Podcasts about well no

Tenchu: Stealth Assassins, or should we say Sekiro: The Prequel???!! Well No, not really but these are more linked than you'd expect! Early days of stealth which don't really hold up but the best soundtrack you don't remember! We also have a lot of news, PS5 ordering trouble, The Last of Us Tv Show, Halo news and CDPR hacks!!Get in contact at: presstheactionbuttonpod@gmail.com See acast.com/privacy for privacy and opt-out information.

Everyone from politicians to A-list celebrities insist it’s our “civic duty” to vote this presidential election. But is it really?  Well… No. Not at all.   In living up to the name of the podcast, Nevada Policy’s Michael Schaus and Robert Fellner spend this episode of Free to Offend discussing why voting is not a civic duty at all—and why folks on all sides of the political aisle are actually doing a disservice in cultishly promoting such a false belief.  

EXE - Transmission - 023 - EXE Project (2 Hour Special) EXE Project (Gore Tech, Krafty-PK, Meecha, Ruckuz and Cynnyc) crack some beers in unison and descend into all out wavy drunken chaos for this epic 2 hour long special, Special You ask? Well No reason, we were just all free. Tune out, jack in and get paranoid as we play anything made with a microprocessor. Gore Tech Links: https://soundcloud.com/goretech https://www.gore-tech.net/ Krafty PK Links: @kraftypk twitter.com/ExeKrafty www.mixcloud.com/kraftypk/ Meecha Links: @meecha www.facebook.com/MeechaMusic/ twitter.com/MeechaDnB www.mixcloud.com/Meecha/ Ruckuz Links: @ruckuz twitter.com/theruckuz www.mixcloud.com/OneHourOneDj/ Nick Wolstencroft https://soundcloud.com/cynnyc-uk https://www.instagram.com/thingsmith/ Please send, Demos, Nudes and all Complaints to info@exe-project.com Additional Links: Killtopia https://www.amazon.co.uk/Killtopia-Dave-Cook/dp/1910775177 Conjurer https://twitter.com/conjureruk voljum - Equipment Fundraiser EP https://entervale.bandcamp.com/album/prevale-va Tracklisting: 001 - Noisia and Former - Pleasure Model 002 - ChaseR - Wicked 003 - Kodin & Tide - Mouth 004 - Broken Note - Alternative facts 005 - Black Sun Empire - Stasis 006 - Konstructer - Cargo Trains 007 - Disprove, Audeka and Signal - Ritual 008 - Lorn - Inertia 009 - Boylan - Startup Ft. flowdan. - Demo Section - 010 - Nol & Crawler: Blister 011 - Man From Sol - Black box cognition (c0ma remix) 012 - Gentrifist - Mumwife - Demo Section - 013 - Klute - Have a wonderful time 014 - Alon More - Echoes follow 015 - Abis & Signal -The Wall (Buunchin remix) 016 - Reso - Magnox - Krafty's Metal Corner - 017 - Conjurer - Retch 018 - Milanese - Caramel Cognac 019 - Red Pill- Discipline VIP 020 - Balatron - Machina Puta 021 - Sorcery - Orbature 022 - Apashe ft. Panther & Odalisk - No Twerk (VIP) 023 - 3RD KND - Demons 024 - ESYM - Are you Safe 025 - Mathlovsky - Online Cult Leader 026 - K-ro - Omen Revival 027 - Outside Agency - Backpack Wisdom 029 - Broomman - ERF 030 - Bomb 20 - No Applause, Just clapping. www.exe-project.com

Have you ever had every intention of creating a new positive habit, and then once you get going it falls to the wayside and you feel guilty about it? Well… No more. After listening to this episode you will understand my method of using something I call the “discipline bucket” and how it can help you create new positive habits and practices in your life, help you elevate to the next level and stop feeling badly about what you’re not doing.   Leadership & Visibility Masterclass   Get Social with Jaya Rose! IG handle: https://www.instagram.com/thejayarose/ FB Group: https://www.facebook.com/groups/intuitiveempirecollective/ FB Personal Page: (follow): https://www.facebook.com/jaya.krupp FB Business Page: https://www.facebook.com/thejayarose Website: https://thejayarose.com/ Contact Email: mailto:jaya@thejayarose.com   Subscribe to the Podcast! CLICK HERE TO SUBSCRIBE! If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on iTunes or Stitcher. You can also subscribe from the podcast app on your mobile device.   Leave us an iTunes review! CLICK HERE TO LEAVE A REVIEW! Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on iTunes, which exposes our show to more awesome listeners like you. If you have a minute, please leave a review on iTunes.

