv@gmail.com 1. Obnoxious - Its yours (Wu-Tang tribute) 2. MAS -Revolvers 3. Faith Walker - Aint EZ 4. Faith Walker - Head in the clouds remix ft Ray Robinson 5. SINN FT. RITA - MAKE IT HOME 6. Positive K - Exclusive 7. Billy Danze - "This Thing of Ours 8. Rampage - Take a Selfie 9. Kieth Murrey - Children s Story 10. THUNNY BROWN - "SWEET" 11. Rockwelz - Black Privilege 12. Keemo Drop That, Bukx Soprano - Across the Water 13. Keemo Drop That - Love It

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Podoween 2019 pt. 4

Helpful Snowman Radio

Play Episode Listen Later Oct 4, 2019 40:23

IT. THAT. THIS. THE THIS THING.

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Allan Aquirre

Rood Crew Radio

Play Episode Listen Later Aug 1, 2019 28:55

Allan Aguirre is a musician and author of the book, "This Thing is Spiritual".

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Episode 25-"Seriously?"

Scruffy Chinwags

Play Episode Listen Later Jul 18, 2019 87:09

Come and sit down with the Skelter Front man, Eddie. I accuse him, We figure out the medicare system, and we learn about Ed's journey. Continuing on to part 2, we learn about Skelter's artistic journey, guitars, hangovers and the pros and cons of long hair. Wild boiz Recommended tune: This Thing by King Gizzard & The Lizard Wizard

Eisenstein’s Ivan the Terrible

Sean's Russia Blog

Play Episode Listen Later Jun 21, 2019 51:52

Guest: Joan Neuberger on This Thing of Darkness: Eisenstein's Ivan the Terrible in Stalin's Russia published by Cornell University Press. The post Eisenstein’s Ivan the Terrible appeared first on SRB Podcast.

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Joan Neuberger, "This Thing of Darkness: Eisenstein’s Ivan the Terrible in Stalin’s Russia" (Cornell UP, 2019)

New Books Network

Play Episode Listen Later Mar 21, 2019 55:37

Most of the time, this podcast focuses on the products of those who create historical fiction—specifically, novels. But what goes into producing a work of historical fiction—especially in a dictatorship where the wrong choice, or even the right choice at the wrong moment, can send the unwitting author to the Gulag? And what if the creator is not an unknown toiling in the dark to produce manuscripts “for the desk drawer,” as the Soviet literati used to say, but the nation’s foremost filmmaker operating at the personal behest of Joseph Stalin? Such is the dilemma that faces Sergei Eisenstein in 1941, when he begins his unfinished trilogy Ivan the Terrible, an epic ordered by the Soviet government to glorify the Russian past and justify state terror. Often written off, especially in the West, as a toady to Stalin, Eisenstein—as Joan Neuberger nimbly shows in her new and fascinating study, This Thing of Darkness: Eisenstein’s Ivan the Terrible in Stalin’s Russia (Cornell University Press, 2019)—approached his complicated and risky project with a mixture of enthusiasm and caution. Over the course of five years, despite complaints about budget overflows and production delays, through exile and war and shifts in the party line, personal conflicts and health problems, Eisenstein skillfully alternated between tactics of submission and defiance in support of his idiosyncratic but richly textured portrayal of a tortured autocrat whose childhood traumas led him to ever more extreme exercises of power, even as his excesses stripped him of friends and family, leaving him alone against the endless, unstoppable waves—of progress? of the future? of his own battered conscience? Only the viewer can decide. Part I won the Stalin Prize, the USSR’s highest honor, although not without controversy. Stalin personally banned Part II before release, and Eisenstein died with Part III unfinished. In this master work about a master filmmaker, Neuberger shines a light on all three. In doing so, she highlights the many decisions any author must make while balancing historical accuracy against dramatic potential and character motivation against a verifiable past. Fortunately, for most of us the stakes are nowhere near as high as they were for Sergei Eisenstein. C. P. Lesley is the author of nine novels, including Legends of the Five Directions (The Golden Lynx, The Winged Horse, The Swan Princess, The Vermilion Bird, and The Shattered Drum), a historical fiction series set during the childhood of Ivan the Terrible, and Song of the Siren, published in 2019. Find out more about her at http://www.cplesley.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

