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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.

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This lesson covers the vocabulary from yesterday's meeting between Donald Trump and Volodymyr Zelenskyy, where they discussed a proposed peace plan and the future of the Donbas region. We will define key terms like 'thorny issue,' 'demilitarized zone,' and 'pony up' to help you understand the complex negotiations reported in the news.✅ Speak Better English With Me https://brentspeak.as.me/ Use code NewYear for 25% off.

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There are a few misconceptions about UK and US English. Here is what you really need to know...

Foundations of Amateur Radio The other day a report in "Amateur Radio Daily" caught my eye. Under the heading "IARU Considers Consolidation", I read that the International Amateur Radio Union, celebrating 100 years of representing our hobby, is considering significant change. Links in the report reveal a PDF document titled "IARU Consultation on Proposed Restructuring March 2025". The document, dated 21 March, outlines the structure of the IARU, four organisations, one for each ITU Region, and one global organisation, the International Secretariat. It provides some insights on how the funding arrangements between these organisations exist and goes on to talk about how the IARU operates, including incorporation, or not, currencies, committees, priorities and other background and historic information. All excellent. Stuff that should be public knowledge, but having spent the better part of a year reading IARU documents, this one brought several new eye opening things to the table. The document attributes no authors but is at least spell-checked in US English, and appears to be part of a discussion started long before I became an amateur. In 2005, the IARU started the "IARU 2025 Committee" to look into the future of the organisation. It concluded its work in 2012. In 2020 a new committee was started, the "Future Committee", consisting of representation from each of the regions. The introductory wording is curious and includes these words: "We can no longer afford not to move the process forward" - at least implying that this document is a foregone conclusion. Searching for the document on the IARU sites will give you no results. Searching for "Future Committee", gives you two results, neither actually having the words "Future Committee". The only reference which makes any sense in either of those two results, and only after the fact, is a paragraph, published on 12 October 2020, that refers to the Administrative Council, or AC, and states: "The AC received and discussed an in-depth report from its Working Group on the Future of IARU and agreed to steps for evolving toward a more flexible organization and strengthened relationships with all stakeholders in the global amateur radio community and telecommunications ecosystem." For a process that started 20 years ago, this is the first I've heard of it. Curious wouldn't you say, in an organisation that claims to represent both you and I? It's almost like the IARU wants to keep this whole thing a secret. There's more. The thrust of the document is to explore the notion of simplifying the operation of the IARU by consolidating the four organisations into one incorporated body based in Switzerland, where the IARU Region 1 organisation is currently incorporated. It goes on to discuss how this is great for the hobby, how it will save on resources and how it will allow the mostly volunteer run organisation to operate more democratically. It outlines the process for adoption, including a 60 day consultation period for the 167 Member Societies, as-in peak bodies in your country. I'll save you the suspense, the consultation period ended before I saw the document. There's a 30 day "Detailed Draft Proposal phase" and a "Final Proposal and Voting stage", neither of which are on any specific time-line that I could find. You might say, well, Onno, you're not a member society, it's none of your business. That's true. Here's the thing. Let me quote from Section 5, on page 11: "In many cases the IARU Member-Society does not represent the majority of the national amateur community." So .. not to belabour the point, the IARU, who is proud to represent Amateur Radio on the International Stage, writes in its own documentation that the organisation doesn't represent the majority of amateurs while claiming its intention to make the organisation more flexible and democratic. Gotta say, feeling all warm and fuzzy. In Section 6, the document goes into great detail about finance. I'm kidding, it has one sub-sub section about money, section 6.1.3, less than 10% of the document, no less explosive for its brevity. It states that each region contributes to the overall IARU budget, but that this contribution remains insufficient to cover the many critical representation efforts required. It goes on to say that "Historically, the ARRL has played a key role in bridging this financial gap". For its contribution, the ARRL currently nominates the President and Vice President which the member societies get to vote on. I wonder what happens if they don't vote for the nominated candidate and what happens when the ARRL is no longer first among equals, will it continue to fund the IARU? While pointing out that all direct representation of the IARU at the ITU are made by volunteers, as well as "nearly all" other activities, I wonder which activities are paid and how much? There's also discussion about a "not ideal" "compromise", namely that we'll have to be virtual attendees to save money. Really? In 2025, after a century of representing amateur radio, we're still attending meetings in person? Has nobody at the IARU heard of this new technology, you know, the one it claims to promote, radio? Or the more modern version, teleconference? You'd think that a bunch of volunteer radio amateurs would jump at the chance to debate things over radio. Moving on. The finance section includes an interesting statement. "Many regions have accumulated cash reserves" and "where these reserves are substantial and have resulted from a specific region's activities, they may need to be held in trust and designated exclusively for initiatives related to that former region". Let's unpack this. There's three regions. "Many regions" means more than one, but not all, so, two. In other words, one region has no money. Which one? Moreover, "substantial" reserves from "a specific region", means one of the other two, so, one. So, it made money, it's substantial, it's intended to be designated exclusively for that one region. Which one? The Wireless Institute of Australia, which claims to have existed longer than the IARU and the ARRL before it, was a federation. In 2004 the regulator indicated that it should consolidate its efforts because apparently the various state WIA organisations "could never agree on a single outcome". This organisation was incorporated in VK3 where it continues to exist as a first among equals. Curiously the Victorian, Tasmanian and South Australia with Northern Territory Divisions of the Wireless Institute of Australia are each still incorporated and active. Today if you're in VK6, like I am, your experience of the WIA is completely different from that if you're in VK3 and to a lesser extent VK2. Remind you of anything? The document mentions that "only fully paid up member-societies in good standing have the right to vote" and "The current fee structure will need to be harmonized across all three regions, which may lead to increased dues for some Member-Societies". That tells us that some member societies will have to pay more money and if they don't they won't be able to vote. I wonder if these are members of the region with all the money, or from the region without money? I'll remind you that member societies have already been acknowledged by the IARU as being underfunded, offering reduced services with some member societies being disbanded. The point being that we're finding out behind the scenes, after the fact, of a process that has been in play for 20 years, that aims to create a single harmonised body whilst exacerbating existing inequities, and doing so in secret. Is that the kind of body that you want to represent you on the world stage? Is this something that your member society knows about, is it actively participating, does it share that information with you or hide it? Are you informed, or did you learn more today from me than you have in the past 20 years? Before I leave you to your thoughts, credit to Cale K4HCK for publishing the story and thanks to their source for sharing the document. I'm Onno VK6FLAB

Sarah Donnelly comes back onto LEP to catch up and to tell us about her stand-up special, now available to watch on YouTube, and to do a British English vs American English pronunciation quiz.Sarah's show is called The Only American in Paris and we discuss some of the themes of the show - the real experience of being a US citizen living in Paris, the Netflix show Emily in Paris, cultural differences, learning French, plus a pronunciation quiz to help you compare UK and US English.

If it wouldn't be too much trouble, if you have a spare half hour, could we possibly suggest that you might enjoy listening to this episode on politeness? Or, if you've prefer a less polite version, "Listen! Now!" In this episode, your hosts Gretchen McCulloch and Lauren Gawne get enthusiastic about what politeness and rudeness are made up of at a linguistic level. We talk about existing cultural notions of "saving face" and "losing face", aka the push and pull between our desire for help vs our desire for independence, and how they've been formalized in a classic linguistics paper. We also talk about being less polite to show intimacy, addressing God in English and French, which forms of politeness are and aren't overtly taught, different uses of "please" in UK vs US English, levels of indirectness, email etiquette across generations and subcultures, rudeness and pointing, nodding norms in Japanese and English, smiling at strangers in the US vs Europe, and how a small number of politeness ingredients can combine in so many different ways that are culturally different. Click here for a link to this episode in your podcast player of choice: episodes.fm/1186056137/episode/dGFnOnNvdW5kY2xvdWQsMjAxMDp0cmFja3MvMTk5MDMyNTM3MQ Read the transcript here: lingthusiasm.com/post/770341829256364032/transcript-episode-99 Announcements: In this month's bonus episode we get enthusiastic about science metaphors and learning everything with Tom Lum and Caroline Roper, cohosts of Let's Learn Everything! We talk about whether programming languages should count as a language credit, numbers and ritual stock phrases like seventeen and "once upon a time", as well as etymology and metaphor in ecology, chemistry, and linguistics. We also talk about turning the "constantly trying to figure things out" part of your brain off, attending the word of the year vote, and how linguists have a tendency to be curious about language all the time, which... sometimes gets us into trouble. Join us on Patreon now to get access to this and 90+ other bonus episodes, plus access to the Lingthusiasm Discord server where you can chat with other language nerds. Find it all right here: patreon.com/lingthusiasm Looking for a last minute gift for the language nerd in your life? Or are you trying to get someone in your life to love linguistics as much as you do? Patreon have newly added a gift memberships feature! So if you'd be excited to receive a patreon membership to Lingthusiasm, forward this link to your friends and/or family with a little wink wink nudge nudge patreon.com/lingthusiasm/gift For links to things mentioned in this episode: lingthusiasm.com/post/770341545981444096/lingthusiasm-episode-99-a-politeness-episode-if