There's an old joke (and a famous website) comparing programming languages to religions, but the analogy is truer than it might seem at first blush. Logic structures are everywhere in scripture. Pair programming strongly resembles the intensive 2-person style learning found in all orthodox Jewish Yeshivot.In part 2 of this conversation, we continue to explore how your religion - the one you grow up with or grow into - is very much like a module you've inherited as a code owner. Listen or read the transcript below. Leon: 00:00 This is a continuation of the discussion we started last week. Thank you for coming back to join our conversation. Josh: 00:06 Welcome to our podcast where we talk about the interesting, frustrating and inspiring experiences we have as people with strongly held religious views working in corporate it. We're not here to preach or teach you our religion. We're here to explore ways we make our career as it professionals mesh or at least not conflict with our religious life. This is Technically Religious. Leon: 00:29 Um, I'm curious about, uh, again, some of the things, you know, the ways that we look at this, for example, uh, with consequences. You know, if you, if you do, if you are that cowboy coder and you break that module, you say, "Ah, I can write a better one of these and I can...", You know, and all of a sudden what happens? Like the entire code is an operable and I think that religion has a similar thing. Somebody who comes in and says, uh, you know, I know that there's these religious tenants, but we don't have to do this thing that's not important anymore. And the whole thing falls apart. Josh: 01:05 Hey, Mormon Mormonism had that. Leon: 01:07 Okay. In what way? Josh: 01:08 Well, so Mormonism was founded on the idea of a, of restorationism. Um, so that the, the idea of, um, truth had to be restored. And one of the truths that was restored by Joseph Smith, the founder of Mormonism, was the idea of, of polygamy. And that was carried on after his, his, uh, death, uh, murder martyrdom, however you wanna frame it, um, in a, in a jail. Um, and Brigham Young carried that on. So, you know, Joseph Smith had like 34 wives. Um, Brigham Young had 57, I think, some number like that, but when Utah wanted to become a state, um, the US government said there's no way. We are not letting a bunch of polygamists, um, uh, obtain statehood. So in, um, the mid 1890s, 1895, I think, um, Mormonism dropped polygamy. And when they did that, there was a huge rift that was established, uh, in the church. Um, there today there are Fundamentalists, uh, Mormons or Fundamentalist LDS, um, who still practice polygamy. Uh, even when Joseph Smith was, was killed, the idea was, you know, who's going to take over, um, the church split then the, um, his, his, uh, son Joseph Smith, the third cause Joseph Smith was actually Joe Smith Jr. So his son Joseph Smith, the third, um, started a, another religion. Um, so like these riffs, um, they, they happen and they tear apart, um, really good teams, you know. So again, you know, Mormonism had it right. It was as, "Hey, this thing works really well for us except for we're going to get rid of it..." And it breaks. So when you, when you do that within technology, when you do that within a programming language, when you fundamentally change the core of who a, of your technology, you can piss a lot of people off. Patrick: 03:09 Nobody likes a fork. Corey: 03:10 [Background] No! Josh: 03:10 Nobody like soft fork. Leon: 03:12 Oh, he took it. Okay. Corey: 03:13 Yeah. Patrick got it. Before I could, yeah. This is, this sounds exactly like you're forking or branching off code eventually off of, you know, GitHub or do you think about just Linux in general? I mean, especially apropos with Josh, uh, talking earlier about, you know, being scared of Linux, you know, this is, this is exactly what Linux did. You have your Debian and you have Red Hat and you have Minz and you have Cinnamon. You have all of these things because everybody has said, oh I can do it better or I can do it, I'm going to do it differently. Or you know, and it's just this chain that comes on down. Our open source projects have this all also, I mean the number of times I've had, you know, to especially in my current job to hey this, this one feature works great man, I needed to do this other thing that I will, I'll just fork it and just use it for my own purposes. New Speaker: 04:03 [inaudible]. Leon: 04:04 yeah. Patrick: 04:05 Isn't that the point of theology really? Which is you have four different projects that are all forked from the same root. And there's a lot of people who will love to be opinionated and argue with you all day that their one particular implementation implementation is the one true and only implementation at anyone else who gets excited about anything else is obviously wrong. But the reality