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Joan Neuberger, "This Thing of Darkness: Eisenstein’s Ivan the Terrible in Stalin’s Russia" (Cornell UP, 2019)

New Books in Russian and Eurasian Studies

Play Episode Listen Later Mar 21, 2019 55:37

Most of the time, this podcast focuses on the products of those who create historical fiction—specifically, novels. But what goes into producing a work of historical fiction—especially in a dictatorship where the wrong choice, or even the right choice at the wrong moment, can send the unwitting author to the Gulag? And what if the creator is not an unknown toiling in the dark to produce manuscripts “for the desk drawer,” as the Soviet literati used to say, but the nation’s foremost filmmaker operating at the personal behest of Joseph Stalin? Such is the dilemma that faces Sergei Eisenstein in 1941, when he begins his unfinished trilogy Ivan the Terrible, an epic ordered by the Soviet government to glorify the Russian past and justify state terror. Often written off, especially in the West, as a toady to Stalin, Eisenstein—as Joan Neuberger nimbly shows in her new and fascinating study, This Thing of Darkness: Eisenstein’s Ivan the Terrible in Stalin’s Russia (Cornell University Press, 2019)—approached his complicated and risky project with a mixture of enthusiasm and caution. Over the course of five years, despite complaints about budget overflows and production delays, through exile and war and shifts in the party line, personal conflicts and health problems, Eisenstein skillfully alternated between tactics of submission and defiance in support of his idiosyncratic but richly textured portrayal of a tortured autocrat whose childhood traumas led him to ever more extreme exercises of power, even as his excesses stripped him of friends and family, leaving him alone against the endless, unstoppable waves—of progress? of the future? of his own battered conscience? Only the viewer can decide. Part I won the Stalin Prize, the USSR’s highest honor, although not without controversy. Stalin personally banned Part II before release, and Eisenstein died with Part III unfinished. In this master work about a master filmmaker, Neuberger shines a light on all three. In doing so, she highlights the many decisions any author must make while balancing historical accuracy against dramatic potential and character motivation against a verifiable past. Fortunately, for most of us the stakes are nowhere near as high as they were for Sergei Eisenstein. C. P. Lesley is the author of nine novels, including Legends of the Five Directions (The Golden Lynx, The Winged Horse, The Swan Princess, The Vermilion Bird, and The Shattered Drum), a historical fiction series set during the childhood of Ivan the Terrible, and Song of the Siren, published in 2019. Find out more about her at http://www.cplesley.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

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Joan Neuberger, "This Thing of Darkness: Eisenstein’s Ivan the Terrible in Stalin’s Russia" (Cornell UP, 2019)

New Books in Film

Play Episode Listen Later Mar 21, 2019 55:37

Most of the time, this podcast focuses on the products of those who create historical fiction—specifically, novels. But what goes into producing a work of historical fiction—especially in a dictatorship where the wrong choice, or even the right choice at the wrong moment, can send the unwitting author to the Gulag? And what if the creator is not an unknown toiling in the dark to produce manuscripts “for the desk drawer,” as the Soviet literati used to say, but the nation’s foremost filmmaker operating at the personal behest of Joseph Stalin? Such is the dilemma that faces Sergei Eisenstein in 1941, when he begins his unfinished trilogy Ivan the Terrible, an epic ordered by the Soviet government to glorify the Russian past and justify state terror. Often written off, especially in the West, as a toady to Stalin, Eisenstein—as Joan Neuberger nimbly shows in her new and fascinating study, This Thing of Darkness: Eisenstein’s Ivan the Terrible in Stalin’s Russia (Cornell University Press, 2019)—approached his complicated and risky project with a mixture of enthusiasm and caution. Over the course of five years, despite complaints about budget overflows and production delays, through exile and war and shifts in the party line, personal conflicts and health problems, Eisenstein skillfully alternated between tactics of submission and defiance in support of his idiosyncratic but richly textured portrayal of a tortured autocrat whose childhood traumas led him to ever more extreme exercises of power, even as his excesses stripped him of friends and family, leaving him alone against the endless, unstoppable waves—of progress? of the future? of his own battered conscience? Only the viewer can decide. Part I won the Stalin Prize, the USSR’s highest honor, although not without controversy. Stalin personally banned Part II before release, and Eisenstein died with Part III unfinished. In this master work about a master filmmaker, Neuberger shines a light on all three. In doing so, she highlights the many decisions any author must make while balancing historical accuracy against dramatic potential and character motivation against a verifiable past. Fortunately, for most of us the stakes are nowhere near as high as they were for Sergei Eisenstein. C. P. Lesley is the author of nine novels, including Legends of the Five Directions (The Golden Lynx, The Winged Horse, The Swan Princess, The Vermilion Bird, and The Shattered Drum), a historical fiction series set during the childhood of Ivan the Terrible, and Song of the Siren, published in 2019. Find out more about her at http://www.cplesley.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