Today on the show Steven and Shaun discuss the first announcement of the week from Apple and a cool way to make your Perkins brailler smart.First up, the guys chat about Apple's new product, the iMac with an M4 processor inside. This is the first of three announcements from Apple that will coming out over the next couple of days. The company also released Apple Intelligence in US English as part of their new operating systems for iPhone, iPad and Mac. AppleVis have reported a number of bugs and fixes in the latest releases - more details here:iOS 18.1https://www.applevis.com/blog/apple-releases-ios-181-ipados-181-bringing-new-bugs-some-fixes-voiceover-braille-usersWatch OS 11.1https://www.applevis.com/blog/apple-releases-watchos-111-bringing-changes-system-volume-behavior-voiceover-volume-rotorMac OS Sequoia 15.1https://www.applevis.com/blog/apple-releases-macos-sequoia-151-bringing-both-improvements-new-bugs-voiceover-usersOur main story today features a UK startup called Paige which have developed a tool to make Perkins braillers smart by replacing the bottom plate of the machine with a new sensor board. Greg Hargraves from the company joins Steven and Shaun to talk about the product and its development.Get in touch with Double Tap by emailing us feedback@doubletaponair.com or by call 1-877-803-4567 and leave us a voicemail. You can also now contact us via Whatsapp on 1-613-481-0144 or visit doubletaponair.com/whatsapp to connect. We are also across social media including X, Mastodon and Facebook. Double Tap is available daily on AMI-audio across Canada, on podcast worldwide and now on YouTube.Chapter Markers:0:00 - Intro4:12 - Apple Announces M4 Powered iMac17:31 - Apple Intelligence Launches26:01 - Contact Us26:59 - Smarter Perkins with Page Braille

The Three Weeks of Mourning  Part 9: Why Did God Do This To Us?  - English only.  It has been almost 2000 years since the Romans burned down the Temple. Why doesn't God make the new Temple a reality?  Recorded August 12, 2024.

Stephen Wolfram answers questions from his viewers about the history of science and technology as part of an unscripted livestream series, also available on YouTube here: https://wolfr.am/youtube-sw-qa Questions include: Can you talk about the history of hearts? Why does the human heart not resemble the heart shape seen most commonly in other forms? - How did scientists discover the brain and its purpose? When did this happen? - What about the theories that say that neither the brain nor anything else in the body is the "site of consciousness" (e.g. "the brain is just a receiver")? There's at least some stuff there that can't be easily dismissed. ​​- Any thoughts on Panini, who wrote a meta-rule to decode the rule conflicts in the linguistic algorithm? - How has technology influenced the development and preservation of languages? 0 Why did the Latin language "die"? Do you think it would be widely used if it had survived? - The Pirahã, a tribe in Brazil, have a very peculiar way of talking. They don't include numbers and time, if I understand. - How do linguists reconstruct ancient languages they have little direct evidence of?​ ​​- Would the Greek spoken at the time of Aristotle be fully intelligible to speakers of modern Greek? - How did accents and dialects evolve (for example, UK English vs. US English)​? - The reconstructed 1700s London accent sounds somewhat American, I thought? - ​​Are there still undiscovered writing systems to be discovered? - ​​Do you have any comments on the relationship scientists have had with the philosophy of science? - ​​If one views religion as a function whose input is belief and output is explanation of "the unknown," then could science ("many universes" in quantum theory, for example) be construed as such?

Jozlyn, Gaby, and Angela chat with Voice Actor and On-Camera Actor Anne Alexander-Sieder. Anne Alexander-Sieder is a​ trilingual American actress, based in Germany, known for embodying fierce, fallible women who walk the razor's edge between light and dark - women who may stumble but never go down without a fight. Think: Gillian Anderson, Vera Farmiga, and Catherine Keener.Career Highlights include a Lead in the indie feature, Ojai, as a maverick mom who struggles to hold on to life as she learns to let go of her son, a Guest Star as an icy hotel manager determined to protect her guest's privacy in the iconic series, Tatort, a Recurring Role as a ruthless businesswoman driven to succeed in the acclaimed German series, Katakomben, and a Supporting Role as a concerned but doting mom in the recent Hallmark Christmas Special, A Heidelberg Holiday. WINNER! Best Actress PiGrecoZen, Multiple Awards as producer & writer, Founder and host of the podcast Act Bold (her philosophy for life and work). US English mother-tongue. Fluent in German and Italian.Needless to say this is an incredible and inspiring conversation about following your dreams regardless your age! Just go for it!LinksAct Bold MasterclassActors AccessSupport the Show.This is a shareable podcast, with a group of creatives, documenting their creative voice over & on-camera journeys to inspire all of us as we navigate our own paths! This pod may bring golden nuggets of wisdom, yet is not an education based show. Follow all the Chaos - Website - https://www.keepingupwithchaos.net/ FB - https://www.facebook.com/keepingupwithchaospodcastIG - https://www.instagram.com/keeping_up_with_chaos/

Tilbake på podden er superpopulære Dr. Cate Shanahan. Hun er aktuell med boken "Dark Calories" der hun legger frem nye tanker og teorier bak prosessert mat og hvorfor denne dreper oss. Dr. Cate forklarer godt de nye tankene om hva som egentlig skjer med helsen vår når vi inntar vegetabilske oljer, men også hvordan behovet for å stadig spise øker. Vi kan rett og slett beskytte oss mot kreft om vi slutter med vegetabilske oljer. Nå må vi få fokus på det som kan redde oss. Hun snakker endelig til leger og forskere med den nye boken. Hun har parallelt med oss besøkt de store Podkastene, Ben Greenfield, Dave Asprey osv. Du kan kjøpe boken nå via ark.noI denne episoden vil du lære mer om utviklingen i Dark Calories fra Cate`s forrige bøker, fra hva en menneskelig diett egentlig er, hva optimal helse er, til hvordan "Fatburn Fix" definernerte hva metabolisme er og hvordan "junk food" har ødelagt den. Her går hun dypere inn i det bakenforliggende av moderne sykdommer, der 76% av maten vi inntar kommer fra prosessert mat, og hvorfor den tar livet av oss.Hva er "Dark Calories" - de verste av alle ingredienser vi spiser, som hun ikke definerer som matMedisinsk forskning som ikke tar hensyn til denne farlige matenHva er "junken" i prosesserte varer (vi sier ikke engang"mat" varer) slik at du nå VET hvilke giftstoffer vi kan kjøpe som oksiderer og gjør oss sykeHva er oksidasjon og hvorfor dreper den oss, (oksidering er det motsatte av Biohacking)Hva gjør vi Biohackere annerledes enn leger, og hvorfor er vårt arbeid så viktig for å optimalisere helsenUlempen med å ha et "sickcare" system, om løgner som for eks at kolesterol er dårlig og hvorfor seed oils ble promotert som hjertevennligeHvorfor det å unngå å spise vegetabilske oljer er mye verre enn karbohydrater og andre varerHva gjør en sunn diett for kroppen vår og energien i oksygenet som holder oss i live med ATP og mitkondrierNår metabolismen ikke virker blir du fysisk avhengig av sukker, noe som gjør det veldig vanskelig for folkHva normal, ekte og sunn mat er i dag?Hva som skjer om du bruker apetittdemperen Ozempic uten å slutte å bruke vegetabilske oljer, hva skjer med organeneHvordan Ozempic demper sult uten å fiske energiproblemet og kroppen går i panikk modus som øker blodsukkeretHvordan Ozempic bryter ned muskler og ben og ikke klarer å forbruke av kroppsfettet mens det blir værende i kroppen og mitokondriene blir forgiftet fordi PUFAS forandrer kroppsfettet vårtHva slags alvorlige helsetilstander kan vi vente oss om 2-3 år post-OzempicHva ville Dr. Cate anbefalt sine pasienter etter bruk av Ozempic?Hva er og hvordan virker hypoglycemia, lavt blodsukker og hva skjer med kroppen, symptomer osv med ekstrem hungerHva som skjer med hjernen via vagusnerven og til leveren når blodsukkeret dropper, og hva er glukoneogenesisHva skjer når kroppen blir insulin resistent (IR) og hva betyr energimodellen Dr. Cate har designet?Hva betyr terminologien "skinny fat" og hva er de farlige konsekvensene?Hvilke studier Dr. Cate baserer "Dark Calories" og energimodellen påHvordan bli nesten immun mot kreft om man unngår vegetabilske oljer?Hva gjør egentlig en porsjon "French Fries" med oss, hun mener det er verre enn å røyke en pakke med sigaretter, vert fordi de lagres i kroppen i fettorganene lengre enn sigaretterDr. Cates challenge og plan for å slutte med oljene, og endre vaner for livetLA Lakers som Dr. cate har designet et ernæringsprogram for og hvordan laget totalt sett ble bedreHva kan familier gjør for bedre matvalg hjemme, for eks ved å droppe kjeks, gullfisk, Cheerios osvTil slutt snakker vi om følelsen og bedringen du vil oppleve når du slutter med vegetabilske oljer, og ikke minst ditt forhold til mat og Dr. Cates måltidsplanleggerDu kan finne boken til Dr. Cate Shanahan her: https://www.ark.no/produkt/boker/fagboker/dark-calories-9781398720732Kollagen finner du her: Oslo Skin Lab: https://www.osloskinlab.no Rabattkode: Biohacking60

