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In this 1896th episode of Toronto Mike'd, Mike updates the Toronto Mike'd Universe as to where he's at with his El Mocambo headlining debut in two weeks before sharing audio of his appearance on Humble and Fred and his speech at Cam Gordon's Track Changes book launch in Kensington Market. Toronto Mike'd is proudly brought to you by Great Lakes Brewery, Palma Pasta, Ridley Funeral Home, Nick Ainis, and RecycleMyElectronics.ca. If you would like to support the show, we do have partner opportunities available. Please email Toronto Mike at mike@torontomike.com.
This episode walks through how to effectively use Track Changes and Comments in Microsoft Word with JAWS, making document collaboration more accessible and manageable. Liz and Rachel break down how Track Changes works, including how to turn it on, interpret edits like insertions and deletions, and switch between different viewing modes such as Original, No Markup, Simple Markup, and All Markup. They also share practical strategies for navigating revisions more efficiently using JAWS-specific keyboard commands, including how to review edits individually, filter changes by reviewer, and use the revisions pane for a clearer overview. The discussion covers how to accept or reject changes, lock tracking to prevent further edits, and customize what types of changes are displayed. In the second half, the focus shifts to modern comments in Word. Rachel explains how comments have evolved, including features like drafting before posting, @mentions, threaded replies, and improved navigation. You'll learn multiple ways to move through comments, create new ones, and manage existing threads by editing, resolving, or deleting them. Whether you're collaborating on documents for school or work, this episode provides actionable tips and keyboard shortcuts to streamline your workflow and confidently review documents using JAWS.
As Canada marks National Canadian Film Day, new data from Telefilm Canada shows 2025 was one of the weakest box office years this decade for Canadian films. Why aren't audiences turning out? Sonya Yokota William, Francesca Accinelli, and Noah Segal examine what is holding Canadian movies back and what could rebuild viewership. Then, a look at another cultural shift: how the internet changed Canadian music. Rundown producer Colin Ellis speaks with author Cam Gordon about his new book "Track Changes" and the digital forces that reshaped the industry.See omnystudio.com/listener for privacy information.
How can you improve your self-editing process? How can you find and work with professional editors and beta readers? How do you know when editing is done and the book is finished? With Joanna Penn In the intro, Poetry craft and business [The Indy Author Podcast]; A Mouthful of Air; How to get your book featured in local media without a publicist [Written Word Media]; thoughts on faith and code; Wild Dark Shore – Charlotte McConaghy; Bones of the Deep – J.F. Penn. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Joanna Penn is an award-winning New York Times and USA Today bestselling author of thrillers, dark fantasy, short stories and travel memoir under J.F.Penn and also writes non-fiction for authors. Overview of the editing process Self-editing How to find and work with a professional editor. My list is at www.TheCreativePenn.com/editors Beta readers, specialist readers, and sensitivity readers When is the book finished? These chapters are excerpted from How to Write a Novel: From Idea to Book by Joanna Penn, available direct or on all the usual stores. Overview of the editing process “Books aren't written. They're rewritten.” —Michael Crichton Thomas Hardy's Tess of the d'Urbervilles is a classic of English literature. I studied it at school and the scene at Stonehenge still haunts me. Hardy's Jude the Obscure influenced my decision to go to university in Oxford, a city Hardy called Christminster. His novels are still held in great esteem, which is why it's so wonderful to see his hand-edited pages in the British Library in London, displayed in the Treasures collection. You can visit them in person or view them online. Thomas Hardy's edited manuscript of ‘Tess of the D'Urbevilles, one of England's greatest writers While his handwriting is a scrawl, it's evident from the pages just how much editing Hardy did on this version of the manuscript. There are lines struck through, whole paragraphs crossed out, arrows moving sections around, words and sentences rewritten, and comments in the margins. Even the title is changed from A Daughter of the D'Urbervilles to Tess of the D'Urbervilles as we know it today. Those edited pages gave me hope when I saw them for the first time as a new fiction author. Not that I thought I could write a classic of English literature, but that I could learn to edit my way to a better story. There are several stages in the editing process, which I'll outline here and then expand on in subsequent chapters. As you progress in your craft, you won't need every stage every time, so assess with each book what kind of editing you need along the way. Self-editing The self-editing stage is your chance to improve your manuscript before anyone else sees it. For some authors, this stage might mean rewriting the entire draft. For others, it involves restructuring, adding or deleting scenes, doing line edits, and more. Developmental or structural edit An editor reads your manuscript and gives feedback on specific aspects, character, plot, story structure, and anything else pertinent to improving the novel. It is sometimes described as a manuscript critique. You will receive a report, usually ten to fifteen pages, with notes on your novel, which you can then use in another round of self-editing. While this is not always necessary, it can be a valuable step and something I appreciated particularly for my first novel when I had so much to learn. Copyediting and line editing This is the classic ‘red pen' edit where you can expect comments and changes all over your manuscript. This edit focuses on anything that enhances the writing quality, including word choice and phrasing issues, as well as grammar, and more. Some editors split this edit into two, and there are differences between what this edit is called between countries. For some editors, a copyedit includes only attention to grammar and correctness, while a line edit focuses on improving and elevating sentences. Be clear about your expectations and that of your editor upfront. You will usually receive an MS Word document with Track Changes on as well as a style guide or style sheet and other notes, which you can then use to make revisions during another self-edit. This is the most expensive part of the process, as editors usually charge per 1,000 words based on the type of edit you want. If you need to cut your story down by 20K, then do it before you send your manuscript for a line edit! Beta readers, specialist readers, and/or sensitivity readers Some authors use different types of readers as part of their editing process. Beta readers are often part of the author's community and are certainly fans of the genre. They read to help the author pick up any issues pre-publication. Specialist readers are those with knowledge about a topic included in the story. For example, a vulcanologist read specific chapters of Risen Gods to check that the details about volcanic eruptions were correct. Sensitivity readers check for stereotypes, biases, problematic language, and other diversity issues. You will usually receive comments or an email with page numbers or chapter numbers, or sometimes an MS Word document with Track Changes, which you then use to make revisions. Many readers provide services for the love of helping their favorite author with a novel and a mention in the acknowledgments, but there are some paid services for specialist and sensitivity readers. Proofreading Proofreading is the final check of the manuscript pre-publication for any typos or issues that might have been introduced in the editorial process. For print books, this can include a review of the print proof with formatting. You should only fix the last tiny changes at this point. Don't make any major changes this close to publication or you may introduce entirely new errors. Do you need an editor if you intend to get an agent and a traditional publisher? You will go through an editorial process with your agent and publisher. But if you want the best chance of getting to that stage in the first place, it might also be worth working with an editor before you submit your manuscript to an agent. Look for an editor who will help you with your query letter and synopsis as part of their edit. Self-editing I love this part of the process! My self-edit is where I wrangle the chaos of the first draft into something worth reading. I have my block of marble and now I can shape it into my sculpture. The mindset shift from writer to editor, from author to reader In the idea, planning, discovery, and first-draft writing phase, it's all about you, the writer. You turn the ideas in your head into words that you understand, characters that come alive for you, and a plot that you're engaged with. In that first rush of creativity, you can banish critical voice and ignore any nagging doubts. But now you need to switch heads. That's how I prefer to think about it, but you might consider it as changing hats or changing jobs. Anything to help you move from the creative, anything goes, first-draft writer to the more critical editor. There is one overriding consideration in this shift. As Jeffery Deaver says, “The reader is god.” With the editing process, you need to turn your story from something you understand into something a reader will enjoy. Writing is telepathy. It connects minds across time and space. You are reading these words and the meaning flows from my brain into your brain — but only if I craft the book well enough. The same is true of your novel. Yes, of course, you want to double down on your creative choices and make sure you achieve everything you want to with your story. But you also need to keep the reader in mind as you edit because the book is ultimately for them. Will your story have the desired effect on the reader? What might help improve their experience? How can you make sure that they are not bored or confused or jolted out of the story? What will make them read on and, at the end, close the novel with a sigh of satisfaction? My self-editing process At the end of the first draft, I print out my manuscript with two pages to each A4 page, so it looks more like a book. I put it in a folder and leave it to rest. You need fresh eyes for your edit and this ‘resting' gives you some emotional distance. In On Writing, Stephen King suggests leaving a manuscript to rest for at least six weeks. While that is a great idea if you have the time, most authors work to deadline, whether externally set or their own timetable. Many authors — including me — are also impatient! I love this first self-edit, and as I'm still crafting the story as a discovery writer, I usually rest the manuscript for a week or two. I schedule blocks of time for editing in my Google calendar and (when not in pandemic times) I go to a café when it opens first thing in the morning. I put on my BOSE noise-cancelling headphones and edit by hand with a black ballpoint pen from page one to the end. I usually manage ten to twenty pages per editing session of a couple of hours each, but it will depend on the amount of restructuring I need to do. I scribble notes in the margins, draw arrows to move paragraphs around, write extra material on the back of pages, or add where I need to write more later. I change words, rewrite and delete lines, and pick up any issues around lack of sensory detail, character problems, and more. You can see an example of a page below: Some pages end up a mass of black; others are relatively clean. But in this first hand edit, no page goes untouched as I hone my manuscript into something closer to my creative goal. You can edit on a computer or a tablet, or whatever else works for you, but at least change the font or the spacing, or something to make it a different experience to reading the first draft. Most writers have a tendency to either overwrite or underwrite, and so will either need to cut words or add words at this stage. I'm in the latter camp so I usually have to add scenes or deepen characters or theme at this point. Once I have hand-edited the whole manuscript end-to-end, I make the changes in my Scrivener project. I change the color of the flags along the way and, as ever, I back up the session. I also use ProWritingAid at the sentence level to fix up things I missed, because we all miss things! When all the changes have been made, I print the complete manuscript again, and read end-to-end and edit as before. This time, it's usually a lot cleaner and there may only be a few things to fix in each chapter. Once I'm finished, I'll update the Scrivener project once more and then decide whether it needs a third pass. Mostly, two full end-to-end hand edits are enough for me these days, but sometimes I'll do a third or go through specific chapters one more time. This messy editing process is fun for me and it's hugely satisfying to