song west russia russian legends terrible soviet joseph stalin ussr siren eisenstein cornell up sergei eisenstein this thing neuberger ivan the terrible joan neuberger darkness eisenstein stalin prize

Joan Neuberger, "This Thing of Darkness: Eisenstein’s Ivan the Terrible in Stalin’s Russia" (Cornell UP, 2019)

New Books in History

Play Episode Listen Later Mar 21, 2019 55:37

Most of the time, this podcast focuses on the products of those who create historical fiction—specifically, novels. But what goes into producing a work of historical fiction—especially in a dictatorship where the wrong choice, or even the right choice at the wrong moment, can send the unwitting author to the Gulag? And what if the creator is not an unknown toiling in the dark to produce manuscripts “for the desk drawer,” as the Soviet literati used to say, but the nation’s foremost filmmaker operating at the personal behest of Joseph Stalin? Such is the dilemma that faces Sergei Eisenstein in 1941, when he begins his unfinished trilogy Ivan the Terrible, an epic ordered by the Soviet government to glorify the Russian past and justify state terror. Often written off, especially in the West, as a toady to Stalin, Eisenstein—as Joan Neuberger nimbly shows in her new and fascinating study, This Thing of Darkness: Eisenstein’s Ivan the Terrible in Stalin’s Russia (Cornell University Press, 2019)—approached his complicated and risky project with a mixture of enthusiasm and caution. Over the course of five years, despite complaints about budget overflows and production delays, through exile and war and shifts in the party line, personal conflicts and health problems, Eisenstein skillfully alternated between tactics of submission and defiance in support of his idiosyncratic but richly textured portrayal of a tortured autocrat whose childhood traumas led him to ever more extreme exercises of power, even as his excesses stripped him of friends and family, leaving him alone against the endless, unstoppable waves—of progress? of the future? of his own battered conscience? Only the viewer can decide. Part I won the Stalin Prize, the USSR’s highest honor, although not without controversy. Stalin personally banned Part II before release, and Eisenstein died with Part III unfinished. In this master work about a master filmmaker, Neuberger shines a light on all three. In doing so, she highlights the many decisions any author must make while balancing historical accuracy against dramatic potential and character motivation against a verifiable past. Fortunately, for most of us the stakes are nowhere near as high as they were for Sergei Eisenstein. C. P. Lesley is the author of nine novels, including Legends of the Five Directions (The Golden Lynx, The Winged Horse, The Swan Princess, The Vermilion Bird, and The Shattered Drum), a historical fiction series set during the childhood of Ivan the Terrible, and Song of the Siren, published in 2019. Find out more about her at http://www.cplesley.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

song west russia russian legends terrible soviet joseph stalin ussr siren eisenstein cornell up sergei eisenstein this thing neuberger ivan the terrible joan neuberger darkness eisenstein stalin prize

Joan Neuberger, "This Thing of Darkness: Eisenstein’s Ivan the Terrible in Stalin’s Russia" (Cornell UP, 2019)