John 13:26,27 – “So when He had dipped the morsel, He took and gave it to Judas, the son of Simon Iscariot.  After the morsel, Satan then entered into him.”  Please note that the 1st part is in English, and the 2nd part is in Malayalam starting at 15:39 mark.This verse is about the last supper of Jesus with His disciples and the way Satan entered into Judas.  In the Bible we can notice different kinds of influences by Satan. The influence of Satan started with the temptation of Adam and Eve in Genesis chapter 3.  Jesus healed many who were possessed by demons.  According to Mark chapter 3, the demons cast out from one person entered into 2000 pigs.  The influence of Satan is out there always with the intention of blocking our redemption.   A demon wants a body to live in just like the demons from one person asked the permission of Jesus to enter into 2000 pigs.  A person may not be possessed by the demons all the time, but the influence of Satan is always out there with the intention of fooling us, trapping us, and destroying us. Ten situations that can bring the influence of Satan, some expressions of  the influence of Satan in our daily life, the nature of Satan, and how we can resist the devil are discussed.      My name... Cicily at cicilysunny@gmail.com

Hear Mary tell her OWN Story, not mine to tell.   AMISH Woman “Sinned” by Taking Her Brothers to Court for SA – YouTube    Swartzentruber AMISH: The Unknown SINISTER Side of the Strictist Settlement (youtube.com)    Sexual abuse cases in Brooklyn’s Haredi community – Wikipedia    Radical Reformation – Wikipedia   The Pilgrims – Who […] The post The Amish *The Bibles they use: Lutheran & KVJ.  German & Swiss Origins -Massive issues with children and rape inside the communities.  AMISH come from a core group of 200 *WTH* They call themselves Pennsylvania DUTCH. They call us ENGLISH. appeared first on Psychopath In Your Life.

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Let's talk about some differences between UK and US English. Is one better than the other?

What y'all know about that NicJu chick? Of course, she's brilliant, a gifted singer and actress, and one of the funniest podcasters in the game! But did y'all know that she's the homie and day of we can hit her up and be like, hey, can you jump on, and without a bit of hesitation, there she was? Bet you didn't, but Team SKiM certainly does. Back at it like a bad habit this ep is a journey. Pandemic era Zoom was different. Olive Garden is kind of sort of, not great. So, people really not washing their legs and feet? That's what's hot in the streets? The new Buckeye Chuck is from Cleveland. R.I.P Fruit Stripe Gum. UK English is sometimes very different than US English. What fast food spots near you still get no love? Mumbo or Mambo, a sauce by any other name wouldn't be as sweet. Y'all remember the McDonalds “Pink Goo” controversy? We looked it up and was all wrong, maybe you are too, so allow us to correct you. What would be your Frankensteined together fast-food meal? We talk the 12 Days of Christmas, some Pagan roots. The Pope is wack for his Surrogate Mother take. We delve into the Stephen A/Whitlock situation and boy howdy does Jason Whitlock suck. That leads to us discussing Katt Williams and these podcasts clips going viral everywhere. We then head to the mean streets of Reddit for some AITA before discussing our entertainment recommendations and a bit of feedback. Thanks, Team SKiM Tatum l TAYREL713 l Lunchbox l LISTEN l RSS l Apple Podcast l Google Podcast l Spotify l TuneIn l Twitter l Amazon Music I YouTube l Twitch l Email l Amazon Wish List l Merch l Patreon I Rate This Podcast PHONE l 216-264-6311   #Cleveland #Ohio #LiveFromThe216 #PlayazClub #Rappin4Tay #Zoom #OliveGarden #Bathing #BuckeyeChuck #GroundHogDay #FruitStripeGum #Gammon #Ham #Fastfood #BurgerKing #LongChickenSandwich #MumboSauce #ChickenMcNuggets #PinkSlime #Eggnog #LongJohnSilvers #Chipotle #12DaysofChristmas #Pagan #StephenASmith #KattWilliams #Reddit #AITA #TheHoldovers #BlueEyedSamurai #CarolandtheEndoftheWorld #MarvelsWhatIf #SexandtheCity #EddieMurphy #Blaze #RichardBachman #TheDevilAllTheTime #DonaldRayPollock   Links Buckeye Chuck Comes to the North Coast US UK Foos Names Tik-Tok Vid Inspo R.I.P. Fruit Stripes   Reddit u/Little_Jemmy AITA for not agreeing with my roommate to never have sex in our dorm room? u/Gold-Leg4903 AITA for telling my MIL if I she expects me to get a DNA test for my son, then I want her to get a DNA test for my husband? u/cositarica27 AITA for Refusing to Give My Sister Access to Her Teenage Son's Money?    Alternative Title – Pipe That Pink Shit   Music from #Uppbeat (free for Creators!): https://uppbeat.io/t/tatami/traveler License code: EMTE7ZFWTUXBFJIJ --- Send in a voice message: https://podcasters.spotify.com/pod/show/stays-krunchy-in-mi/message

What's this? I enjoy finding out about things. Now I'm retired (I have been for 14 years), I have time to research subjects I find interesting. So I do! The HPR project is going through a phase where the queue can get very low, so I thought having a subject where I could fire off short shows from time to time would help with this. Maybe we can make a series where others who like the idea can contribute when the mood takes them! My plan is to keep details to a minimum and provide links to sources of more information if you're someone who likes to dig deeper! TIL 1 - is it learnt or learned? I discovered that both are acceptable. Both are the past tense (and past participle) of the verb "to learn": learnt is an older form which is more common in British English learned is more common in US English, and is becoming more popular in the UK Links Grammarist: Learned vs. learnt BBC Ask About English TIL 2 - the French word for piggy bank I watch a YouTube channel from a Canadian woodworker who produces English and French versions of his episodes. His latest one is about making a wooden piggy bank, or tirelire in French. I learnt French at school (though I wasn't much good at it), but have never come across this word. My questions are: Where does it come from? How do you say it? The Wiktionary page below has answers to both. It's of onomatopoeic origin (representing the rattling of coins). There's audio on the page showing how to say it (as well as the IPA version [International Phonetic Alphabet], see below). Links YouTube channel - The Woodpecker: L'gosseux d'bois EP 305 - Une tirelire en bois The Woodpecker EP 305 - A wooden piggybank Wiktionary: tirelire TIL 3 - how to pronounce IPA coded words I actually learnt about this a while ago, but I thought now would be a good time to share. The IPA form of tirelire is /tiʁ.liʁ/ (I included the enclosing slash delimiters which aren't part of the IPA but have significance; see the IPA Wikipedia page for details). I have seen these symbols for years but have never managed to decode them reliably. A few months ago I wondered how to deal with them reliably (and easily). There are many sites offering to transcribe English (and other languages) to IPA, a few of which are free. I only found one that would attempt to speak IPA, and that is IPA Reader. Paste the IPA into the form, select a reader voice, and click "Read". Some of the voices seem a bit odd. I settled on "Brian" for British English, and it seems fine. Links International Phonetic Association - creators of the International Phonetic Alphabet IPA Reader