see my story come to life. What to focus on in the self-edit Some authors will go through the manuscript multiple times, focusing on different elements with each pass using the aspects covered in Part 3 and Part 4. For example, they'll do an edit based on character and dialogue, followed by another pass for plot, then theme, and so on. Personally, I try to keep the reader in mind and focus on the story as a coherent whole. That's just how my mind works. I jump from fixing a plot issue to deepening a character to adding foreshadowing and so on as I read and edit. I'm confident that my editor will find a lot of the smaller things that I might miss, so I concentrate on trying to achieve my creative vision with the story. You will find your own way of figuring out your process. It's much better to jump in and have a go at editing rather than trying to work out the best way before you have something to work through. Lost the plot? Try reverse outlining If you're a discovery writer like me and you're struggling with the edit and you feel you have lost the plot (which definitely happens sometimes!) then consider a reverse outline as part of your editorial process. Go through the manuscript and write a few lines per scene. Include character, plot points, conflict, setting, open questions and hooks, and any other notes. This will help you step back and hopefully see the entire story from a high level. Then you can dive back into rewriting each chapter. Read the book out loud or use a text-to-speech reader to do it for you Many authors read their book aloud end-to-end, which is a helpful step once you've been through any major rewrites. There are also plenty of text-to-speech tools that can help, for example, Natural Reader or Speechify, and some are built into devices or applications. MS Word includes a Read Aloud tool in the Review tab. This will also help you edit for audio as you'll hear issues you can't see on the page. Editing for audio Audiobooks are a huge growth market and many readers will listen to your book rather than read it, so it's a good idea to consider editing with audio in mind at this stage. Here are some tips. Watch out for repeated sounds. The editorial process will usually catch repeated written words, but similar sounding words can hit the same audio note in narration. You might not notice them in the text, as they are spelled differently. The words ‘you,' ‘blue,' ‘tattoo,' and ‘interview' all start and end with different letters. They look different on the page, but they strike the same audio note when read aloud. In the same way, repetition can work if you have a point to make, but sometimes it jars the listener if it is overused. A classic recommendation for writing dialogue is to use ‘said' with a character name rather than other words like ‘uttered' or ‘pronounced.' This is because ‘said' disappears for the reader on the written page. But with audio, the repetition of a word is highly noticeable, and repeated sounds can dominate a passage. Rewrite with synonyms for ‘said,' or use action to make it clear who the speaker is without resorting to dialogue tags, as described in chapter 3.5. Contractions — or the lack of them — can also become more obvious in audio. “I am not going to the park,” might be spoken as “I'm not going to the park.” When we type dialogue, it is often more formal than the way someone speaks, so check if you can contract it in your edit. Accents can be an issue with fiction narration. There are plenty of narrators who do a ‘straight read,' but if there are accents within dialogue, make it clear where the character comes from. Make sure the narrator knows about the accent choice upfront, otherwise you might not like it in the finished audio. Remember my friend whose novel had an Irish character narrated like a comedy leprechaun instead of the soft lilt she had in mind? Don't confuse the reader. If you have a lot of characters appearing in a chapter and no clear character tags, you might lose the listener in the detail. When reading on paper or a screen, your reader can quickly flick back and see that George was the butler and Angus was the dog, but that's harder to do when listening to an audiobook. Make sure it's clear who is who. You may have to remind listeners occasionally by adding character tags. For example, ‘Angus ran alongside the canal' could become ‘Angus, the golden cocker spaniel, ran alongside the canal.' For more on audiobooks, check out my book, Audio for Authors: Audiobooks, Podcasting and Voice Technologies. How many drafts do you need? The word ‘draft' means different things to different authors. Some only apply this term to a complete rewrite end-to-end, while others will shift paragraphs around, change some lines, add a new scene, and call that a new draft. Nora Roberts said in a blog post on her writing craft, I work on a three-draft method. This works for me. It's not the right way/wrong way. There is no right or wrong for a process that works for any individual writer. Anyone who claims there is only one way, or that's the wrong way, is a stupid, arrogant bullshitter. That's my considered opinion. I love Nora's no-nonsense approach and she is right that there is no single correct process. You have to find your own. But beware of comparing what you call a draft to what another writer calls a draft. It may be something completely different. Use editing software Once I've finished my hand edits and updated the Scrivener project, I use ProWritingAid on the manuscript. It integrates with Scrivener, so I open my project and go through each chapter. ProWritingAid picks up passive voice, repetitive words, commas and typos, suggests rephrasing, and even picks up culturally problematic language. Yes, these are the type of things that an editor will pick up, but I want to hand over a manuscript that is as clean as possible so my editor can focus on other issues. I don't make all the suggested changes, but it certainly helps improve my writing, and I learn as I go through. You can even create your own style guide so you spell things the same way throughout. This is also a good chance to check typos according to the version of English you want to use (or any other language). I'm English and based in the UK, but when I published my first novel, I received complaints about typos from my readers, who were mainly in the USA. These were not typos, they were just British spelling! I decided to use US English in my books because US readers complain about UK spelling, but non-US readers will rarely complain about US spelling because they are used to it. You can set ProWritingAid to the type of English you want to use, and if you specify this later, your editor can pick up on word usage rather than typos, for example, using the term ‘flashlight' instead of ‘torch.' You can find ProWritingAid at: www.TheCreativePenn.com/prowritingaid You can find my tutorial on how to use ProWritingAid at: www.TheCreativePenn.com/prowritingaidtutorial When is your self-edit finished? You will be utterly sick of your manuscript by the end of the self-editing process. You have read your words so many times you can't see them clearly anymore. You are so over the whole thing that you want to forget the book altogether. If you don't feel this way, you probably haven't self-edited enough! When you really feel you can't do any more, it's time to work with a professional editor. If you are putting off the end of self-editing, then remember that nothing is ever perfect. You can edit forever if you keep obsessing over changes and going over and over the same material. If your self-edit goes on too long, consider whether perfectionism is holding you back. Set a completion date and hold yourself to it. How to find and work with a professional editor If you want your book to be the best it can be, then working with a professional editor is the next step. An editor's job is to take your manuscript and help you improve it through structural changes and story development, line edits, suggestions for new material or sentence refinement, and so much more. Different kinds of editors can help you in different ways from constructing the overarching story to eliminating the final typo. In my experience, good professional editors are well worth the investment as they help improve your book and your craft, especially in the initial stages of your writing journey. They have read so many early-stage manuscripts that they understand the most common problems and know how to help you fix them. Some experienced authors only use proofreaders for their novels, but personally, I still work with a professional editor on every book and I learn something every time. I am a super-fan of editors! How to find a professional editor Consolidation in the traditional publishing industry over the last decade has resulted in many more editors working as freelancers, so authors have a wealth of professionals available for hire in every genre. You can find lists of approved editors through author organizations. The Alliance of Independent Authors has a list of Partner Members, many of whom are editors. You can also use author marketplace Reedsy. Many editors use content marketing to find clients — for example, blogging about editing tips, writing books on editing, or appearing on podcasts. I have had lots of editors on The Creative Penn Podcast over the years, so you can listen and see if they resonate with you. Most authors credit their editors and proofreaders in the acknowledgments of their books, and many authors happily share recommendations on social media in various author communities. If you enjoy a certain novel, it might be worth reaching out to that editor, as you know they are a specialist in the genre. Check out my list of editors at: www.TheCreativePenn.com/editors How to assess whether an editor is right for you I frequently get emails from writers asking me to recommend an editor for their book. But finding an editor is like dating. You have to do it for yourself, and it's likely that you will try a few before you find your perfect match. You may also change editors over your writing life as your craft develops and your needs shift, and that's completely normal too. Make sure the editor has experience in and enjoys your genre. You don't want a literary historical fiction editor working on your YA paranormal romance or your hard sci-fi adventure. Ensure that the editor has testimonials from happy clients, and check directly with a named author if you have doubts. Some editors will offer a sample edit for one chapter. This helps both parties decide whether working together is appropriate. The editor can assess what level your manuscript is at, and you can decide whether their editorial style is right for you. How to work with an editor When you engage an editor, you will receive a contract with a timeline and a price for the work. You agree to deliver the manuscript on a particular date and will usually pay a deposit, especially if this is the first time you're working together. The editor agrees to deliver the edits back on a certain date and also to keep your manuscript in confidence. You can avoid issues later by communicating expectations up front, so if you have questions about the editing process, ask before you sign a contract. Many editors are booked months in advance, so once you know your schedule, contact them early and book a slot. Update them if your timings change. Most allow minor slippage, but since editors plan their work around contractual dates, it's important to be timely with delivery. As a discovery writer, I only book my editor when I am sure of my dates. Submit your manuscript and, once the edit is complete, you will receive whatever has been agreed. That might be a structural report, line edit, or proofread manuscript, along with a style sheet. It's usually in the form of an MS Word document by email. Some editors may offer a call to discuss, but I have never spoken to an editor as part of my process. It has never been necessary. It's all about the words on the page. If you want a call and it is not specified, then include it in the contract up front along with anything else you're concerned about. I consider my editors to be an important part of my team. They help me turn my manuscripts into books that readers love, and I rely on them as part of my business. This is a two-way relationship, and you need to behave as professionally as the editor should. If you find an editor you love working with, pay them quickly and respect their time, and you will hopefully have a long-term business relationship that benefits you both. How does it feel to go through an edit? It's probably going to hurt, especially in the beginning, when your craft is in its early stages. You need fresh eyes on your work, especially at the beginning of your author career. You need feedback to improve. When I received notes back on my structural edit for my first novel, I didn't open the email for ten days. I was so scared of what it would say because my novel meant so much to me, and yet I knew it had problems. Of course it did, it was my first novel! So I let the email sit in my inbox until I was ready to face it, and like many things, the fear was worse than the actual event. Even many years and many books later, I still don't open emails from my editor until I am