New Books in Historical Fiction

Play Episode Listen Later Mar 21, 2019 55:37

Most of the time, this podcast focuses on the products of those who create historical fiction—specifically, novels. But what goes into producing a work of historical fiction—especially in a dictatorship where the wrong choice, or even the right choice at the wrong moment, can send the unwitting author to the Gulag? And what if the creator is not an unknown toiling in the dark to produce manuscripts “for the desk drawer,” as the Soviet literati used to say, but the nation’s foremost filmmaker operating at the personal behest of Joseph Stalin? Such is the dilemma that faces Sergei Eisenstein in 1941, when he begins his unfinished trilogy Ivan the Terrible, an epic ordered by the Soviet government to glorify the Russian past and justify state terror. Often written off, especially in the West, as a toady to Stalin, Eisenstein—as Joan Neuberger nimbly shows in her new and fascinating study, This Thing of Darkness: Eisenstein’s Ivan the Terrible in Stalin’s Russia (Cornell University Press, 2019)—approached his complicated and risky project with a mixture of enthusiasm and caution. Over the course of five years, despite complaints about budget overflows and production delays, through exile and war and shifts in the party line, personal conflicts and health problems, Eisenstein skillfully alternated between tactics of submission and defiance in support of his idiosyncratic but richly textured portrayal of a tortured autocrat whose childhood traumas led him to ever more extreme exercises of power, even as his excesses stripped him of friends and family, leaving him alone against the endless, unstoppable waves—of progress? of the future? of his own battered conscience? Only the viewer can decide. Part I won the Stalin Prize, the USSR’s highest honor, although not without controversy. Stalin personally banned Part II before release, and Eisenstein died with Part III unfinished. In this master work about a master filmmaker, Neuberger shines a light on all three. In doing so, she highlights the many decisions any author must make while balancing historical accuracy against dramatic potential and character motivation against a verifiable past. Fortunately, for most of us the stakes are nowhere near as high as they were for Sergei Eisenstein. C. P. Lesley is the author of nine novels, including Legends of the Five Directions (The Golden Lynx, The Winged Horse, The Swan Princess, The Vermilion Bird, and The Shattered Drum), a historical fiction series set during the childhood of Ivan the Terrible, and Song of the Siren, published in 2019. Find out more about her at http://www.cplesley.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

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Cloth Talk with Adonis & V Don

Crush-A-Lot Podcast

Play Episode Listen Later Mar 15, 2019 21:54

Adonis & V Don crafted an epic visceral experience with their project This Thing of Ours in 2018. With the announcement of a vinyl release, This Thing of Ours is gathering new momentum. Adonis & V Don bless the Podcast to talk This thing of Ours, the process, sales & future works. Go now and check out one of the best projects of 2018. Subscribe and all that good stuff! Digital: https://fxckrxp.bandcamp.com/album/this-thing-of-ours Vinyl: https://www.tuffkongrecords.com/collections/frontpage/products/this-thing-of-ours-lp Subscribe to our new Podcast : 10 Minute Reviews https://hypel.ink/10-minute-reviews

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1869, Ep. 65 with Joan Neuberger, author of This Thing of Darkness

1869, the Cornell University Press Podcast

Play Episode Listen Later Feb 20, 2019 15:42

This episode we speak with Joan Neuberger, author of the new book, This Thing of Darkness: Eisenstein’s Ivan the Terrible in Stalin’s Russia. Joan Neuberger is Professor of History at the University of Texas at Austin. She has written extensively in print and online about Eisenstein, film, and modern Russian cultural history. We spoke to Joan about what makes Ivan the Terrible one of the greatest films of all time, what Eisenstein’s unpublished diaries and manuscripts tell us about his true intentions with the film, and what specific political messages he wanted to convey the audience. Watch Ivan the Terrible on YouTube: https://www.youtube.com/watch?v=jJmsV10MTJE https://www.youtube.com/watch?v=i5g-Ss9BDR4 As a loyal listener to the podcast we’d like to offer you a special 30% discount on Joan’s book. To receive your discount please go to cornellpress.cornell.edu and use the promo code 09POD. If you live in the UK use the discount code CSANNOUNCE and visit the website combinedacademic.co.uk.