is that they are all forked from a common set of service requirements. And that th that really the point of theology is to establish some base, uh, almost, anti-patterns. Exactly. But a set of a set of common frameworks that everything else descends from and as long as you can see it from those original design requirements, then you don't have to worry so much about the specifics. Leon: 04:54 Right. So I, yeah, I like that idea that, that religion in in one respect is establishing both patterns and anti-patterns and saying, you know, this, these are the things that work well and you know, or tend to work well and that's uh, based on observation of Millennia and the wisdom of the sages of the language that's doing it or the religion or whatever. And here's some anti-patterns that we've seen and here's why. So I think that that's, that's good. I was also thinking about, again, back to the idea of consequences that um, in code, you know, we talk about bad code and you know, uh, you know, the program just doesn't run, but that's not the worst thing that can happen when you run bad code. It can actually destroy the host system. You can actually do physical damage to the system with bad code. And you can certainly wreak havoc with data, with the, with the tribal knowledge of a corporation. With bad code, you can delete entire databases and you can, you know, you can really lose the essence of what's going on. And I think that people who try to take a religion or a religious, uh, philosophy living structure and then bend it to their will and change the foundational principles really do end up destroying the host system, in this case, the society. Um, and they have, you know, they have the risk of destroying the data that sit, that societal knowledge of how we do things, the, even the societal identity of who we are, um, that religion poorly implemented can have that, can have that consequence. Um, so I think that there's, that that similarity again of, as, as programmers, we know that there's actually a lot at stake if we, if we don't test, if we don't implement correctly, if we don't follow, you know, I would say proper procedures, best practices, that it's more than just, oh, your module didn't run, "Haha. Sucks to be you." Like we can really like mess up badly. Y2K is a great example of the potential risks of what could have happened. Doug: 07:03 And one of the advantages that you get them is as coders because I can really mess things up. [Don't ask me how I know]. Um, but as a result, when you take that into, when I take that into my religious life, I'm careful with how I handle the attributes of my religion, the beliefs of my religion. I have been known in some conversations to go ahead and question people who were really, really solid in, uh, you know, in their belief of something that was wrong and really irritated some people. And, and I'm more careful about that now because I now know that I have got the capability to break things, to break people, to actually make their lives worse. Um, if I go ahead and use what I know about how my religion works, how my code works to essentially make it, make things break. So I'm really careful about drawing people out to make sure that they really are making a mistake. It used to be that I would assume that if something went wrong, it was probably somebody else on the team. I now assume it's me. I mean I'm in nine times out of 10, I'm right. But so I'm much, much more careful about how I do what I do in coding. But I'm also very careful about how I do what I do in my religious community cause I don't want to break that community. Leon: 08:21 All right, so I'm going to ask you folks, cause you guys are, our programmers are real programmers on a Script Kiddie. Um, how often have you had this really elegant, really concise, incredibly compact piece of code that you realized you can't put into the final program? You need to expand it out, make it longer because you knew that the people who are going to come back later to troubleshoot weren't going to understand your super duper concise version. You needed to expand it a little bit and is not the code version of putting a stumbling block, stumbling block before the blind. Doug: 09:00 Yes. Many times. I mean one of the, one of the tenets is the person who kind of come into code later. You're never going to be as smart as the person who wrote it in the first place. So you really need to write it for a dumber programmer cause that person coming later. Maybe you mean? Well now when I was teaching programming, I mean I actually had a really beautiful piece I used to call it, I was teaching c and it it would take a digital number and turned it into binary and it was like a two line recursive piece of code that was just, I mean I called it programming poetry. Um, none of my students got quite as excited about it as I did but