mentally ready to face criticism. Because that's what it feels like. It is not the editor's job to pat you on the back and say, ‘Well done, this is perfect.' Their job is to help you make it the best book it can be. They are experts and have honed their advice over many manuscripts, so they can spot an issue a mile off. When you receive that email from your editor, particularly if it's your first book, make sure you are well rested and in a positive frame of mind. Set aside a good amount of time and read through the comments and the manuscript as a whole. If you have an emotional reaction, do not email back immediately! Let the feedback sit with you for a few days, and you will find it easier to see what might need to change. Once you're ready, go through the manuscript and work through each change. Don't just click Accept All on the Track Changes version for a line edit. This takes time, but it's well worth it because you will learn with every step and you'll be able to spot your common issues in the future, and hopefully fix them next time. You also need to examine every suggestion to see if you want to make the change. Do you need to make every change that an editor suggests? No, you don't. You are the author, so your creative vision is the most important thing. But try to get some distance and assess whether the change truly serves the book, or if you're just having an emotional response. Remember what Jeffery Deaver said: “The reader is god.” Consider each editorial suggestion on its own merit. Does it help take the story in the direction you want it to? Will it improve the reader's experience? What if my editor wants me to change everything? Perhaps they are not the right editor for you. The editor should not fundamentally change your story or alter your creative vision. Their job is to help you shape your manuscript into a better version of itself, and retain your voice and ideas while at the same time improving it for the reader. This is a skillful balancing act, which is why experienced editors are so highly sought after. How long will the editing process take? This will depend on the type of writer you are in terms of the first draft. If you outline in great detail and spend time up front making the first draft the best it can be, then editing might take less time than for a discovery writer who only figures out the book after the first draft. The more books you've written, the more you understand how to shape a novel, the more you can write a clean draft, so editing speeds up. That doesn't mean it gets easier to write a book, but it does mean you know how to find and fix issues. It will also depend on the length of the book. A 50,000-word romance with one protagonist will be a faster edit than a 150,000-word sprawling fantasy with multiple point-of-view characters. It will also depend on your experience, so don't compare your editing time to someone who has written a lot of books. Give editing the time it needs. You want your book to be the best it can be. But also remember Parkinson's Law, which I discussed in chapter 4.7 on writing the first draft: “Work expands so as to fill the time available for its completion.” This law also applies to editing. Set your deadline and schedule your editing time accordingly. Don't book a professional editor until you've been through at least your self-editing process, as it may take longer than you think. How much does an editor cost? This will depend on the type of edit, your genre and word count, how experienced you are as a writer, and how much experience the editor has. Editors usually quote a range on their website and you can also email and ask for a more detailed quote based on your manuscript length and sample. Every dollar I have spent on editing has been worth it as an investment in my writing craft and the quality of my finished novels. Although my requirements are different now, I continue to use editors and proofreaders for all my books. The more eyes on your novel before publication, the better it will be on launch. What if you have a tight budget? When I started out as a writer, I had a day job and I saved up for the editorial process. It was an investment in my craft and a possible future creative career. If you already have or intend to set up a business as a writer, then you can offset the cost of editors against any profits. But when you're starting out, you can't necessarily see that far ahead. If you're on a tight budget, then find or set up a writer's group with others in your genre and work through one another's manuscripts. You might also have other skills you can barter for editing services, but remember that bartering is subject to tax in many jurisdictions, so don't assume that it is ‘free.' What if my editor steals my ideas or my manuscript? This is a common concern of new writers who think that editors might run away with their book and make millions with their idea. But don't worry, editors are professionals. They work within a contractual framework that protects both parties. So make sure you are happy with the contract before you sign it. If you are really worried, you can register your copyright before you send the manuscript to anyone else. While it is not legally necessary to register copyright — it exists the moment the work is created — there are registration companies in every country that can provide peace of mind. Just search for ‘copyright registration' within your territory. Will I need different editors when I'm further along in my writing journey? Yes, as your craft and experience improves, you will likely work with different editors. You might also choose to use a new editor for a different genre, or work with recommended professionals to take your craft to the next level. Resources: • My list of recommended editors: www.TheCreativePenn.com/editors • Alliance of Independent Authors — www.TheCreativePenn.com/alliance • The following editing associations offer directories and job posting services: The Editorial Freelancers Association (US), the Chartered Institute for Editing and Proofreading (UK), the Institute for Professional Editors (Australia and New Zealand), and Editors Canada. Beta readers, specialist readers, and sensitivity readers Professional editors approach your manuscript with a critical eye based on their knowledge of language, story structure, and genre. But sometimes, it's a good idea to gain perspective from readers who are not experts on sentence structure or grammar, but comment on the story itself, and their experience of reading it as a whole. Beta readers Beta readers are a trusted group of people who evaluate your book from a reader's perspective before publication. The term comes from the software industry, where early versions are tested in beta before being released to the public. While there are some paid beta reader services, many authors find people from their existing readership, or from among genre fans in the writing community. Authors usually thank their beta readers in their acknowledgments. Specialist readers Specialist readers are experts on a particular topic who read with their expertise in mind. This might be a police officer who checks a crime novel, or a physicist who reads for a science-fiction author. Sensitivity readers Sensitivity readers check for cultural and diversity issues, lack of or clichéd representation, and insensitive, inauthentic, or uninformed language, characters, or situations. This type of feedback can help an author before publication, and can be particularly useful if you are tackling more controversial topics. It can also be valuable when reviewing older manuscripts if you want to republish a new edition, as gendered language has changed, as well as the need for representation, diversity, and inclusivity. While some criticize sensitivity reading as a step toward censorship, most authors want to make their books the best they can be, and ensure the reader experience is excellent, whatever the genre. Being a fiction writer is also about empathy — with our characters and with our readers — so improving our ability to write about diverse characters is important. However, authors cannot be experts on what it's like to experience every race or religion, every body type or disability or mental health issue, or understand every country or culture. Feedback from different kinds of readers can help us write better stories, and it is the author's choice whether to implement suggestions in the final manuscript. Do you need all of these types of readers? No. You don't need any of them, or you can choose to use some of them for different books, depending on the need. It's up to you (and your agent or publisher if you choose to go that route). At what stage in the editorial process should you use these types of readers? The book should be as close to the final version as possible. These people are reading with fresh eyes; if they read again later, they can never approach the story with such an open mind. Most authors will send the manuscript to a select group of readers after the main editorial revisions, but before the proofread. Some authors with more developed careers even use their team of beta readers instead of editors at different stages of the process. What should you provide to readers? Provide the manuscript in the format the reader prefers. This could be an MS Word document or PDF. Many established authors use Bookfunnel, which allows you to create a version that can be read on any reading device or phone. Specialist readers and sensitivity readers have their specific expertise, but for more general beta readers, you need to provide some direction as to what you expect. For example: Did you skip over anything? Did anything bore you? Was anything confusing? Did you have to reread any parts? What did you like? Was there anything you hated or objected to or had a problem with? How long should you give them to read? Allow at least two weeks for readers to assess and provide feedback. Be clear on the timeline when you send them the book.. Do you need to make all the changes they suggest? No, and if you try to, you will end up straying from your creative goal, messing up your author voice, and likely pleasing no one! Keep your number of early readers small and specific to what you want to achieve. Assess each comment and suggestion on its own merit and decide whether or not to make the change. Be confident in your creative vision and beware writing by committee, which becomes a problem if you ask too many people for feedback. Only you can decide what you want for your novel. Resources: • The Reedsy marketplace includes different kinds of editors, beta readers, and sensitivity readers — www.TheCreativePenn.com/reedsy • Directory of sensitivity readers — www.writingdiversely.com/directory • Editors of Color — editorsofcolor.com When is the book finished? “I have not yet found words to truly convey the intensity of this remembered rapture—that moment of exquisite joy when necessary words come together and the work is complete, finished, ready to be read.” —bell hooks,Remembered Rapture You can edit a book forever if you want to. Every time you read it, you will find things to change. Every time you hire another editor, they will find more. If you work with beta readers, they will also offer opinions. Your novel will never be finished — until you decide it is. Nothing is ever perfect. Even if you hire three separate editors and use multiple proofreaders, you will still find a typo or an error in the published novel. Pick up any bestselling book from a traditional publisher, and you will still find an issue somewhere. It happens to everyone. Look at any prize-winning or bestselling book on Amazon and check the reviews. The more popular the book, the more issues people will find with it. There will never be a novel that satisfies everyone, and that's fine. Of course, you must make sure your book is the best it can be, but set boundaries for yourself so you do eventually finish. Have you self-edited your manuscript? Have you worked with a professional editor, or at least worked through the manuscript with other writers to improve it? Have you used editing tools and/or a proofreader? Have you set a deadline to move into the publishing process so you are not editing forever? If you have been through this rigorous editorial process and you still feel the itch to edit again, be honest with yourself. Is another round of changes really going to make a substantial difference to this book? Would it be better to work on the next novel instead of constantly reworking this one? Are you struggling with fear of judgment, fear of failure, procrastination, or other mindset issues that you need to work on instead of editing? Check out my book The Successful Author Mindset if you think this might be the case. Strive for excellence, do your best, and then release your book out into the world. “Set a limit on revisions, set a limit on drafts, set a time limit… The book will never be perfect.” —Kristine Kathryn Rusch, The Pursuit of Perfection and How it Harms Writers These chapters are excerpted from How to Write a Novel: From Idea to Book by Joanna Penn, available direct or on all the usual stores. The post Editing a Novel: Self-Editing, And How To Work With A Professional Editor With Joanna Penn first appeared on The Creative Penn.