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Episode 04: No Capone Zone

NoZone Layer

Play Episode Listen Later Jan 1, 2019 82:00

Guest: Adam On this here fourth episode of the NoZone Layer, we get tah talkin’ about This Thing of Ours, see? The Family, the Outfit, the folks who give ya a concrete bath at the bottom of the Hudson/Chicago/preferred river of your choice. Yessirree, bub, it’s the mob. We take a look at some of the families currently in power, talk through popular mob slang, and examine the structure of the mafia through the analogy of a certain chain restaurant venue. We also give each other gangster names and come up with a killer recipe for chicken parmesan. Articles: The Telegraph- The five New York mafia families About the Mafia- New York Mafia 2018: Who’s up, who’s down, who’s the strongest mafiatrickster.tripod.com- Mafia Slang Buzzfeed- 7 Alarming Facts About How British Hitmen Really Work ABC 7 Chicago- With top Chicago mob boss dead, Outfit looks for new blood

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This Thing the Church Calls 'Membership' - 1 Corinthians 5:9-13; Acts 2,5

Sermons

Play Episode Listen Later Nov 25, 2018 63:01

In this message Pastor Snell examine the topic of Membership with his message titled "This Thing the Church Calls 'Membership'".

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Ivan the Terrible: Part I (Sergei Eisenstein; 1944)

Russophiles Unite! Movie Podcast

Play Episode Listen Later Oct 25, 2018 46:15

Film Studies masters graduate Esther Jolliffe joins Ally Pitts to discuss this biopic of the first tsar, which was voted 102nd greatest film of all time in the 2012 Sight and Sound Critics' Poll. Expect SPOILERS from about 13 minutes in until the end. Ivan the Terrible: part I stars Nikolai Cherkasov, Lyudmila Tselikovskaya, Serafima Birman, and Mikhail Nazvanov. This Thing of Darkness: Eisenstein's Ivan the Terrible in Stalin's Russia by Dr Joan Neuberger, which has been shortlisted for the 2020 Pushkin House Book Prize, is available from Cornell University Press.A list of podcast episodes in which Dr Joan Neuberger discusses This Thing of Darkness: www.podchaser.com/lists/this-thing-of-darkness-a-book-by-dr-joan-neuberger-on-serge-107a4VRRB3Find out more about #PodRevDay, a way to support your favourite podcasts: www.stephfuccio.com/podrevday The show's intro music is Cold by Sasha Ilyukevich and the Highly Skilled Migrants. You can find more of their music at: thehighlyskilledmigrants.bandcamp.com/ or: open.spotify.com/artist/1cXWmfhuDWyfKfsYADk96F If you'd like to get in touch and tell us what you thought of the film and/or the podcast episode, it would be great to hear from you! Here are some ways you can do that: Twitter: @RussophilesU Email: russophilesunite@gmail.com Facebook: www.facebook.com/groups/russophilesunite Instagram: www.instagram.com/russophiles_unite/ Letterboxd: letterboxd.com/Ally_ Support the show/fund Ally's caffeine habit at: ko-fi.com/russophilesunite Find Ally's other podcast appearances at: www.podchaser.com/creators/alistair-pitts-107ZzmUqmI

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Podcast 24: Address by Chuck Hendricks, This Thing is from Me, Kirkland 1994

Bible Conference Recordings

Play Episode Listen Later Oct 24, 2018 49:46

Address by Chuck Hendricks, This Thing is from Me, Kirkland 1994

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3 - Ambrose Parry (aka Chris Brookmyre & Marisa Haetzman)

Read Like a Writer

Play Episode Listen Later Sep 20, 2018 37:09

Ambrose Parry is the pen name of Chris Brookmyre (award-winning author of the Jack Parlabane books) and consultant anaesthetist Marisa Haetzman. In this episode, Anna Fielding talks to the couple about their first book together: The Way of All Flesh, a story of murder in 19th century Edinburgh. They also discuss some of their favourite books and their love for the independent bookshop The Watermill in Aberfeldy. Books discussed in this episode:This Thing of Darkness by Harry ThompsonThe Alienist by Caleb CarrCryptonomicon by Neal StephensonThe Baroque Cycle by Neal Stephenson: Quicksilver, The Confusion and The System of the WorldLife After Life by Kate AtkinsonA God in Ruins by Kate AtkinsonAny Human Heart by William Boyd See acast.com/privacy for privacy and opt-out information.