it's nothing that I would ever put into a real piece of working, uh, code because most people have trouble understanding recursion to start with and this stuff was so spare that it just, you had to spend a half an hour just to finally grasp what it was saying. So the, the trick is to go ahead and find something that works but that regular people can understand as opposed to you on your most brilliant day. Corey: 10:01 I mean we have a similar thing though in in Judaism. I mean you, you always think about there are patterns that we always, that we have to follow. We have these set lists of things, you know, uh, solid principles Uncle Bob Martin has yeah. That, that we follow and these are your journeys and we have ideas at the rabbis, you know, either you're added safeguards and those are pretty much what our design patterns... Leon: 10:31 OK, right. Corey: 10:31 ...are, this, these, these rules. And of course, one of the fundamental rules of this all is you're not putting a second one on top of one on top of another decree. Basically, you're not putting a pattern around another pattern that that's just, it's in and of itself, its own anti pattern. Leon: 10:49 Right, right. You don't put a fence around a fence. Corey: 10:51 Yes. Patrick: 10:52 That would be nice and code. Yeah. Leon: 10:54 Right. Because yeah. Too many layers of, of extra, um, ... Corey: 10:58 Too many layers of that distraction. Yeah. I mean, as an example, I remember I was on a project where the, the project that the code was, the project was supposed to have been delivered six months earlier and the guy who was their architect had spent months just doing the architecture and he had over architected it to the point where even the simple html tag was its own function and it, it bogged down the system and it just made it so impossible to where it looked beautiful. But it was so impossible to work with and to actually create the code that no wonder this project was running so late. Patrick: 11:41 OK, there are no, there are no zealots in software. Speaker 6: 11:43 Okay. There shouldn't be. There are certainly are. Patrick: 11:48 Right. Well, what if, and this goes back again to the kind of community aspect of great, like what if the best religions are the ones that are religions of attraction in the same way that the best projects are the ones that are project of attraction and there is no right or wrong, um, what there actually is as a sense of fellowship around a um, um, a goal. And that those projects which tend to drive the most engagement are the ones that are most welcoming and where there are this disparate set of voices, each with their own opinion. And there is no, you did this right, you did this wrong, you are an elder, you are new to this. And instead that the projects that are the most successful with technologies are the ones that build fervor, naturally because people are just excited to be a part of it, right? Like that. And that as the ultimate anti pattern that removing judgment from it and letting it be a project of attraction is the one that builds really healthy communities around a particular type of technology that actually survived. Leon: 12:50 Right. And, and I'll also say that to your point about judgment, that uh, both religion and programming, um, individuals come, come to those groups and they say, I want to improve, I want to be better. But there's a really big responsibility and there's a, there's a dance that has to be done about giving correction. That, in religion, Doug, this goes back to your point about being careful about what you say and Patrick, what you just said about you know, about code, that if, if I invite someone to say, "Hey, can you evaluate my code? Can you, you know...?", I'd like you to look at my, you know, lifestyle, my choices and offer your perspective on it. That's an invitation. If that invitation is not extended, someone who offers uninvited their correction, whether it is code or religion, is really crossing a line and has a very real chance of driving that person away in both cases. Patrick: 13:51 Right. I think, not to drop the observability word here, but I will... Leon: 13:56 There we go! Patrick: 13:57 So much of it ends up being like, how do you instrument a religion, right? Like, is it, are you looking at, you know, are you looking at latency? Are you looking at CPU utilization and memory? Right? Is it about how it affects the end user or is it about you? And like a, a bunch of really discrete metrics about the infrastructure. Because if you measure something, let's say, what is the 'peace' metric here? Right? Leon: 14:20 Okay. Patrick: 14:21 What is the faithfulness metric as opposed to, oh, I do the Hokey pokey and I turned myself around and I get up and I get down at the right times and I say all the magic right words. It's like where do you put the metric on it to determine