In this 1864th episode of Toronto Mike'd, Mike chats with Cam Gordon about his new book Track Changes before they're joined by Steve Pratt, who helped grow an online community at CBC Radio 3. Toronto Mike'd is proudly brought to you by Great Lakes Brewery, Palma Pasta, Ridley Funeral Home, Nick Ainis, and RecycleMyElectronics.ca. If you would like to support the show, we do have partner opportunities available. Please email Toronto Mike at mike@torontomike.com.
The new book, Track Changes, examines the rise of all that came with the internet and how it changed Canadian music from new media to message boards, fan sites, MP3 blogs, and more, diving into how legacy brands were forced to evolve, including major record labels, retailers, and of course the media and radio.Authored by Cam Gordon, Track Changes essentially chronicles the shared cultural history of music, technology and media in the 1990s and 2000s. He joins us on Broadcast Dialogue - The Podcast.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Shashank Bijapur, co-founder and CEO of Spotdraft, explores the transition from the archaic, manual world of legal practice to the high-velocity domain of B2B SaaS. In this episode, we strip away the jargon surrounding "LegalTech" to reveal how Spotdraft powers the invisible infrastructure of global commerce - from airport leases to ride-sharing agreements. Shashank provides a masterclass on finding product-market fit in the mid-market, the reality of AI's role in high-stakes legal workflows, and the strategic pivot from technical perfection to market-driven iteration.Key Takeaways1. The "Aha Moment": Identifying Stagnation in Essential Industries- Digital Lag: While photography (Adobe) and accounting (Intuit) underwent digital revolutions decades ago, legal innovation peaked in 1993 with Microsoft Word's "Track Changes."- The Opportunity Gap: Identifying ubiquitous, paper-heavy processes that remain manual despite technological advancements is the strongest signal for a SaaS disruption.- Democratic Software: The goal isn't just to replace a lawyer; it's to turn complex legal processes into software that is as accessible and intuitive as a consumer app.2. GTM Strategy: The Power of Mid-Market Focus- Avoid the "Gambler's Fallacy": Shashank emphasizes the importance of trashing unusable early products rather than doubling down on a failing idea.- Homogeneity Matters: The US is the primary target for Indian SaaS due to its massive, homogeneous market, which allows for a repeatable ecosystem and faster flywheels.- The Mid-Market Sweet Spot: Avoiding the high-churn "small business" trap and the "unobtainable enterprise" early on leads to a focused GTM where legal teams (the true buyer persona) have decision-making power.3. The Founder's Dilemma: Accuracy vs. Speed- Legal Training vs. Startup Reality: Lawyers are trained for 100% accuracy; founders must embrace "fail fast." Overcoming the urge to pursue a "perfect product" is essential to gathering user feedback.- Technical Maturity: In 2017, the promise of AI exceeded the technology's capability. Spotdraft pivoted to building robust workflows first, capturing the data needed to make today's LLM integrations effective.- The Talent Moat: When a founder lacks specific functional knowledge (like GTM or engineering), the solution is "talent density"—hiring highly motivated experts who believe in the mission.4. The Future of AI in High-Stakes Legal- The End of "Form Filling": UI is shifting from manual data entry to conversational interfaces where users describe an outcome, and the AI configures the workflow.- Context is King: General LLMs lack company-specific context. AI's value in SaaS comes from mapping global laws against a company's specific historical data and standards.- Humans in the Loop: AI will handle "grunt work" and pattern recognition, but $1M+ deals will still require a human handshake and strategic negotiation for at least the next decade.About Spotdraft:Spotdraft is an AI-driven, end-to-end contract automation platform designed to clear the "madness from quote to cash." It helps businesses of all sizes—from startups to giants like Uber and Airbnb—create, manage, and analyze contracts seamlessly.Chapters:00:10 - Introduction00:50 - Journey from Lawyer to SaaS CEO03:34 - The "Aha Moment" for LegalTech07:09 - Spotdraft's Hidden Role in Everyday Life11:34 - GTM Strategy: Building from India for the US18:24 - Balancing Legal Risk with Founder Speed22:56 - How LLMs are Changing Legal Workflows30:22 - Lightning Round: Lessons Learned & AI ToolsVisit our website - https://saassessions.com/Connect with me on LinkedIn - https://www.linkedin.com/in/sunilneurgaonkar/
Mike Johnson, Beau Morgan, and Ali Mac spend some time with the driver of the number 12 car and 2023 NASCAR Cup Series Champion Ryan Blaney! Ali, Mike, Beau, and Ryan discuss how his trip to Mexico went, how the NASCAR Cup at Mexico City race went for the NASCAR Cup Series race in Mexico City, Ryan wanting to design a NASCAR track that's a road coarse with 20 degree style Texas Style banking, what it was like for Ryan battling Kyle Busch and Kevin Harvick at Pocono Raceway for his first ever Cup Series win, how Ryan comes up with a different playlist before each race, and what Ryan expects to be different about the EchoPark Speedway track on Saturday night on June 28th when NASCAR is here for the Quaker State 400 than how it was when NASCAR was here in Atlanta back in February.
Jason and Kevin reconvene to discuss an array of topics including, Jakob Ingebrigtsen's injury, changes to Grand Slam Track, Athing Mu's season, the big three in the men's 400m hurdles, Sha'Carri Richardson's debut and the upcoming Rabat Diamond League.
Want a detailed? Written recap of the weekend? Read The Week That Was The collegiate action heated up with fast times across the board and some controversy at the ACC Champs. Sophie O'Sullivan looked impressive, Simeon Birnbaum's delivered, Parker Wolfe was impressive, but is Ethan Strand the one shoe companies should be focused on? The Johnson twins are now a force in NCAA sprinting and Nick Symmonds made it to the top of Mt. Everest. Grand Slam Track has made some changed and Sha'Carri Richardson had a disappointing opening to her 20245 season. We break it all down. PR Running Camps for High Schoolers and Middle Schoolers Attend PR Running Camp July 13-17 in NC led by famed coaches Chris Catton and Tim Goldsack. More info here. Want a 2nd podcast every week? And savings on running shoes? Join the LetsRun.com Supporters Club today for exclusive content, a bonus weekly podcast, shoe savings, and more. Cancel anytime .https://www.letsrun.com/subscribe Show notes: 00:00 Intro 00:22 Start 06:09 PR Running Camp *link 06:52 Join the LetsRun Supporters Club *link 07:36 Breaking News: Athing Mu at Pre Classic 11:05 NCAA 1500m and Ethan Strand's Performance: 50.6 400? 16:52 America's next steeple star!? 21:13 Geordie Beamish vs Ethan Strand 25:00 Adam Spencer over Nathan Green at Big 10 1500 25:18 Oregon's Koitatoi Kidali scores 0 points, is he NCAA 800 favorite? 28:42 NCAA 800m Heated up 34:55 Women's 1500m Sophie O'Sullivan's Journey 40:10 ACC Men's 5000m Controversy Causes Ethan Strand to Run 13:13! 50:44 Team Dynamics? 53:40 Simeon Birnbaum's Impressive Weekend 56:13 Comparing Birnbaum to Grant Fisher 57:52 Debate on Celebrations and Sportsmanship 01:05:19 Johnson Twins at Clemson Go 1-2 01:07:11 Maggie Liebich Dreams Become Reality Athlete of Week *thread 01:11:09 Sha'Carri Richardson's Season Opener 01:21:05 Grand Slam Track Format Changes 01:30:37 Remember Eugene Summer Series? 01:34:05 Nick Symmonds' Everest Climb 01:37:20 Upcoming Track Meets Contact us: Email podcast@letsrun.com or call/text 1-844-LETSRUN podcast voicemail/text line. Check out the LetsRun.com store. https://shop.letsrun.com/ We've got the softest running shirts in the business. Thanks for listening. Please rate us on your podcast app and spread the word to friend.