Today we welcome special guest, Youtube star Rob Watts of the Robwords English language show. He joins us to talk about the definitely real UK rappers Pete & Bas. And we reveal the true story behind their whole deal (hoax? how dare you!). Then we talk about some of the differences between UK and US English that you definitely don't already know about. I'm telling you. There are some really surprising differences in pronunciation and word choice beyond the stuff everyone already knows like "aluminum/aluminium". For Eurovision, of course we talk about UK 2023, Mae Muller's "I Wrote a Song", to which Rob said "I wish she hadn't." This week's episode's featured ad is Crime & Spirits. Find them here: https://linktr.ee/crimeandspiritspodcast Find us and lots of other great podcasts at podmoth.network And find Robwords on youtube, tiktok, and lots of other platforms by searching robwords Here's a link: https://www.youtube.com/@RobWords

In this episode, our host Lucila Rozas discusses the book Latino TV: A History (2022) by Mary Beltrán. You'll hear about: A brief trajectory of the book and the conversations on global studies of media and communication with which this book engages; The concept of cultural citizenship and its relevance to study Latino TV; How the author puts together the traces of the history of Latino TV, especially in the cases when it was difficult to find information about the series that were not preserved/archived; What has changed in the 2000s-2010s that led to the inclusion of more Latinx people in TV roles in front and behind the camera; How the diversification of latinidad identities in the TV shows is related to race, class, and gender through specific characters or forms of storytelling; The importance of Latino(a)(x) representation in the US TV industry and the potential limits of representation and visibility; The role of Latinx activism in the 1960s and 70s and the legacy of public television on today's media landscape; Some recent developments on Latino TV after the publication of the book, particularly given the ongoing writers' strike in streaming television. About the book The first-ever account of Latino/a participation and representation in US English-language television, Latino TV: A History offers a sweeping study of key moments of Chicano/a and Latino/a representation and authorship since the 1950s. Drawing on archival research, interviews with dozens of media professionals who worked on or performed in these series, textual analysis of episodes and promotional materials, and analysis of news media coverage, Mary Beltrán examines Latina/o representation in everything from children's television Westerns of the 1950s, Chicana/o and Puerto Rican activist-led public affairs series of the 1970s, and sitcoms that spanned half a century, to Latina and Latino-led series in the 2000s and 2010s on broadcast, cable, and streaming outlets, including George Lopez, Ugly Betty, One Day at a Time, and Vida. You can find more about the book here by NYU Press. Author: Mary Beltrán is the Associate Director and former Founding Director of the Moody College of Communication's Latino Media Arts & Studies Program at the University of Texas at Austin. She specializes in critical studies-driven scholarship at the intersections of film and television studies, Latina/Latino and critical race studies, and gender studies. Informed by her prior careers as a journalist and social worker, Dr. Beltrán writes and teaches on ethnic diversity and the U.S. media industries, U.S. television and film history, mixed race and media culture, and feminist media studies, with emphasis on U.S. Latina and Latino representation and media production. Host: Lucila Rozas is a doctoral student at the Annenberg School for Communication at the University of Pennsylvania. She is also a doctoral fellow at Center for Advanced Research in Global Communication. She has developed interdisciplinary research in a wide variety of topics, from the strategies of LGBT+ activists to push for the approval of sexual orientation and gender identity policies to the representations of mental health in Peruvian print media. Her most recent academic work focuses on social media and the role it has in identity construction, discourse, activism, and social change. Editor & Producer: Jing Wang Keywords: Latino TV, Latinx identity, Cultural citizenship, Public Television, TV industry, Activism Our podcast is part of the multimodal project powered by the Center for Advanced Research in Global Communication (CARGC) at the Annenberg School for Communication at the University of Pennsylvania. At CARGC, we produce and promote critical, interdisciplinary, and multimodal research on global media and communication. We aim to bridge academic scholarship and public life, bringing the very best scholarship to bear on enduring global questions and pressing contemporary issues. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latino-studies