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TWTS – What is This Thing?

TWTSPodcast – Turil

Play Episode Listen Later Sep 6, 2018

. TWTS – Episode 67 – What is This Thing? http://www.blooomy.org/podcast/WhatIsThisThing.mp3 DOWNLOAD (right click to save linked file): TWTS – Episode 67 – What is This Thing? . A little wandering exploration of one of the most basic elements of the universe, the it-y “thingness” of each of the individual elements within reality, from atoms […]

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Night Shift Episode 2 - He Stealin!

Tabletops & Powerbottoms

Play Episode Listen Later Aug 19, 2018 59:23

Bingo's gone! So we record This Thing based on a true story... STARRING: Wong (The Great Brandonian) - https://www.twitch.tv/wongagain Biz (The DM) - https://graveshift.itch.io Support the show at: https://twitter.com/tabletopsnpb

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Night Shift Episode 1 - Lemme tell you about my car

Tabletops & Powerbottoms

Play Episode Listen Later Aug 15, 2018 58:16

Bingo's gone! So we record This Thing based on a true story... STARRING: Wong (The Great Brandonian) - https://www.twitch.tv/wongagain Biz (The DM) - https://graveshift.itch.io Support the show at: https://twitter.com/tabletopsnpb

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TTiB Update - Summer 2018

Mrs M's Curiosity Cabinet

Play Episode Listen Later May 15, 2018 6:36

Jack and Quinn need to take a break from This Thing is Bad while they deal with the most Bad Thing there is - finals! We'll be back soon, we promise. (The music in the background is all stuff that Quinn made and is available on her Patreon page btw) Keep in touch! Jack: http://twitter.com/Jackapedia_ Quinn: http://twitter.com/BackwardsFlow Luminous Studios: http://twitter.com/LuminousMediaHQ

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Episode 12: Reflections on community, the wool sector, change and colour.

Play Episode Listen Later Apr 11, 2018 41:13

In this episode I reminisce about Edinburgh Yarn Festival and how the organisers have created an event that celebrates the community of knitters and crocheters as much as yarn. Rather than give an overview of my purchases, I pull together some thoughts on the breadth and diversity of the hand knitting wool sector, based on the amazing wool, processes and approaches I spotted when walking around the marketplace and talking to fellow visitors. I also share some of the projects to come out of my recent natural dyeing sessions. I re-draw a winner for the This Thing of Paper giveaway and answer a listener's questions on whether petitions (like one she had seen on microfiber plastic pollution) are an effective way to create change. Or whether there are better ways to press for change. And I finish up by sharing an inspiring gem. You can find me as Mrs_M_Curiosity_Cabinet on Instagram and as Meg-aka-Mrs-M on Ravelry. There is also a Ravelry Group for the podcast. Shownotes can be found at: Mrs M's Curiosity Cabinet. Music: As I figure by Kevin MacLeod on FreeMusicArchive and licensed under Creative Commons By Attribution 3.0 License

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015: Minecraft and Player Archetypes

Mrs M's Curiosity Cabinet

Play Episode Listen Later Mar 6, 2018 71:25

In the third This Thing is Good special episode, Quinn reveals one of her somewhat-guilty pleasures - Mining and Crafting. Jack and Quinn discuss what makes Minecraft so appealing to all ages and why its broad appeal shouldn't make it embarrassing to enjoy. Follow us: twitter.com/Jackapedia_ twitter.com/BackwardsFlow Buy a shirt!: bit.ly/LuminousMerch

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Episode 73: Let's have a yarn adventure!