In this episode, we dive into the recent NASCAR Cup Series race at Darlington, where Denny Hamlin's unexpected victory sparks a lively discussion. We analyze William Byron's dominant performance and strategic missteps, Tyler Reddick's lead change, and Ryan Blaney's impressive navigation through the field. We also touch on Darlington's track changes and the nostalgic appeal of throwback paint schemes. Additionally, we discuss the upcoming NASCAR schedule, the impact of PJ1 traction compound, and Brandon Jones' Xfinity Series win. We reflect on driver accountability and a tribute to the late Shige Hattori. We then turn our attention to a Suzuka Snoozer, with Max Verstappen finding a new gear in qualifying and Jack Doohan trying out a sim move in real life with dire consequences. Leave us a voicemail! https://moneylap.com Or email us! friends@themoneylap.com Timestamps: 00:00 - Intro 04:44 - Personal Life Update 07:12 - Darlington Cup Race Review 09:17 - Pit Stop Timing and Strategy 14:50 - Late Race Battles 16:16 - Caution and Conspiracy Theories 18:36 - Track Changes and Darlington's Charm 19:39 - NASCAR Next Gen Performance 22:00 - Throwback Weekend Exhaustion 24:38 - Tradition vs. Modernization 27:16 - Throwback Schemes and Nostalgia 35:06 - Kyle Larson's Hydration Collaboration 36:59 - Upcoming Bristol Race 37:19 - Diverse Racing Tracks Discussion 38:20 - PJ1 vs. Resin Debate 39:27 - Tire Wear Concerns 44:03 - Brandon Jones' Victory 49:39 - Tribute to Shige Hattori 51:44 - Formula One Race Recap 1:00:08 - Max Verstappen's unique situation 1:02:57 - Red Bull's performance challenges 1:05:20 - McLaren's pit strategy 1:06:11 - Sim racing insights 1:07:27 - Hacking the sim 1:11:50 - Real-life application of sim techniques 1:13:15 - Finding speed in the sim 1:17:09 - 1999 Spa Incident 1:17:35 - Sim Racing Benefits 1:18:03 - IndyCar Updates 1:18:57 - MotoGP Start Shenanigans Could Be Over? 1:21:39 - Upcoming Race Picks 1:24:31 - Voicemail 1:28:21 - Listener Reviews 1:37:00 - Outro (Timestamps are a rough timing and may require a little scrubbing to find the start of the topic) The Money Lap is the ultimate motorsport show (not a podcast) with Parker Kligerman and Landon Cassill professional racecar drivers and hilarious hosts taking you through the world of motorsports. Covering NASCAR, F1, Indycar, and more, they'll provide the scoop, gossip, laughs, and stories from the racing biz. With over 1100 unique products currently in stock, Spoiler Diecast boasts one of the largest inventories in the industry. We are NASCAR focused, offering a wide range of diecast and apparel options. But that's not all. We've expanded our catalog to include diecast for dirt/sprint cars, Indycar, and F1. As passionate racing fans ourselves, we're constantly growing our offerings to cater to different forms of racing. Use promo code "moneylap" for free shipping and 5% off all orders. https://www.spoilerdiecast.com/ Copyright 2025, Pixel Racing, LLC. All Rights Reserved.
Several late model drivers are still on the fence about their series choice, and we'll run through the list. Plus we'll talk the High Limit opener, Outlaws in Texas, and is Brad Sweet really a villain in sprint car racing?
Several late model drivers are still on the fence about their series choice, and we'll run through the list. Plus we'll talk the High Limit opener, Outlaws in Texas, and is Brad Sweet really a villain in sprint car racing?
Abby and Patrick welcome Lisa Borst and Mark Krotov of literary magazine n+1. The magazine is celebrating its twentieth anniversary this year and marking this milestone with the publication of The Intellectual Situation: The Best of n+1's Second Decade. Lisa, Mark, Abby, and Patrick engage in a conversation that ranges from the history of the magazine to the legacy of the Iraq War to the early dysphorias of the Trump administration to the contemporary publishing landscape and more. But at heart, it's a discussion of the psychodynamic dimensions of the relationships between writers and editors, editors and publishers, and outlets and their audiences. We talk about how good writing can help readers, writers, and editors process the world, and about how such writing emerges from a profoundly intersubjective relationship that unfolds via drafts, correspondences, revisions, and more than a little transference.You can catch Mark and Lisa in person in NYC on October 8th (free but RSVP required): https://www.nplusonemag.com/online-only/events/why-is-everything-so-ugly-a-discussion/The Intellectual Situation is available here: https://shop.nplusonemag.com/products/the-intellectual-situation-the-best-of-n-1-s-second-decade?srsltid=AfmBOoojmEq9XJN4YJ3Mt3x8wEhGneEnhqQU-cZdGdtqoLRjRa91H8BWHave you noticed that Freud is back? Got questions about psychoanalysis? Or maybe you've traversed the fantasy and lived to tell the tale? Leave us a voicemail! (646) 450-0847 A podcast about psychoanalysis, politics, pop culture, and the ways we suffer now. New episodes on Saturdays. Follow us on social media: Linktree: https://linktr.ee/OrdinaryUnhappiness Twitter: @UnhappinessPod Instagram: @OrdinaryUnhappiness Patreon: patreon.com/OrdinaryUnhappiness Theme song: Formal Chicken - Gnossienne No. 1 https://open.spotify.com/album/2MIIYnbyLqriV3vrpUTxxO Provided by Fruits Music
Michael Antonovich talks about the weekend trip to the Ironman Motocross, the track changes, the 2025 MXoN, SMX, schedules, and more.
This week on the Regional Roundup, we hear a feature about using stilts to pick peaches in Palisade, Colorado, by Rocky Mountain PBS. We also hear a feature on catfishing in the moonlight by KGNU, a feature on a mounted patrol unit in Jackson, Wyoming, by KHOL, a feature on the recent Ute games for kids, by KSUT/KSJD, and a feature on river runners who tackle the fabled rapids of Cataract Canyon in Utah, excerpted from the Sound of Rushing Water documentary by KZMU.
IndyCar St. Petersburg Winner Josef Newgarden dominated the IndyCar season opener in Florida. He won the Pole and led the most laps. It was such a dominating win he admitted that team boss Roger Penske warned him to stay focused and not throw the car into a wall. Newgarden laughed at the suggestion but he went on to talk about changes in the St. Pete airport track and other street races the IndyCar series may want to consider for future events. Listen...
Twenty years of Take Control Books deserves a reunion, and we've got it. Current publisher Joe Kissell and Take Control Co-Founders Adam and Tonya Engst organized a get-together that featured the star-studded roster of Jeff Carlson, Josh Centers, Michael E. Cohen, Lea Galanter, Scott Knaster, Ted Landau, Kirk McElhearn, Matt Neuburg, and Jeff Porten to discuss how they became involved in Take Control and how it differed from other publishing houses. (Part 1) Show Notes: Chapters: 0:00:00 Introduction to Mac Voices and Take Control Week 0:02:26 Jeff Carlson talks about his Take Control books and logo design 0:04:11 Introductions and Book Projects 0:05:14 The Beginnings of the Take Control Series 0:05:41 From Publishing to Writing Books on Macs 0:07:02 A Trip Down Memory Lane with Take Control Books 0:11:21 Tonya's Role as Editor-in-Chief and Collaboration with Authors 0:13:24 Discussion on the Origins and Key Aspects of Take Control 0:19:03 The Thrill of eBooks and All-Digital Reading 0:21:24 Influence of Tonya's Writing Style and the Evolution of Chapter Titles 0:23:37 The editing process and the need for brevity 0:26:11 Writing directly into final layout for a better publishing experience Links: Guests: Jeff Carlson Josh Centers Michael E. Cohen Adam Engst Tonya Engst Lea Galanter Joe Kissell Scott Knaster Ted Landau Kirk McElhearn Matt Neuburg Jeff Porten Support: Become a MacVoices Patron on Patreon http://patreon.com/macvoices Enjoy this episode? Make a one-time donation with PayPal Connect: Web: http://macvoices.com Twitter: http://www.twitter.com/chuckjoiner http://www.twitter.com/macvoices Mastodon: https://mastodon.cloud/@chuckjoiner Facebook: http://www.facebook.com/chuck.joiner MacVoices Page on Facebook: http://www.facebook.com/macvoices/ MacVoices Group on Facebook: http://www.facebook.com/groups/macvoice LinkedIn: https://www.linkedin.com/in/chuckjoiner/ Instagram: https://www.instagram.com/chuckjoiner/ Subscribe: Audio in iTunes Video in iTunes Subscribe manually via iTunes or any podcatcher: Audio: http://www.macvoices.com/rss/macvoicesrss Video: http://www.macvoices.com/rss/macvoicesvideorss 00:00:00 Introduction to Take Control Authors Panel 00:02:26 0:02:26 Jeff Carlson talks about his Take Control books and logo design 00:04:10 0:04:11 Introductions and Book Projects 00:05:14 The Beginnings of the Take Control Series 00:05:41 From Publishing to Writing Books on Macs 00:07:01 A Trip Down Memory Lane with Take Control Books 00:09:01 Introduction and Origins of Take Control 00:12:07 Transition to a Different Field and Current Work at Cornell 00:13:24 Discussion on the Origins and Key Aspects of Take Control 00:19:03 The Thrill of eBooks and Digital Publishing 00:23:36 Learning the art of brevity in the editing process 00:26:11 Writing directly into final layout for a better publishing experience
The Castrol Motorsport News Podcast welcomes a new host, V8 Sleuth's Will Dale, who joins regular co-host Stefan Bartholomaeus. At the top of the news agenda this week… - Bathurst firming as 2024 Supercars season-opener - Will the Newcastle 500 ever return? - How Bathurst 12 Hour/Supercars ‘festival' will look - The key change coming to Gold Coast street circuit They also answer your post-Bathurst 1000 questions in an extended Motorsport News Mailbag. Dale chats to ex-MotoGP racer Chris Vermeulen to preview this weekend's Australian Motorcycle Grand Prix at Phillip Island. Plus, there's the popular Castrol HYSPEC Stars of the Week and What Caught My Eye on My105 segments, plus all the latest headlines from around the racing world. my105 - Australian's Number 1 Motorsport Marketplace >> https://www.my105.com/
Landon takes us through all the new stuff coming to Walt Disney World, as announced at the recent D23 event. Are we buying or selling the changes and new additions? * * * * * *We hope this podcast brings up good memories from your past trips, gets you excited for your next trip, and fills the void in between. Brought to you by TJ, Matt and Landon...and sometimes Ben.Thanks so much for listening!We'll see you on Facebook: DISNEY WORLD IS AWESOMEWe'll see you on Instagram: @disney.world.is.awesomeA Walt Disney World Podcast for Disney fans. Talking all things Magic Kingdom, Hollywood Studios, Epcot and Animal Kingdom.