In this episode, our host Lucila Rozas discusses the book Latino TV: A History (2022) by Mary Beltrán. You'll hear about: A brief trajectory of the book and the conversations on global studies of media and communication with which this book engages; The concept of cultural citizenship and its relevance to study Latino TV; How the author puts together the traces of the history of Latino TV, especially in the cases when it was difficult to find information about the series that were not preserved/archived; What has changed in the 2000s-2010s that led to the inclusion of more Latinx people in TV roles in front and behind the camera; How the diversification of latinidad identities in the TV shows is related to race, class, and gender through specific characters or forms of storytelling; The importance of Latino(a)(x) representation in the US TV industry and the potential limits of representation and visibility; The role of Latinx activism in the 1960s and 70s and the legacy of public television on today's media landscape; Some recent developments on Latino TV after the publication of the book, particularly given the ongoing writers' strike in streaming television. About the book The first-ever account of Latino/a participation and representation in US English-language television, Latino TV: A History offers a sweeping study of key moments of Chicano/a and Latino/a representation and authorship since the 1950s. Drawing on archival research, interviews with dozens of media professionals who worked on or performed in these series, textual analysis of episodes and promotional materials, and analysis of news media coverage, Mary Beltrán examines Latina/o representation in everything from children's television Westerns of the 1950s, Chicana/o and Puerto Rican activist-led public affairs series of the 1970s, and sitcoms that spanned half a century, to Latina and Latino-led series in the 2000s and 2010s on broadcast, cable, and streaming outlets, including George Lopez, Ugly Betty, One Day at a Time, and Vida. You can find more about the book here by NYU Press. Author: Mary Beltrán is the Associate Director and former Founding Director of the Moody College of Communication's Latino Media Arts & Studies Program at the University of Texas at Austin. She specializes in critical studies-driven scholarship at the intersections of film and television studies, Latina/Latino and critical race studies, and gender studies. Informed by her prior careers as a journalist and social worker, Dr. Beltrán writes and teaches on ethnic diversity and the U.S. media industries, U.S. television and film history, mixed race and media culture, and feminist media studies, with emphasis on U.S. Latina and Latino representation and media production. Host: Lucila Rozas is a doctoral student at the Annenberg School for Communication at the University of Pennsylvania. She is also a doctoral fellow at Center for Advanced Research in Global Communication. She has developed interdisciplinary research in a wide variety of topics, from the strategies of LGBT+ activists to push for the approval of sexual orientation and gender identity policies to the representations of mental health in Peruvian print media. Her most recent academic work focuses on social media and the role it has in identity construction, discourse, activism, and social change. Editor & Producer: Jing Wang Keywords: Latino TV, Latinx identity, Cultural citizenship, Public Television, TV industry, Activism Our podcast is part of the multimodal project powered by the Center for Advanced Research in Global Communication (CARGC) at the Annenberg School for Communication at the University of Pennsylvania. At CARGC, we produce and promote critical, interdisciplinary, and multimodal research on global media and communication. We aim to bridge academic scholarship and public life, bringing the very best scholarship to bear on enduring global questions and pressing contemporary issues. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode, our host Lucila Rozas discusses the book Latino TV: A History (2022) by Mary Beltrán. You'll hear about: A brief trajectory of the book and the conversations on global studies of media and communication with which this book engages; The concept of cultural citizenship and its relevance to study Latino TV; How the author puts together the traces of the history of Latino TV, especially in the cases when it was difficult to find information about the series that were not preserved/archived; What has changed in the 2000s-2010s that led to the inclusion of more Latinx people in TV roles in front and behind the camera; How the diversification of latinidad identities in the TV shows is related to race, class, and gender through specific characters or forms of storytelling; The importance of Latino(a)(x) representation in the US TV industry and the potential limits of representation and visibility; The role of Latinx activism in the 1960s and 70s and the legacy of public television on today's media landscape; Some recent developments on Latino TV after the publication of the book, particularly given the ongoing writers' strike in streaming television. About the book The first-ever account of Latino/a participation and representation in US English-language television, Latino TV: A History offers a sweeping study of key moments of Chicano/a and Latino/a representation and authorship since the 1950s. Drawing on archival research, interviews with dozens of media professionals who worked on or performed in these series, textual analysis of episodes and promotional materials, and analysis of news media coverage, Mary Beltrán examines Latina/o representation in everything from children's television Westerns of the 1950s, Chicana/o and Puerto Rican activist-led public affairs series of the 1970s, and sitcoms that spanned half a century, to Latina and Latino-led series in the 2000s and 2010s on broadcast, cable, and streaming outlets, including George Lopez, Ugly Betty, One Day at a Time, and Vida. You can find more about the book here by NYU Press. Author: Mary Beltrán is the Associate Director and former Founding Director of the Moody College of Communication's Latino Media Arts & Studies Program at the University of Texas at Austin. She specializes in critical studies-driven scholarship at the intersections of film and television studies, Latina/Latino and critical race studies, and gender studies. Informed by her prior careers as a journalist and social worker, Dr. Beltrán writes and teaches on ethnic diversity and the U.S. media industries, U.S. television and film history, mixed race and media culture, and feminist media studies, with emphasis on U.S. Latina and Latino representation and media production. Host: Lucila Rozas is a doctoral student at the Annenberg School for Communication at the University of Pennsylvania. She is also a doctoral fellow at Center for Advanced Research in Global Communication. She has developed interdisciplinary research in a wide variety of topics, from the strategies of LGBT+ activists to push for the approval of sexual orientation and gender identity policies to the representations of mental health in Peruvian print media. Her most recent academic work focuses on social media and the role it has in identity construction, discourse, activism, and social change. Editor & Producer: Jing Wang Keywords: Latino TV, Latinx identity, Cultural citizenship, Public Television, TV industry, Activism Our podcast is part of the multimodal project powered by the Center for Advanced Research in Global Communication (CARGC) at the Annenberg School for Communication at the University of Pennsylvania. At CARGC, we produce and promote critical, interdisciplinary, and multimodal research on global media and communication. We aim to bridge academic scholarship and public life, bringing the very best scholarship to bear on enduring global questions and pressing contemporary issues. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In this episode, our host Lucila Rozas discusses the book Latino TV: A History (2022) by Mary Beltrán. You'll hear about: A brief trajectory of the book and the conversations on global studies of media and communication with which this book engages; The concept of cultural citizenship and its relevance to study Latino TV; How the author puts together the traces of the history of Latino TV, especially in the cases when it was difficult to find information about the series that were not preserved/archived; What has changed in the 2000s-2010s that led to the inclusion of more Latinx people in TV roles in front and behind the camera; How the diversification of latinidad identities in the TV shows is related to race, class, and gender through specific characters or forms of storytelling; The importance of Latino(a)(x) representation in the US TV industry and the potential limits of representation and visibility; The role of Latinx activism in the 1960s and 70s and the legacy of public television on today's media landscape; Some recent developments on Latino TV after the publication of the book, particularly given the ongoing writers' strike in streaming television. About the book The first-ever account of Latino/a participation and representation in US English-language television, Latino TV: A History offers a sweeping study of key moments of Chicano/a and Latino/a representation and authorship since the 1950s. Drawing on archival research, interviews with dozens of media professionals who worked on or performed in these series, textual analysis of episodes and promotional materials, and analysis of news media coverage, Mary Beltrán examines Latina/o representation in everything from children's television Westerns of the 1950s, Chicana/o and Puerto Rican activist-led public affairs series of the 1970s, and sitcoms that spanned half a century, to Latina and Latino-led series in the 2000s and 2010s on broadcast, cable, and streaming outlets, including George Lopez, Ugly Betty, One Day at a Time, and Vida. You can find more about the book here by NYU Press. Author: Mary Beltrán is the Associate Director and former Founding Director of the Moody College of Communication's Latino Media Arts & Studies Program at the University of Texas at Austin. She specializes in critical studies-driven scholarship at the intersections of film and television studies, Latina/Latino and critical race studies, and gender studies. Informed by her prior careers as a journalist and social worker, Dr. Beltrán writes and teaches on ethnic diversity and the U.S. media industries, U.S. television and film history, mixed race and media culture, and feminist media studies, with emphasis on U.S. Latina and Latino representation and media production. Host: Lucila Rozas is a doctoral student at the Annenberg School for Communication at the University of Pennsylvania. She is also a doctoral fellow at Center for Advanced Research in Global Communication. She has developed interdisciplinary research in a wide variety of topics, from the strategies of LGBT+ activists to push for the approval of sexual orientation and gender identity policies to the representations of mental health in Peruvian print media. Her most recent academic work focuses on social media and the role it has in identity construction, discourse, activism, and social change. Editor & Producer: Jing Wang Keywords: Latino TV, Latinx identity, Cultural citizenship, Public Television, TV industry, Activism Our podcast is part of the multimodal project powered by the Center for Advanced Research in Global Communication (CARGC) at the Annenberg School for Communication at the University of Pennsylvania. At CARGC, we produce and promote critical, interdisciplinary, and multimodal research on global media and communication. We aim to bridge academic scholarship and public life, bringing the very best scholarship to bear on enduring global questions and pressing contemporary issues. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In this episode, our host Lucila Rozas discusses the book Latino TV: A History (2022) by Mary Beltrán. You'll hear about: A brief trajectory of the book and the conversations on global studies of media and communication with which this book engages; The concept of cultural citizenship and its relevance to study Latino TV; How the author puts together the traces of the history of Latino TV, especially in the cases when it was difficult to find information about the series that were not preserved/archived; What has changed in the 2000s-2010s that led to the inclusion of more Latinx people in TV roles in front and behind the camera; How the diversification of latinidad identities in the TV shows is related to race, class, and gender through specific characters or forms of storytelling; The importance of Latino(a)(x) representation in the US TV industry and the potential limits of representation and visibility; The role of Latinx activism in the 1960s and 70s and the legacy of public television on today's media landscape; Some recent developments on Latino TV after the publication of the book, particularly given the ongoing writers' strike in streaming television. About the book The first-ever account of Latino/a participation and representation in US English-language television, Latino TV: A History offers a sweeping study of key moments of Chicano/a and Latino/a representation and authorship since the 1950s. Drawing on archival research, interviews with dozens of media professionals who worked on or performed in these series, textual analysis of episodes and promotional materials, and analysis of news media coverage, Mary Beltrán examines Latina/o representation in everything from children's television Westerns of the 1950s, Chicana/o and Puerto Rican activist-led public affairs series of the 1970s, and sitcoms that spanned half a century, to Latina and Latino-led series in the 2000s and 2010s on broadcast, cable, and streaming outlets, including George Lopez, Ugly Betty, One Day at a Time, and Vida. You can find more about the book here by NYU Press. Author: Mary Beltrán is the Associate Director and former Founding Director of the Moody College of Communication's Latino Media Arts & Studies Program at the University of Texas at Austin. She specializes in critical studies-driven scholarship at the intersections of film and television studies, Latina/Latino and critical race studies, and gender studies. Informed by her prior careers as a journalist and social worker, Dr. Beltrán writes and teaches on ethnic diversity and the U.S. media industries, U.S. television and film history, mixed race and media culture, and feminist media studies, with emphasis on U.S. Latina and Latino representation and media production. Host: Lucila Rozas is a doctoral student at the Annenberg School for Communication at the University of Pennsylvania. She is also a doctoral fellow at Center for Advanced Research in Global Communication. She has developed interdisciplinary research in a wide variety of topics, from the strategies of LGBT+ activists to push for the approval of sexual orientation and gender identity policies to the representations of mental health in Peruvian print media. Her most recent academic work focuses on social media and the role it has in identity construction, discourse, activism, and social change. Editor & Producer: Jing Wang Keywords: Latino TV, Latinx identity, Cultural citizenship, Public Television, TV industry, Activism Our podcast is part of the multimodal project powered by the Center for Advanced Research in Global Communication (CARGC) at the Annenberg School for Communication at the University of Pennsylvania. At CARGC, we produce and promote critical, interdisciplinary, and multimodal research on global media and communication. We aim to bridge academic scholarship and public life, bringing the very best scholarship to bear on enduring global questions and pressing contemporary issues. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