Yarn in the City

Play Episode Listen Later Feb 27, 2018 64:01

Hello and welcome back to the Yarn in the City podcast! We are thrilled to be back and chatting with you guys again after our brief hiatus. On today’s episode we’re chatting about our theme for the podcast in 2018, Allison interviews our first special guest of the year and of course we get to catch up on our knitting projects in anticipation of the upcoming EYF too. What we're working on: Rachel is knitting Incunabula by Karie Westermann from This Thing of Paper in Valley Yarns Northampton in Sage Heather, and is on the sleeves after having to start over again due to choosing the wrong size at the beginning. True to form, she's made the body longer and decided to change the sleeve shaping. As you do. Allison has been machine knitting up a storm, with her fabulous Union Jack Cardigan by Brandon Mably, and a bunch of awesome swatches from numerous classes (see short row eyeballs below). She also took a class in Bohus knitting when she went to Vogue Knitting Live last month, and we discuss Poems of Color by Wendy Keele, a good resource for Bohus knitting history. Upcoming events EYF. That is all (squee!) We will be at the Blacker Yarns Podcast Lounge throughout the show, so please come by and say hi! Yarn Adventures Last year. the theme that we tried to work through the podcast episodes was Make Happy. This year, we've decided to focus on Yarn Adventures, both ours and those of other people. To start things off, we have an interview with Maylin Scott (aka Blithespirit), a Canadian expat living in Liverpool. We hope you enjoy! YINGO! We've got a new photo challenge for those of you attending EYF - Yarn Bingo (or Yingo)! We've put together a bingo card of photo prompts for you to use as inspiration and we're looking forward to seeing your interpretations! More details to follow, but every 5 in a row series or collage of photos is 1 entry into the prize drawing - fill up the card for 5 entries! *** Wrap up Many thanks for joining us for another episode! You can find the podcast on iTunes and Stitcher Radio (please rate, review and subscribe!) and you'll find us on Instagram, Facebook, and Twitter, in our Yarn in the City group on Ravelry, or in person on Wednesday nights at our knit night between 7 and 10pm at The Breakfast Club on Battersea Rise. We hope to see you at EYF! Music credits (available on NoiseTrade) Revolution - Kate Tucker A Good Reason To Smile - Chasing Noise

Electronic Wireless Show Ep 32 - Monsters in games

Electronic Wireless Show

Play Episode Listen Later Feb 7, 2018 53:34

They lurk, they creep, they skulk and weep. This week the team is talking about their favourite monsters in games. Alice reckons you can’t beat a good Dark Souls skeleton. And Katharine tells us about a demon in Okami. Meanwhile, Adam ponders the gameiness of movie monsters like the sex curse of It Follows. But we’ve also been playing monstrous things. Slay the Spire gets more praise from Alice the acrobatic stabber. Adam has been tracking a gigantospider in Hunt: Showdown. And Katharine has been acting most monstrously, playing games on a Nintendo. Links: The RPS verdict on DOOM: https://www.rockpapershotgun.com/2016/06/07/doom-pc-review-2/ Final Fantasy’s bomb: http://finalfantasy.wikia.com/wiki/Bomb_(creature) Official Rock Paper Shotgun policy as regards to skeletons: https://twitter.com/rockpapershot/status/960861687887908864 Dark Souls has some good skeletons: http://darksouls3.wiki.fextralife.com/Root+Skeleton Look, these ones are wheels: http://darksouls3.wiki.fextralife.com/Skeleton+Wheel Okami review: https://www.rockpapershotgun.com/2017/12/18/okami-hd-review-pc/ How do you get THIS THING drunk? https://orig08.deviantart.net/5eb0/f/2008/194/4/4/okami___yamata_no_orochi_by_vyrilien.jpg Merlocks are adorable: http://wowwiki.wikia.com/wiki/Murloc Have you played… Left 4 Dead 2? https://www.rockpapershotgun.com/2015/01/12/have-you-played-left-4-dead-2/ Neon Maniacs is a b-movie about killing things with water and such: http://www.imdb.com/title/tt0127045/ Have you played… Soma? https://www.rockpapershotgun.com/2016/06/17/have-you-played-soma/ It Follows is a movie about a sexually transmitted curse: https://en.wikipedia.org/wiki/It_Follows Slay the Spire has some mad possibilities: https://www.rockpapershotgun.com/2018/02/02/slay-the-spire-infinite-combo/ Hunt: Showdown looks neat: https://www.rockpapershotgun.com/2017/06/21/hunt-showdown-e3-2017-gameplay-footage/ Final Fantasy Explorers was a bad go at Monster Hunter: http://finalfantasy.wikia.com/wiki/Final_Fantasy_Explorers Anatomy by Kitty Horrorshow on Itch.io: https://kittyhorrorshow.itch.io/anatomy Depths of Fear review: https://www.rockpapershotgun.com/2014/04/29/roguelike-horror-depths-of-fear-review/ The Deadly Tower of Monsters: https://www.rockpapershotgun.com/2015/06/12/deadly-tower-of-monsters-zeno-clash-devs/