Early one Monday morning, having spent three and a half years building their life in Biloela, the Nadesalingams are forcibly removed from their homes, thrown into white vans, and flown to a detention centre in Melbourne. The family are told they can't get access to a phone unless they sign documents saying they would leave the country. What do they do?Why was their visa application unsuccessful? What information is the government using to assess them? And what else can they do to not be sent back to danger? Meanwhile, the Biloela community are left shocked by the sudden disappearance of the Nadesalingams and start organising.
Early one Monday morning, having spent three and a half years building their life in Biloela, the Nadesalingams are forcibly removed from their homes, thrown into white vans, and flown to a detention centre in Melbourne. The family are told they can't get access to a phone unless they sign documents saying they would leave the country. What do they do?Why was their visa application unsuccessful? What information is the government using to assess them? And what else can they do to not be sent back to danger? Meanwhile, the Biloela community are left shocked by the sudden disappearance of the Nadesalingams and start organising.
In this week's SlatorPod, we are joined by Mark Lawyer, General Manager of Trados, the key technology product line of UK-based Super Agency RWS.Trados is a translation technology adopted by hundreds of thousands of freelance translators, LSPs, and enterprise customers — the three main market segments of the localization supply chain.Mark begins with his journey to joining the localization industry straight out of university, with roles spanning business development, solution architecture, and global customer experience management. He shares some of Trados' milestones starting with its creation in 1984.Mark talks about the flexibility of the Trados platform and why they offer cloud capabilities with the desktop app to provide a hybrid working environment for translators. He discusses how user feedback allows them to release hundreds of best-in-class features each year.Mark highlights how user experience and accessibility are critical to Trados, where there are multiple configurations available to users based on their role. For example, a post-editor will have the Track Changes feature and fuzzy-match repair available to them. With more than 270,000 linguists using the platform, Mark shares how they strike the right balance between functionality and features without overwhelming those users.Mark shares his views on Google's Translation Hub and how it can bring awareness to the industry, which he sees as still being very fragmented. The pod rounds off with Trados' roadmap for 2023, plans to invest money in security, AI-driven features, the modern user experience, continuous localization, and building out that ecosystem.
In this episode… News Last chance to get CreativePro Week 2022 videos and handouts Our online Design and Marketing Summit debuts July 18–19 Illustrator Summit returns Sept 22–23 Anne-Marie and David will be live at Adobe MAX in October CreativePro Magazine's July issue is all about Illustrator and InDesign Type: https://creativepro.com/issues/ "Smarter Workflows with InDesign and Word," Anne-Marie's newly-published course on LinkedIn Learning Editorial Tools and Panels in InDesign Obscure InDesign Feature: Select Subject Sponsor for this episode: > > Santa Cruz Software has a solution for the “83% of respondents who have said they have to spend time finding a lost sset.” The answer is LinkrUI, a plugin that enables direct searching, opening, placing, and syncing of assets stored in a DAM or other storage services such as Box and Dropbox from within Photoshop, Illustrator, and InDesign. Download the free version here. Links mentioned in this podcast: Smarter Workflows with InDesign and Word by Anne-Marie! InDesign for Editors by Nigel French Notes tool and panel https://creativepro.com/find-notes-indesign-files/ https://creativepro.com/how-do-you-know-if-there-are-notes-in-an-indesign-document/ https://creativepro.com/show-indesign-notes-tool-some-love/ https://creativepro.com/use-notes-to-hide-text/ Kris Coppieters' free ShowNotes.jsx startup script Story Editor: https://creativepro.com/hidden-gems-the-story-editor/ https://creativepro.com/indesign-how-to-use-the-story-editor/ InCopy articles: https://creativepro.com/category/incopy-workflow/ Track Changes: https://creativepro.com/tip-of-the-week-tracking-changes/ https://creativepro.com/use-track-changes-when-accepting-pdf-comments/ Obscure Feature: Select Subject https://creativepro.com/how-to-use-subject-aware-text-wrap-in-indesign/
First Draft Episode #359: Traci Thomas Traci Thomas is the creator and host of The Stacks Podcast, a show about books featuring interviews with authors and book lovers. New episodes out every Wednesday! In this episode, we discuss my choice to put First Draft on indefinite hiatus, effective immediately. Links to Topics Mentioned In This Episode: Hear Sarah Enni's episodes of The Stacks, here and here Thanks for Listening!
First Draft Episode #358: Nina LaCour Nina LaCour is the bestselling and Michael L. Printz Award-winning author of five critically acclaimed young adult novels, including: We Are Okay, and Hold Still. She joins to talk about her first picture book, Mama and Mommy and Me in the Middle, and her debut adult novel, Yerba Buena. THIS EPISODE IS BROUGHT TO YOU BY Out of the Blue, the queer YA rom-com by Jason June, author of the breakout Jay's Gay Agenda, available now! Links to Topics Mentioned In This Episode: Hear Nina's previous appearances on First Draft, here and here! Hear Sarah Enni on Nina's podcast, Keeping a Notebook, here! Thanks for Listening!
01:00 Joe Biden politicizes Texas school shooting 06:30 Beto O'Rourke politicizes Texas school shooting 21:00 Remove Personal Information in Word on a Document with Track Changes, https://www.iltanet.org/blogs/ilta-tips/2017/01/03/ilta-tip-of-the-week-remove-personal-information-in-word-on-a-document-with-track-changes 23:00 Objective correlative, https://www.poetryfoundation.org/learn/glossary-terms/objective-correlative 25:30 Heather MacDonald on Biden's executive order on policing 35:00 Trad Catholic Nick Fuentes saying raping and killing and dying is based 39:00 THE AMERICA THAT KILLED GEORGE FLOYD, https://www.theatlantic.com/books/archive/2022/05/his-name-is-george-floyd-book-biography/629857/ 45:00 NATO's Nordic Expansion and the empathy needed to live in community, https://www.youtube.com/watch?v=1VIFIMynLDg 1:00:00 Ethan Ralph beaten again in Lisbon 1:03:00 Orthodox Jews carrying money or guns on Shabbos, https://www.youtube.com/watch?v=tNGGeNmFEck 1:04:40 Orthodox Jews who talk on the phone on yom tov, The Rise of Reform and the Rabbinic Response (Part 5) || Dr. Marc Shapiro, https://www.youtube.com/watch?v=PmZwL99wyng 1:22:00 Don't leave this show before the miracle happens! 1:34:00 What will the goyim think? https://www.blackenterprise.com/viral-video-shows-nypd-tase-black-man-after-helping-someone-skip-on-paying-subway-fare/ https://www.nydailynews.com/new-york/ny-fare-evasion-nypd-enforcement-20190512-wz6pgm7q3vf37a4g37uhoun2ji-story.html https://www.bostonglobe.com/2020/08/02/metro/minority-riders-cited-more-often-skipping-fares-mbta/ https://www.cleveland.com/metro/2010/12/rta_enforcement_of_fare_evasio.html https://www.governing.com/archive/gov-fare-evaders-turnstile-jumpers-penalties.html https://voiceofsandiego.org/2020/07/27/black-mts-riders-cited-disproportionately/ https://greenlining.org/press/2018/barts-fare-evasion-fines-hit-african-americans-hardest/ https://www.lawenforcementtoday.com/rep-ayanna-pressley-d-ma-implies-only-blacks-hispanics-evade-fares-in-a-racist-revealing-tweet/ https://www.dcpolicycenter.org/publications/fare-evasion-data/ Join this channel to get access to perks: https://www.youtube.com/channel/UCSFVD7Xfhn7sJY8LAIQmH8Q/join https://odysee.com/@LukeFordLive, https://lbry.tv/@LukeFord, https://rumble.com/lukeford https://dlive.tv/lukefordlivestreams Listener Call In #: 1-310-997-4596 Superchat: https://entropystream.live/app/lukefordlive Bitchute: https://www.bitchute.com/channel/lukeford/ Soundcloud MP3s: https://soundcloud.com/luke-ford-666431593 Code of Conduct: https://lukeford.net/blog/?p=125692 https://www.patreon.com/lukeford http://lukeford.net Email me: lukeisback@gmail.com or DM me on Twitter.com/lukeford Support the show | https://www.streamlabs.com/lukeford, https://patreon.com/lukeford, https://PayPal.Me/lukeisback Facebook: http://facebook.com/lukecford Feel free to clip my videos. It's nice when you link back to the original.