In this episode, our host Lucila Rozas discusses the book Latino TV: A History (2022) by Mary Beltrán. You'll hear about: A brief trajectory of the book and the conversations on global studies of media and communication with which this book engages; The concept of cultural citizenship and its relevance to study Latino TV; How the author puts together the traces of the history of Latino TV, especially in the cases when it was difficult to find information about the series that were not preserved/archived; What has changed in the 2000s-2010s that led to the inclusion of more Latinx people in TV roles in front and behind the camera; How the diversification of latinidad identities in the TV shows is related to race, class, and gender through specific characters or forms of storytelling; The importance of Latino(a)(x) representation in the US TV industry and the potential limits of representation and visibility; The role of Latinx activism in the 1960s and 70s and the legacy of public television on today's media landscape; Some recent developments on Latino TV after the publication of the book, particularly given the ongoing writers' strike in streaming television. About the book The first-ever account of Latino/a participation and representation in US English-language television, Latino TV: A History offers a sweeping study of key moments of Chicano/a and Latino/a representation and authorship since the 1950s. Drawing on archival research, interviews with dozens of media professionals who worked on or performed in these series, textual analysis of episodes and promotional materials, and analysis of news media coverage, Mary Beltrán examines Latina/o representation in everything from children's television Westerns of the 1950s, Chicana/o and Puerto Rican activist-led public affairs series of the 1970s, and sitcoms that spanned half a century, to Latina and Latino-led series in the 2000s and 2010s on broadcast, cable, and streaming outlets, including George Lopez, Ugly Betty, One Day at a Time, and Vida. You can find more about the book here by NYU Press. Author: Mary Beltrán is the Associate Director and former Founding Director of the Moody College of Communication's Latino Media Arts & Studies Program at the University of Texas at Austin. She specializes in critical studies-driven scholarship at the intersections of film and television studies, Latina/Latino and critical race studies, and gender studies. Informed by her prior careers as a journalist and social worker, Dr. Beltrán writes and teaches on ethnic diversity and the U.S. media industries, U.S. television and film history, mixed race and media culture, and feminist media studies, with emphasis on U.S. Latina and Latino representation and media production. Host: Lucila Rozas is a doctoral student at the Annenberg School for Communication at the University of Pennsylvania. She is also a doctoral fellow at Center for Advanced Research in Global Communication. She has developed interdisciplinary research in a wide variety of topics, from the strategies of LGBT+ activists to push for the approval of sexual orientation and gender identity policies to the representations of mental health in Peruvian print media. Her most recent academic work focuses on social media and the role it has in identity construction, discourse, activism, and social change. Editor & Producer: Jing Wang Keywords: Latino TV, Latinx identity, Cultural citizenship, Public Television, TV industry, Activism Our podcast is part of the multimodal project powered by the Center for Advanced Research in Global Communication (CARGC) at the Annenberg School for Communication at the University of Pennsylvania. At CARGC, we produce and promote critical, interdisciplinary, and multimodal research on global media and communication. We aim to bridge academic scholarship and public life, bringing the very best scholarship to bear on enduring global questions and pressing contemporary issues. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

We are back with another 15 Under 40 segment! This week we are featuring Jeff Sackrider and Catherine McKinley. The 15 Under 40 program selects 15 nominees each year to honor and recognize the accomplishments of outstanding young professionals who make a positive impact in the community and excel in their industry.Jeff is the Customer Relations Manager for WTC. He shares his experiences moving from Washington D.C. to Manhattan, how he brought murals and air guitar to Manhattan and how he has found this to be his perfect home. Catherine is an Edward Jones Financial Advisor. Would you believe us if we told you she could recite all the US English prepositions in alphabetical order? That's just one of the things we learn about Catherine on top of the extensive list of organizations she's involved with and why she believes Manhattan is one of the best places to grow your career and start a family.

In addition to a career as a newspaper editor, publisher, and manager, Robb Grindstaff has written fiction most of his life. The newspaper biz has taken him and his family from Phoenix, Arizona, to small towns in North Carolina, Texas, and Wisconsin, from seven years in Washington, D.C., to five years in Asia. Born and raised a small-town kid, he's as comfortable in Tokyo or Tuna, Texas. The variety of places he's lived and visited serve as settings for the characters who invade his head. His novels are probably best classified as contemporary southern lit, and he's had more than twenty short stories published in a wide array of genres. His articles on the craft of fiction writing have appeared in various writer magazines and websites, and one of his seminars was presented at the Sydney (Australia) Writers Festival. He also has taught writing courses for the Romance Writers of America, Romance Writers of Australia, and the Novel-in-Progress writers retreat. Robb retired from the newspaper business in the summer of 2020 to write and edit fiction full time. He and his wife relocated to the beautiful Lake of the Ozarks in Missouri. Robb also edits fiction and non-fiction books for authors from around the world. It helps that he's fluent in five languages: US English, UK English, Canadian English, and Australian English, plus his native language, Texan. Robb Grindstaff's books are available at Amazon, Barnes & Noble, Apple iBooks, and many other online retailers. They are also available in paperback, e-book, and audiobook. TOPICS OF CONVERSATION Robb's writing journey All about Slade Writing a story using interviews The most surprising thing he discovered while writing Slade Being a fulltime writer, fiction editor and working with other authors What's next for Robb Grindstaff? SLADE Synopsis: A car crash thirty years earlier left Slade Bennington severely disabled but with a new outlook on life. His book about overcoming trauma becomes a bestseller and a box office hit movie. Slade strikes up an unusual friendship with Schuyler, the six-foot-tall teenage actress who portrays his sister in the movie. She encourages him to continue writing, and his pithy musings about life spur a nationwide following of devotees who study his books like Holy Scriptures. Slade becomes a counselor to the celebrity in-crowd—the Shaman to the Stars. While thousands adore Slade, others call him a Svengali or Rasputin-like character who controls and manipulates his clients. One disillusioned fan spends years plotting revenge.   CONNECT WITH ROBB GRINDSTAFF! Robb's website (Discover Robb's books and learn about his editing services) Robb's Amazon page A Writer's Block (Robb's Substack with tips and discussions on writing and editing) Robb's books on Evolved Publishing Robb on Facebook Robb on Twitter occasionally Email: robb(at)robbgrindstaff(dot)com.    

A Few Minutes in The Gospel of Mark   Part 33:  Make The Passover Ready for Us  -  English only.   Two thousand years ago, Yeshua sent his disciples to prepare for Passover. He sends His disciples out with the same instructions today!  Based on Mark chapter 14.  Recorded on January 10, 2023. 