whether it's doing the most good or not or whether it's the best for you or not. So there's an opportunity to uplevel. I think we tend to get way too granular into the practice instead of the outcome. Oh, and I'm talking about code now in technology, but yeah, I mean like putting, putting metrics in place that are not sort of minimum acceptable performance metrics, but instead like, where's the delight here? Where's the thing where we're going to move forward? And those tend to be more crowdsourced, end-user focuses. And not so much about everyone who's already converted or everyone who's already practicing the right way. But like people who were new to it. Like is this actually something that a community would want people that would be attractive and would draw people to it? Or is it insular and it actually excludes people? Or it makes you feel like you're always trying to catch up, uh, because you're afraid of being judged? Leon: 15:23 Right. But I will say that in both religion and code, there's the aspect of people wanting to work hard at it. The, the joy doesn't mean that it caters to the lowest common denominator and makes everything easy and low risk and low work and low stress. That both religion and code work best when you're asking people or you're offering people an opportunity to grow. And that means sometimes facing some relatively uncomfortable elements of themselves, but not in a way that breaks them, It's in a way that strengthens them. Patrick: 15:58 but aren't, they aren't the best projects. The ones where you can get to 'hello World!' 10 minutes after you, uh, get clone. Um, but also the ones that you can spend hours every night digging into the code base with more and more detail and opinion and history about why the thing ended up the way it was like aren't the best projects, the ones that are open that there is no idea of this person is an expert and this person isn't and it's accommodating to people who are interested in technology and excited about automation and learning how to, to really think beyond a prescription and get to the part where they're using their passion and it doesn't matter and you don't judge them for you, you welcome them to the project regardless of of their experience level? Corey: 16:44 Yeah, I mean that's one of the key things that I, I've had to adopt being a team lead now at my company is I've got a number of developers who have far less experience than I do it. It's a matter of not just getting them up to speed and making sure that the team is enjoying the process and make sure everybody is excited. I mean, we work on the accounting module and accounting, you know, you can get kind of boring. Leon: 17:12 It's not the sexiest module in the program. Doug: 17:15 Hey, hey, hey, I like accounting. Corey: 17:19 Yeah. I mean, Hey, I'm Jewish. I love counting money. Leon: 17:21 Oh God! Corey: 17:21 Also, don't get me wrong... Leon: 17:23 Corey! Patrick: 17:25 We should have video for all the head shaking. Corey: 17:27 Do we have a legal department? Leon: 17:32 [Groaning] OK, keep going Corey: 17:32 But there is that, that, that element of having to bring people in and making sure everybody is taken care of. Then leading back to what Patrick was saying that I want to make, I need to make sure as as the team lead, that everybody's in the right place and everybody's in a good place for it and for this project to move forward and for us to all collectively get this across the line and get to the end where we're supposed to be. Doug: 18:01 Evangelical Christianity when it's done right, in my opinion, of course, but because of course I know what's right, you know, uh, but evangelical Christianity when it's done right is both welcoming in the beginning, but has that ability to grow and your joy and everything increases over a period of time. Evangelical Christianity as it's portrayed generally in, uh, the media and in most people's minds is that whole judgmental hitting you with the Bible. You know, you're a terrible person judging the world. Uh, and it's unfortunate that, that, that's the impression it's gotten. But that's because there are a number of people who are Evangelical Christians who feel it's their job to fix the rest of the world. The reality is, it's like in the Christian world, we're not supposed to be judging the world. It's not our, that's not our bailiwick. It's not my job to go ahead and fix everybody else. We're, we're actually supposed to fix ourselves. You know, when you come into the Christian community, you're, you're essentially are guided by the community and to grow in that community, but your job is not to go ahead and fix everybody that's outside. Leon: 19:13 Okay. So I think that puts to bed, uh, some of our ideas about the ways in which our religions are like our programming lives. But I don't think it's a perfect match. I think there are