First Draft Episod #357: Samira Ahmed Samira Ahmed is the bestselling author of Love, Hate & Other Filters, Internment, Mad, Bad & Dangerous to Know, and Amira & Hamza: The War to Save the Worlds, as well as a Ms. Marvel comic book mini-series. She joins us to talk about her latest YA contemp, Hollow Fires. Thanks for Listening!
First Draft Episode #356: Kristin Dwyer Kristin Dwyer is the debut author of YA romance, Some Mistakes Were Made. THIS EPISODE BROUGHT TO YOU BY… Fundamentals of Design, a crash course in design tailored specifically for authors. Head to embowman.com/workshops to enroll, and use promo code FIRSTDRAFT20 to save $20 off the $79 price through the end of May 2022. Thanks for Listening!
First Draft Episode #355: Shannon Hale Shannon Hale is the New York Times best-selling author of over thirty children's and young adult books, including graphic novel memoirs Real Friends, Best Friends, and Friends Forever, and multiple award winners The Goose Girl, Book of a Thousand Days, and Newbery Honor recipient Princess Academy. THIS EPISODE BROUGHT TO YOU BY… Fundamentals of Design, a crash course in design tailored specifically for authors. Head to embowman.com/workshops to enroll, and use promo code FIRSTDRAFT20 to save $20 off the $79 price through the end of May 2022. Thanks for Listening!
First Draft Episode #354: Zibby Owens Zibby Owens is the founder of the podcast Moms Don't Have Time to Read Books, and new publishing company Zibby Books, as well as author of picture book Princess Charming and forthcoming memoir, Bookends: A Memoir off Love, Loss, and Literature. Thanks for Listening!
First Draft Episode #353: Adrienne Celt Adrienne Celt is a cartoonist and author of The Daughters, Invitation to a Bonfire, as well as cartoon collection, Apocalypse How? An Existential Bestiary. She joins to talk about her latest, End of the World House. Links to Topics Mentioned In This Episode: The Last Unicorn by Peter Beagle (the animated movie) The Loft Cinemas in Tucson, AZ Immanuel Kant's Critique of Judgment, which covers aesthetics and teleology French feminist philosopher Hélène Cixous, author of The Third Body French philosopher Paul-Michel Foucault, author of The Order of Things: An Archaeology of Human Sciences Love Among the Lampreys, Adrienne's webcomic Stanford Continuing Education creative writing courses Story Studio, writing center in Chicago If on a Winter's Night a Traveler by Italo Calvino Emma Patterson at Brandt & Hochman Literary Agents Inc., Adrienne's literary agent Russian Doll (TV show) Groundhog Day (movie) Being John Malcovich (movie) The Conversations: Walter Murch and the Art of Editing Film by Michael Ondaatje Arrival (movie) Valentines For People You Are Committed to Destroying in Secret (cartoons by Adrienne) Pale Fire by Vladimir Nobokov Interior Chinatown by Charles Yu Thanks for Listening!
First Draft Episode #352: Elissa Sussman Elissa Sussman is the author of adult romance Funny You Should Ask, and YA novels Drawn That Way, Burn, and Stray. This episode is brought to you by Revision Season, the seven-week virtual master class in novel revision led by award-winning author Elana K. Arnold. The Spring 2022 course will run from May 1 to June 23 and enrollment is open now! Learn more at ElanaKArnold.com. Links to Topics Mentioned In This Episode: Elissa's previous interviews on First Draft here and here (with illustrator Arielle Jovellanos) Kate Spencer is the co-host of the award-winning podcast Forever35, and author of the memoir The Dead Moms Club. She joins to talk about her first novel, In a New York Minute. Jennifer E. Smith, author of YA novels The Statistical Probability of Love at First Sight, Hello, Goodbye, and Everything in Between and more. She's here to talk about her first picture book, Creature of Habit (with illustrator Leo Espinosa), and her first adult novel, The Unsinkable Greta James. “Chris Evans: American Marvel,” by Edith Zimmerman for GQ “Tom Hiddleston on Taylor Swift, Heartbreak, and Great Bolognese,” by Taffy Brodesser-Akner for GQ “The Full Tatum,” by Jessica Pressler for GQ Thanks for Listening!
First Draft Episode #351: Mac Barnett Mac Barnett, two-time Caldecott Honor and #1 New York Times bestselling author of picture books like Extra Yarn and Sam and Dave Dig a Hole with illustrator Jon Klassen, and the Jack book series with illustrator Greg Pizzoli. Mac joins us to talk about The Great Zapfino, his new picture book with illustrator Marla Frazee (hear her First Draft interview here). Links to Topics Mentioned In This Episode: In the Night Kitchen by Maurice Sendak David Foster Wallace, author of Infinite Jest and A Supposedly Fun Thing I'll Never Do Again The Stinky Cheese Man by Jon Scieszka, illuistrated by Lane Smith Wanda Gág, author of Millions of Cats Margaret Wise Brown, author of Goodnight, Moon (hear Mac and other writers talk about Margaret Wise Brown and Goodnight Moon on this Remember Reading podcast episode) The Far Side by Gary Larson Calvin and Hobbes by Bill Watterson Mystery Science Theater 3000 Billy Twitter and His Blue Whale Problem by Mac Barnett, illustrated by Adam Rex Dinotopia, A Land Apart From Time by James Gurney 826LA and its Time Travel Mart Dave Eggers, author of The Circle, What is the What, and A Heartbreaking Work of Staggering Genius and founder of McSweeny's and the 826 Literary non-profit No Country For Old Men (movie) Dear Genius by Ursula Nordstrom Steven Malk, Mac's literary agent with Writer's House The Picture Book Manifesto “Picture Books No Longer a Staple for Children,” by Julie Bosman for the New York Times Carson Ellis, author and illustrator of bestselling picture books Home and Caldecott Honor book Du Iz Tak?, talks about her newest picture book, In the Half Room. The Horn Book Magazine Marla Frazee, two-time Caldecott Honor-winning author and illustrator of The Boss Baby, A Couple of Boys Have the Best Week Ever, All the World, and many more. She joins us to talk about the Farmer series: The Farmer and the Clown, The Farmer and the Monkey, and The Farmer and the Circus, out now. Hear her First Draft interview here. Jon Klassen, Caldecott Award-winning and New York Times bestselling author and illustrator of the I Want My Hat Back series, who is back with a book he wrote and illustrated: The Rock From the Sky. Hear his First Draft interviews here and here. The Real Dada Mother Goose: A Treasury of Complete Nonsense by Jon Sciezka and illustrated by Julia Rothman The Three Billy Goats Gruff by Mac Barnett and illustrated by Jon Klassen The First Cat in Space Ate Pizza by Mac Barnett and illustrated by Shawn Harris
First Draft Episode #350: Amanda Oliver Amanda Oliver, former librarian and author of OVERDUE: Reckoning with the Public Library. Links to Topics Mentioned In This Episode: Reza Aslan, professor at U.C. Riverside's MFA program and author of Zealot: The Life and Times of Jesus of Nazareth Claire Comstock Gay, author of weekly horoscopes for New York magazine's The Cut, and her debut book about astrology, Madame Clairevoyant's Guide to the Stars, Recollections of My Nonexistence: A Memoir by Rebecca Solnit
First Draft Episode #349: John Cho John Cho, actor, producer, writer, and author of debut middle grade novel, Troublemaker, with Sarah Suk. Links to Topics Mentioned In This Episode: Little House on the Prairie by Laura Ingalls Wilder Fifth Chinese Daughter by Jade Snow Wong The Woman Warrior: Memoirs of a Girlhood Among Ghosts by Maxine Hong Kingston Sarah Suk, author of Made in Korea and the forthcoming The Space Between Here and Now
First Draft Episode #348: Kate Spencer Kate Spencer is the co-host of the award-winning podcast Forever35, and author of the memoir The Dead Moms Club. She joins to talk about her first novel, In a New York Minute. Links to Topics Mentioned In This Episode: Kate's first First Draft interview Bird by Bird by Anne Lamott Twilight by Stephenie Meyers Ice Planet Barbarians series by Ruby Dixon Plane Baes Song Exploder podcast Seth Meyers, host of Late Night with Seth Meyers and former head writer for Saturday Night Live, talks about his debut picture book, I'm Not Scared, You're Scared with Rob Syegh. Hear his First Draft interview here. Sweet Bobby podcast @90sArtSchool
First Draft Episode #347: Seth Meyers Seth Meyers, host of Late Night with Seth Meyers and former head writer for Saturday Night Live, talks about his debut picture book, I'm Not Scared, You're Scared with Rob Syegh. Links to Topics Mentioned In This Episode: The Story of Babar: The Little Elephant, the first book in the Babar series by Jean de Brumhoff Spider Man: The Short Halloween written by Seth Meyers and Bill Hader Richard Scarry, author and illustrator of Trucks, A Day at the Airport, Cars and Trucks and Things That Go! and many more Jill Benjamin, Seth's writing partner from his Improv Olympic days Documentary Now! on IFC Watership Down (movie) The Secret of NIMH (movie) The Black Cauldron (movie) The Hobbit (movie) Seth Meyers on Sesame Street (with The Count and with Elmo) Sandra Boynton, author and illustrator of picture books like Snuggle Puppy: A Little Love Song, Barnyard Dance!, Pajama Time! and many more. Where's Waldo by Martin Handford