New Microsoft 365 additions, Reset this PC, Revolver: Special Edition Windows 11 A quick look at "moments" and what it means for the future of Windows. The October/November update was a moment. There will be big moments and little moments. Also, moments is a terrible name for this. Microsoft issues its last Preview Update for Windows 10/11 of 2022 Windows Insider: New Dev channel build adds VPN status, search design tests  Microsoft 365 Games for Work in Teams Schedule send in Teams Sign language in Teams - update on the conversation from last week Microsoft Create launched - Microsoft's template site for creators  Surface Surface Duo might be getting its own Insider Program  Troubleshooting New phone, message and phone call weirdness Brother-in-law's laptop Daughter's laptop An update on 12th-Gen Intel suspicions. Some Mastodon questions: US English? Notification sounds? Revolver We need to discuss the 2022 remix of The Beatles' Revolver album Xbox Microsoft ready to make concessions on Activision Blizzard Games with Gold titles for December  Tips and picks Tip of the week: Don't be a afraid of Reset this PC App pick of the week: Call of Duty: Modern Warfare II Hosts: Leo Laporte and Paul Thurrott Download or subscribe to this show at https://twit.tv/shows/windows-weekly Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Check out Paul's blog at thurrott.com The Windows Weekly theme music is courtesy of Carl Franklin. Sponsors: itpro.tv/windows use code WW30 UnifyMeeting.com code WW50 for subscription and code WW for displays nordlayer.com/twit

New Microsoft 365 additions, Reset this PC, Revolver: Special Edition Windows 11 A quick look at "moments" and what it means for the future of Windows. The October/November update was a moment. There will be big moments and little moments. Also, moments is a terrible name for this. Microsoft issues its last Preview Update for Windows 10/11 of 2022 Windows Insider: New Dev channel build adds VPN status, search design tests  Microsoft 365 Games for Work in Teams Schedule send in Teams Sign language in Teams - update on the conversation from last week Microsoft Create launched - Microsoft's template site for creators  Surface Surface Duo might be getting its own Insider Program  Troubleshooting New phone, message and phone call weirdness Brother-in-law's laptop Daughter's laptop An update on 12th-Gen Intel suspicions. Some Mastodon questions: US English? Notification sounds? Revolver We need to discuss the 2022 remix of The Beatles' Revolver album Xbox Microsoft ready to make concessions on Activision Blizzard Games with Gold titles for December  Tips and picks Tip of the week: Don't be a afraid of Reset this PC App pick of the week: Call of Duty: Modern Warfare II Hosts: Leo Laporte and Paul Thurrott Download or subscribe to this show at https://twit.tv/shows/windows-weekly Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Check out Paul's blog at thurrott.com The Windows Weekly theme music is courtesy of Carl Franklin. Sponsors: itpro.tv/windows use code WW30 UnifyMeeting.com code WW50 for subscription and code WW for displays nordlayer.com/twit

New Microsoft 365 additions, Reset this PC, Revolver: Special Edition Windows 11 A quick look at "moments" and what it means for the future of Windows. The October/November update was a moment. There will be big moments and little moments. Also, moments is a terrible name for this. Microsoft issues its last Preview Update for Windows 10/11 of 2022 Windows Insider: New Dev channel build adds VPN status, search design tests  Microsoft 365 Games for Work in Teams Schedule send in Teams Sign language in Teams - update on the conversation from last week Microsoft Create launched - Microsoft's template site for creators  Surface Surface Duo might be getting its own Insider Program  Troubleshooting New phone, message and phone call weirdness Brother-in-law's laptop Daughter's laptop An update on 12th-Gen Intel suspicions. Some Mastodon questions: US English? Notification sounds? Revolver We need to discuss the 2022 remix of The Beatles' Revolver album Xbox Microsoft ready to make concessions on Activision Blizzard Games with Gold titles for December  Tips and picks Tip of the week: Don't be a afraid of Reset this PC App pick of the week: Call of Duty: Modern Warfare II Hosts: Leo Laporte and Paul Thurrott Download or subscribe to this show at https://twit.tv/shows/windows-weekly Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Check out Paul's blog at thurrott.com The Windows Weekly theme music is courtesy of Carl Franklin. Sponsors: itpro.tv/windows use code WW30 UnifyMeeting.com code WW50 for subscription and code WW for displays nordlayer.com/twit

New Microsoft 365 additions, Reset this PC, Revolver: Special Edition Windows 11 A quick look at "moments" and what it means for the future of Windows. The October/November update was a moment. There will be big moments and little moments. Also, moments is a terrible name for this. Microsoft issues its last Preview Update for Windows 10/11 of 2022 Windows Insider: New Dev channel build adds VPN status, search design tests  Microsoft 365 Games for Work in Teams Schedule send in Teams Sign language in Teams - update on the conversation from last week Microsoft Create launched - Microsoft's template site for creators  Surface Surface Duo might be getting its own Insider Program  Troubleshooting New phone, message and phone call weirdness Brother-in-law's laptop Daughter's laptop An update on 12th-Gen Intel suspicions. Some Mastodon questions: US English? Notification sounds? Revolver We need to discuss the 2022 remix of The Beatles' Revolver album Xbox Microsoft ready to make concessions on Activision Blizzard Games with Gold titles for December  Tips and picks Tip of the week: Don't be a afraid of Reset this PC App pick of the week: Call of Duty: Modern Warfare II Hosts: Leo Laporte and Paul Thurrott Download or subscribe to this show at https://twit.tv/shows/windows-weekly Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Check out Paul's blog at thurrott.com The Windows Weekly theme music is courtesy of Carl Franklin. Sponsors: itpro.tv/windows use code WW30 UnifyMeeting.com code WW50 for subscription and code WW for displays nordlayer.com/twit

New Microsoft 365 additions, Reset this PC, Revolver: Special Edition Windows 11 A quick look at "moments" and what it means for the future of Windows. The October/November update was a moment. There will be big moments and little moments. Also, moments is a terrible name for this. Microsoft issues its last Preview Update for Windows 10/11 of 2022 Windows Insider: New Dev channel build adds VPN status, search design tests  Microsoft 365 Games for Work in Teams Schedule send in Teams Sign language in Teams - update on the conversation from last week Microsoft Create launched - Microsoft's template site for creators  Surface Surface Duo might be getting its own Insider Program  Troubleshooting New phone, message and phone call weirdness Brother-in-law's laptop Daughter's laptop An update on 12th-Gen Intel suspicions. Some Mastodon questions: US English? Notification sounds? Revolver We need to discuss the 2022 remix of The Beatles' Revolver album Xbox Microsoft ready to make concessions on Activision Blizzard Games with Gold titles for December  Tips and picks Tip of the week: Don't be a afraid of Reset this PC App pick of the week: Call of Duty: Modern Warfare II Hosts: Leo Laporte and Paul Thurrott Download or subscribe to this show at https://twit.tv/shows/windows-weekly Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Check out Paul's blog at thurrott.com The Windows Weekly theme music is courtesy of Carl Franklin. Sponsors: itpro.tv/windows use code WW30 UnifyMeeting.com code WW50 for subscription and code WW for displays nordlayer.com/twit

New Microsoft 365 additions, Reset this PC, Revolver: Special Edition Windows 11 A quick look at "moments" and what it means for the future of Windows. The October/November update was a moment. There will be big moments and little moments. Also, moments is a terrible name for this. Microsoft issues its last Preview Update for Windows 10/11 of 2022 Windows Insider: New Dev channel build adds VPN status, search design tests  Microsoft 365 Games for Work in Teams Schedule send in Teams Sign language in Teams - update on the conversation from last week Microsoft Create launched - Microsoft's template site for creators  Surface Surface Duo might be getting its own Insider Program  Troubleshooting New phone, message and phone call weirdness Brother-in-law's laptop Daughter's laptop An update on 12th-Gen Intel suspicions. Some Mastodon questions: US English? Notification sounds? Revolver We need to discuss the 2022 remix of The Beatles' Revolver album Xbox Microsoft ready to make concessions on Activision Blizzard Games with Gold titles for December  Tips and picks Tip of the week: Don't be a afraid of Reset this PC App pick of the week: Call of Duty: Modern Warfare II Hosts: Leo Laporte and Paul Thurrott Download or subscribe to this show at https://twit.tv/shows/windows-weekly Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Check out Paul's blog at thurrott.com The Windows Weekly theme music is courtesy of Carl Franklin. Sponsors: itpro.tv/windows use code WW30 UnifyMeeting.com code WW50 for subscription and code WW for displays nordlayer.com/twit