situations in which it does fall apart. Um, for example, we were talking about consequences, you know, of our choices. And while there are a lot of similarities, I don't believe that a core memory dump is the same as spending eternity in hell for those people who have such things. So, um, what are some ways in which our religions are not like programming? Where does this not stand up? Doug: 19:46 With consequences? Leon: 19:48 With anything. Doug: 19:48 I'll tell you. Well No, I'm gonna say with consequences because the, there's a couple number one, 9 times out of 10, if you screw up in code, you know, like really soon. I mean, if you're working in a compiled language, it doesn't compile. If you're, you know, you run your tests, your tests fail. I mean, you find out right away. You can sin really badly in most religions. And it doesn't, the reason why we have televangelists that sleep with their secretaries for months and months is because you don't, God does not immediately hit you with the lightening bolt when you screw up. So the, the, the consequences in religion tend to come at a longer range and people being not quite as focused as they should be, might think that they got away with it. Uh, whereas programming is a lot. Um, it's, it's kinda in your face. Now. It is possible to have an era that doesn't show up for years later. You know, they do exist, but for the most part, if you screw up, it hits you in the face, right now. Leon: 20:50 The feedback loop is much tighter. Okay. Doug: 20:52 Really tight. Corey: 20:53 The other thing is, I mean, we have, you don't have too many people bouncing between religions as much as you have people bouncing between coding languages. I mean, in a given day. Sure. I'm primarily a .Net developer, but I work with Angular. I've worked with, I work with SQL, all these different languages and you know, bouncing between them like, oh, this cool feature on this. Oh, this cool feature on that one. And so, you know, you don't really have that as far as the religious context goes. Leon: 21:23 Fair enough. Okay. New Speaker: 21:24 So I'm going to be adversarial here. I'm going to disagree with Corey and I'm going to agree with Patrick. I think that more and more in the world we're seeing people who are bouncing between a religious observance. Um, and, and Doug, I'm going to be a little oppositional with you as well. Um, if I, I think, I think people who are in high demand religions, um, have a very clo...or very tight feedback loop. Um, you know, so for example, within Mormonism, uh, in order to go to a Mormon temple and LDS temple, you are required to have a temple recommend. That is something that is issued to you every two years after you, uh, go through, uh, an interview process where there are, I think 12 questions that, uh, assess your, your spiritual and physical, uh, worthiness. Um, if you screw up, um, like, I guess I did when I said I didn't, I no longer believed they will revoke that, um, temple recommend. And you can no longer attend the temple. So there are definitely religious observances out there. Um, I call them high demand religions. And where there, there is a very tight feedback loop. Uh, Jehovah's Witnesses. If you are deemed unworthy by the Council of the Elders, um, you are shunned. Uh, and those are two between Mormonism and, uh, and Jehovah's Witnesses. Those are two that I'm very familiar with. So I, I think that, I mean, maybe there are some religions that are really like code and that the, that that feedback loop exists. Um, and so, I think fundamentally we have a problem here, uh, on this podcast and that is that we have self-selected some people that are rather altruistic, um, and have a very broad view on both religion and technology, right? What we need here are we need some very coarse fundamentalists. Um, some people who are very dogmatic. Leon: 23:30 [Laughing] Josh: 23:32 Um, I mean, maybe we're talking about going up to the Linux forums as Patrick suggested earlier. Leon: 23:37 Oooo... Multiple people: 23:37 Oh yeah. Oh,. Leon: 23:39 I feel called out. Patrick: 23:40 Okay. Apple forums. Multiple people: 23:41 Apple, that's worse. Josh: 23:45 [Laughing] It really, Oh, you know, we're, we're, we're talking about, um, in a very pragmatic and, uh, holistic way the way that we want religion to function. The reality though is if we look out into the world that's not the way that, that religion necessarily functions. Um, you know, there's a reason that there's a really bad church in Florida that, um, travels around the United States, uh, shaming and shun...., Shaming people for things that they do. And I'm not even going to mention their name cause I just don't like them. But those people are religious. And for those who are listening, I am air quoting, you know, my little heart out here. They are, they have a very profound religious observance