First Draft Episode #346: Jennifer E. Smith Jennifer E. Smith, author of YA novels The Statistical Probability of Love at First Sight, Hello, Goodbye, and Everything in Between and more. She's here to talk about her first picture book, Creature of Habit (with illustrator Leo Espinosa), and her first adult novel, The Unsinkable Greta James. Links to Topics Mentioned In This Episode: Hear Jennifer E. Smith's first First Draft interview Illustrator Leo Espinosa St. Vincent (musician) A League of Their Own (movie) Katie Lovejoy, screenwriter for The Statistical Probability of Love at First Sight Vanessa Caswill, director of The Statistical Probability of Love at First Sight The cast of the movie includes: Hayley Lu Richardson, Ben Hardy, Rob Delaney, Jameela Jamil This is What Happy Looks Like by Jennifer E. Smith Field Notes on Love, which Jenn is adapting for the screen with Lauren Graham
Clearing up confusion and answering some of your most frequently asked questions. In this episode, Rod and Kate Cortizo cover... What is progressive overload? What is "vitamin L" and why do you need it? Can you spot reduce fat? How to get rid of jiggle between thighs and around muffin top? What produces the biggest change in body composition? (Gaining muscle and losing body fat at the same time)What's the biggest indicator of a change in body composition? (Losing dress sizes and decrease in waist line… not the number on the scale.)How much protein do we need to be eating?Muscle is the fountain of youth. Muscle = metabolism. Which supplements can I take to ensure adequate protein intake? (BCAAs (we call it Tone), collagen powder, protein powder: Click here to shop Rodsquad supplements and use code RSFRIEND for 15% off) Why we don't work abs How lifting weights builds confidenceWhy counting macros is not the answer to your problems. Big piece of advice… if you hire us or another mentor to teach you how to improve your health and improve your body, follow everything they tell you. Don't make the mistake of thinking you know better and picking and choosing from us and mixing with other experts. If you change the variables, you change the results. Click here to connect with us on Instagram: https://www.instagram.com/rodsquad_boca/Click here to shop Rodsquad supplements and use code RSFRIEND for 15% off.
First Draft Episode #345: Rebecca Serle Rebecca Serle, New York Times bestselling author of In Five Years, The Dinner List, and more, talks about her new novel, One Italian Summer. Links to Topics Mentioned In This Episode: Rebecca's first First Draft interview Leila Sales, author of “The Case for Cancelling Everything,” by Yascha Mounk for The Atlantic The Brave Little Toaster (movie) Honey I Shrunk the Kids (movie) Anne of Green Gables by L. M. Montgomery
First Draft Episode #344: Sabaa Tahir Sabaa Tahir, #1 New York Times bestselling author of the Ember in the Ashes series talks about her new contemporary YA, All My Rage. Links to Topics Mentioned In This Episode: Don't miss Sabaa's first First Draft interview, and her second First Draft interview! “The Ghosts of Our Motel,” by Sabaa Tahir for Vox The Sky Beyond the Storm by Sabaa Tahir Nina LaCour, Printz-winning author of We Are Okay, and other contemporary YA titles like Everything Leads to You and Hold Still. Host of the Keeping a Notebook podcast and creator of the Slow Novel Lab and Writing Together. Hear Nina's first First Draft interview, and her second First Draft interview. Angie Thomas, #1 New York Times bestselling author of The Hate U Give, On the Come Up, Concrete Rose, and co-author of Blackout. Nicola Yoon, #1 New York Times bestselling author of Everything, Everything and The Sun Is Also a Star talks about her new YA, Instructions For Dancing and her brand new publishing venture: co-publisher of Joy Revolution, a Random House young adult imprint dedicated to love stories starring people of color. Hear her first First Draft interview, and her second First Draft interview. Jandy Nelson, Printz-winning author of I'll Give You the Sun and The Sky is Everywhere. Maurene Goo, author of Somewhere Only We Know, The Way You Make Me Feel, I Believe in a Thing Called Love, and Since You Asked. Hear her first First Draft interview, her second First Draft interview, and her third First Draft interview. Leigh Bardugo, #1 New York Times bestselling author of the Shadow and Bone series, the Six of Crows duology, the King of Scars duology, and adult contemporary fantasy novel, Ninth House. Hear her first First Draft interview here, her second First Draft interview here, and her third First Draft interview here.
First Draft Episode #343: Abdi Nazemian Abdi Nazemian, screenwriter and author of Stonewall Honor book Like a Love Story talks about his most recent YA, The Chandler Legacies. Links to Topics Mentioned In This Episode: Abdi's first First Draft interview TIME's 100 Best YA Books of All Time Rebecca Serle, author of The Dinner List, In Five Years, and the forthcoming One Italian Summer To Kill a Mockingbird by Harper Lee Catcher in the Rye by J.D. Salinger The Diary of Anne Frank by Anne Frank The White Lotus (TV show) The Gilded Age (TV show) Ordinary Joe (TV show now streaming on Hulu and Peacock) Deep Work: Rules for Focused Success in a Distracted World by Cal Newport The Artist's Way by Julia Cameron
Are you looking for ways to revise Word documents with JAWS? Want to know how to navigate Track Changes and Comments when collaborating with other users? Listen to Elizabeth Whitaker and Rachel Buchanan as they present “Prep and Proof Word Documents Using Track Changes and Comments with JAWS.” Track Changes is a Microsoft Word feature that enables you to view the changes made to a document by each user. Comments allow reviewers or collaborators to ask questions or suggest edits without altering the content of a document. We will provide an overview of Track Changes and Comments in Word, and show you how to: Turn on Track Changes Navigate Track Changes Accept or reject changes Enable Lock Tracking Navigate and read comments Add and reply to comments
Have you ever wondered how to actually believe you are making changes? If you look back on this year, or this month, and think.... well things have not improved, then chances are you are just missing a simple practice of tracking and celebrating progress. Download the Badass Boundaries Free Starter Kit Here: https://www.thebadassacademy.com/
The IX Newsletter's Howard Megdal is here to discuss the latest on equal pay, with U.S. Soccer trying to take some big steps in collective bargaining negotiations and in the public sphere, plus the role of the equal pay documentary, public statements and tweets in the back-and-forth between the federation and the players. Follow Howard on Twitter: https://twitter.com/howardmegdalRead Howard's latest on equal pay at Forbes: https://www.forbes.com/sites/howardmegdal/2021/09/16/has-us-soccer-grabbed-the-pr-high-ground-in-equal-pay-fight/?sh=20edf8fb4cf1 Hosted on Acast. See acast.com/privacy for more information.
The whole world pays attention to Churchill Downs on the first Saturday in May for the Kentucky Derby. Track Changes brings you the people and stories who make up the track and its neighborhood the other 364 days a year. Take an immersive trip through historic and present-day south Louisville, from wherever you are in the world. Your tour guides have ridden horses, sewn jockey silks, parked cars and run juke joints, all in the shadow of the twin spires. Produced by the Louisville Story Program and Louisville Public Media.
Local 10's Bryan Norcross and Betty Davis explain the slight changes to the Hurricane Dorian forecast and whether South Florida could be in the clear on the Bryan Norcross Podcast.
This week we continue our discussion of literary "selfies" with a piece by Jennifer Lunden that appeared recently in Diagram, called "Evidence, in Track Changes". The piece includes an essay written by Lunden, plus margin notes added by her mother and Lunden herself. We talk about what makes an experiment like this feel organic, rather than gimmicky, and what sorts of writing lessons that line might offer. Also, plenty of our usual foolishness, including some discussion of trends that (like selfies) might stick around and become more or less accepted, another installment of Millennial M0m3nt, and for some reason a digression into the relative merits of Three Musketeers and its #ThrowShine hashtag. What do you expect from us, high-minded literary talk?
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