Martha Cristina Garza has helped luxury brands like Cartier,  Moleskine, Dr. Smood, and Maison Kayser launch in multiple countries.  As a marketing expert for high end brands, she especially knows the importance of understanding your brand differentiators and the cultures of your target markets.  It's interesting to hear from her about the perspectives of consumers about brands in different countries, for instance Cartier is the number one luxury brand in Mexico, yet in Italy, it's only a luxury brand for Grandmas!  She sees that brands are getting better at story telling and understanding that they need to connect with the cultures, yet they struggle with exact messages when they don't know the culture.    For example; a high-end backpack manufacturer from Italy positions itself as innovative and best in class in making leather backpacks that are “powered by performance”.  When entering the US, the creative team came up with a campaign to connect with the market.  The developed a picture of the nice leather backpack on a sofa and the tagline of “Netflix and Chill”.  Now, as a native US English speaker, I understood that Netflix and chill would not talk to their target audience of businesspeople in their 40's and 50's.  In addition to “speaking” to the wrong market of younger consumers, they also didn't understand that the message “come on over for Netflix and Chill” includes a hidden invitation of intimacy.    She strongly recommends that marketers who aren't native speakers and don't fully understand the culture are well served in working with a company like Rapport International to make sure your messages are accurate and culturally appropriate.    Her final recommendations:  Understand the local culture  Hire experts to assist you  Consider all touchpoints – including the human interactions with your employees.  As with every episode, I ask guests what their favorite word is.  Martha's is “la pozzanghera”, an Italian word that means puddle.  She thinks it's just a fun word.  Go ahead, say it!    Links:  https://marthacgarza.com/  https://www.instagram.com/marthacristina/?hl=en  https://www.linkedin.com/in/marthacristina/    Connect with Wendy - https://www.linkedin.com/in/wendypease/  Connect with Martha - https://www.linkedin.com/in/marthacristina/   Music: Fiddle-De-Dee by Shane Ivers - https://www.silvermansound.com 

For our final episode as a podcast, each member of our production team recorded a short monologue about a song that expresses something about their experiences working on Si Yo Fuera una Canción over the last year and a half. Lots of music, a little bit of reflection, and best wishes for all our futures! Music: “See These Bones,”“Latinoamérica,” “Encuentro en Cajamarca,” “Stay Human,” “What You Waiting For,” “Carnaval,” “Learn How to Fall,” “Don't You Worry ‘Bout a Thing,” and “Todo Cae”

In this follow-up podcast to his sneak peak at the US voices, Thomas Domville gives us a quick look at some of the other English voices coming to VoiceOver later this year with iOS 16.AustraliaKaren (Premium)MatildaIndiaIshaSangeetaVeenaScotlandFionaUKEloquence EddyFloGrandmaGrandpaReedRockoSandyShellySerina (Premium)StephanieNoveltyAlbertBad NewsBahhBellsBoingBubblesCelloGood NewsJesterOrganSuper StarTrinoidsWhistlerWobbleZarvoxWhile we do not traditionally share demos of pre-release software because features and functionality can and do change during the beta cycle, we are making an exception in this situation because of the excitement surrounding the arrival of Eloquence on Apple platforms.

Our latest Roundtable features the Director, Actors, and Writers of the meta psychological thriller/documentary film Ayar. Floyd Russ decided to approach the film Ayar by inviting the two lead actors, Ariana Ron Pedrique and Vilma Vega to co-write the movie with him, bringing a rich and multi-faceted perspective to the movie.  The Roundtable features various topics, including the challenges of making one's first feature film, getting it funded, and finally distributing it. Most importantly we discuss how the movie tackled the extremely difficult barrier to entry that immigrants face when trying to break into the US/English speaking Film Business, especially when faced with preconceived ideas about what a foreigner's role should be, especially when they have a foreign accent and different primary language. Finally, we discuss the Film maker's brave decision to mix the genres of narrative storytelling with documentary, essentially laying the actors bare to movie audiences and smashing the 4th wall in an unforgettable & enriching raw fashion.

Today is January 7th, 2022 and I'll be talking about some Google SERP updates, a Google ads error, New Display Ads for Podcasts in Spotify, WordPress major security release, Making money from a site hack, and some actionable tactics to help drive customers to buy.Full Show Notes @ https://opinionatedseo.com/s2e5Google has launched a “Shops” section in the mobile search results with three results that can be expanded to 10. Google's statement: “We recently launched Shops, a new module available on mobile devices for select US-English shopping-related queries,” https://searchengineland.com/google-launches-shops-section-in-mobile-search-results-378256https://twitter.com/b4k_khushal/status/1477337833643786242Google looks to be testing or updating their Google Discover section with trending searches. See if it's updated on your device.https://twitter.com/jasonmandragona/status/1478748397372940290Google Ads has an error right now when saving exact keywords saying they are being saved as broad. Google Ads Liason replied that it was a bug and they were working on fixing it. So don't be alarmed, but is this the beginning of the end of match types? https://twitter.com/adsliaison/status/1479189369529450496 While we're talking about ads, Spotify is going to be bringing display ads to Podcasts. Spotify is calling them Call-to-Action cards. These will be visual and interactive during ad plays as well as retargeting while exploring the app. https://www.newsroom.spotify.com/2022-01-06/spotify-introduces-call-to-action-cards-for-podcast-ads/ Wordpress released a security release yesterday which patched 4 major vulnerabilities. This affects versions 3.7 to 5.8, so pretty much any WordPress install out there. https://wordpress.org/news/2022/01/wordpress-5-8-3-security-release/ So, if your site is hacked, what do you do? First, you get it cleaned up and then make sure your IT or Dev Ops is taking proactive steps to ensure that it can't happen again. If you don't know anything about cleaning up - check out SUCURI, I've used them in the past to clean up a hacked site and they took care of things in just a matter of hours.So what did years ago when her main site was hacked and started ranking for Michael Kors handbags. she was able to remove the hack and then redirected all of those pages to Amazon using her affiliate link. She made a few hundred dollars before turning it all off.https://twitter.com/Marie_Haynes/status/1479143529020592130Katelyn Bourgoin spent over 1500 hours learning about cognitive biases and heuristics, the stuff that drives customers to buy and she put together a Twitter thread of the top 19 concepts that marketers need to know: https://twitter.com/KateBour/status/1478792178726019073

Learn creative ways to greet Americans with responses! In this US English Pronunciation and Communication lesson, we'll go over native English phrases we use in everyday life in the US, how you can answer English greetings, and how to pronounce the greetings with American pronunciation.

Here are some American idioms to help you sound American. With these US English expressions with the word leave, you'll know how to speak English more fluently and listen more carefully. Knowing English idioms helps boost your English language and communication skills. Some expressions you'll learn are "leave it to me", "leave no stone unturned", and "leave it on the table." Learn these 21 Expressions with the word LEAVE!

Sara Baxter Orr, SVP & Global Head at Anaplan, worked at a senior level for Verizon Wireless, a domestic division when she was promoted to run a global division.  As an US English speaker with no global experience, she was intimidated.  After gaining experience and learning that her authentic way of working with people worked, she continued with global leadership.  She now heads up Anaplan, a fast growing business services company.  In this episode, she shares how virtual work has led to many benefits in global leadership. Visit - www.anaplan.com to learn more   Connect with Wendy - https://www.linkedin.com/in/wendypease/ Connect with Sara - https://www.linkedin.com/in/sarabaxterorr/ Music: Fiddle-De-Dee by Shane Ivers - https://www.silvermansound.com

American conductor, Robert Trevino, is definitely making his mark on the world of conducting and classical music, having jobs in both Spain and Sweden, and since we recorded this chat, he's added another position in Italy. Despite some poor internet connections at times, we discussed how a conductor should treat and interact with orchestral musicians, I found out who "beat the incompetence" out of him, and we had a very amusing moment sparked by the difference between US English and UK English! If you would like to financially support the podcast, why not subscribe at https://www.patreon.com/amiconthepodium, and for a monthly fee starting from just £5 a month, you can access two new series of interviews, group Zoom meetings with other fans of the podcast and myself, a monthly bulletin about the podcast and my own career as well as articles, photos, videos and even conducting lessons from myself. Alternatively, if you would prefer to make a one-off donation, go to https://www.justgiving.com/crowdfunding/a-mic-on-the-podium and any donation you make will be greatly appreciated and help the podcast live on into the future. This interview was recorded on 10th August 2020 via Zoom.

Students ask me all the time if they should learn British English or American English, and in this video you'll discover the real differences between UK and US English and how it's not about language rules, it's about culture. You will discover how they are different and if you should study British or American English.