Episode 10: Of patterns, fitting and agency

Play Episode Listen Later Feb 7, 2018 49:11

In this episode I announce that I will be attending the Edinburgh Yarn Festival and thank the organisers for inviting me to participate as a podcaster in the Blacker Yarns' Podcast Lounge. In the sewing segment I talk about the ups and downs of my latest sewing project (a smart shirt or blouse), including my choice of pattern, the new skills I've acquired and the fitting challenges I've faced. Despite occasional frustration and despondency, I decide to focus on the agency and body kindness that being able to make a properly fitting garment gives us and touch upon the language of fitting. I also explore a listener's questions about the relative benefits and harm of paper versus PDF sewing patterns. In the knitting segment, I mull over how my recent sewing experience is spilling over into my knitting and making me more bold about playing around with the style and shaping in knitting patterns, almost to the point of reworking them entirely. I also announce the winner of the This Thing of Paper giveaway; review Socks 2018, a new e-publication by Making Stories focused on nylon-free, non-superwash socks; and announce a giveaway of a digital copy of Socks 2018. You can find me as Mrs_M_Curiosity_Cabinet on Instagram and as Meg-aka-Mrs-M on Ravelry. There is also a Ravelry Group for the podcast. Shownotes can be found at: Mrs M's Curiosity Cabinet. Music: As I figure by Kevin MacLeod on FreeMusicArchive and licensed under Creative Commons By Attribution 3.0 License

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013: Harry Potter is Bad

Play Episode Listen Later Feb 6, 2018 66:27

In today's episode of This Thing is Bad, Jack and Quinn tackle their biggest subject yet: a book series for tweens. We discuss JK Rowling's fabricated diversity, Harry Potter's secret power of framing the world, and college-aged nerds running around with broomsticks. Follow us (but don't @ us): http://twitter.com/Jackapedia_ http://twitter.com/BackwardsFlow Grab a shirt!: http://bit.ly/LuminousMerch

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012: Cards Against Humanity is Bad

Cottage Notebook's Podcast

Play Episode Listen Later Jan 23, 2018 61:24

This week on This Thing is Bad, the story of an irreverent card game and the irresponsible company behind it. Jack and Quinn discuss punch-down comedy and corporate performative progressivism. It's like... The Inevitable Heat Death Of The Universe meets... My Sex Life. God, these cards suck. (Quinn is taking over editing for the show, because I guess I did well enough on the last one. Direct your complaints to me.) Follow us (but be careful about @'ing us): twitter.com/Jackapedia_ twitter.com/BackwardsFlow Grab a shirt!: bit.ly/LuminousMerch

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Cottage Notebook Podcast

Play Episode Listen Later Jan 12, 2018 57:40

In this episode of the podcast, the wonderfully talented Karie Westermann joins me on the podcast to chat about her latest book, This Thing of Paper. If you wanted to know a little bit about the essays, compilation and behind the scenes information on those beautiful photos, this is the podcast for you. Come on in, grab a cuppa and have a listen to the story of This Thing of Paper in Karie's own words.

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011: Anime is Bad (with Special Guest @actualtriangle!)