but they would not fit in well with this group here. Leon: 24:32 But I would, I wu... I would also argue that that flavor of whatever of lifestyle is exactly, we are talking about with consequences that a religion where you've changed the base tenants and you've started to really veer away can actually do damage in the same way that code can ruin, you know, a societal structure or it religion can ruin a societal structure that your code can ruin your data structures. Um, I wouldn't call that a[n] effective or even a legitimate, uh, religious expression, and I've realized that I've alienated them and I'm okay with that. Um, I would, I would also say. Doug: 25:12 They're not going to like you! Leon: 25:12 that's fine. I'm good with that. I, I consider that a plus. Um, I also think that, um, to a few points that were brought up, the bouncing between religions, I think that there's a difference between people who bounce between basically, I won't say fundamentally, but basically Christian religions going from, uh, and, and I'm going to, I'm going to express in betray my lack of nuance when it comes to Christianity as a whole. So feel free to dog pile on me if I'm really wrong on this one. Corey: 25:45 [Background] You're wrong! Leon: 25:45 Thank you! That, I want to point out the other Jew just did that, but um, to say that, to say that, you know, bouncing from say Presbyterian to, uh, to um, Catholic to something else is a lot different than bouncing from Buddhism to Judaism to Hinduism that, that you're really, you know, those are some radical shifts, but you can have somebody who bounces from say Perl to C# to say Delphi and you know, very gracefully goes between those,... Patrick: 26:24 What if it's not about the language at all, right? Maybe it's about what if it's about service requirements, right? And that the demarcation, um, much like with an app server where it's requests come in and then the code itself is abstracted by whatever happens on the back end. And so what the requesting client sees a request and they see latency and they see data completeness or resiliency or availability. These are all things that they see. And then the actual code behind it, the, the design patterns, the way that it was compiled, the unit tests that were part of that acceptance delivery, the way that it was deployed, all of that is concealed to the end user, right? So what if at the end of the day, it really is just about the services that you deliver and that the way that way we choose individually to make the sausage that delivers that service don't matter. What if it really is about the service delivery and that taking yourself and your theology and your dogma out of that interface is what actually delights users, is what actually encourages people around you to hang out with you, to engage in conversation and the rest of it, and so that taking that whole idea of opinionated platform, judgment, patterns, correctness away in the same way with application delivery, is the goal. It's how do we measure whether people actually enjoy engaging with us and they don't need the details. And in fact the details distract from an opportunity to have a great interaction and to do, to leave the world a better place than it was. That the details do matter and they matter, especially in terms of being concealed or at least not being forward with the details and said being forward with the service delivery. Not with the details. Josh: 28:07 Listen, We can't ever have Patrick back on the show. I am just going to say that right now. He is far too levelheaded. Leon: 28:13 [Laughing] New Speaker: 28:13 Uh, yeah. Sorry Patrick. Patrick: 28:17 Well listen, I think about, I think about technology literally 90% of the time, the fervent and my handle. There's no joke about that, but I'm not kidding. I spend probably the remaining 10% of my time thinking about cosmology and theology and morality and the rest of it. Like "Why am I here?" I mean like the whole point of, of, of religion is that we evolved an organ of our brain that is designed to engage mysticism that allows us to go beyond, you know, being 12 years old and realizing our mortality and you know, as a cave person jumping off of a rock because you realize that this whole thing is eventually gonna come to an end. So you have to put something in there like the human experience is about mysticism. So like you're, I don't want to say you're picking a flavor and putting something in there, but like recognizing that it's about that user interface that's for the, the great faiths, the great religions that have been around for a long time. Theologies that that thought, whether it's theologies or it's um, uh, software approaches that were year in and year out. Like if you look at some really great Cobol coders from back in the day and you compare to the code that, that a lot of people are writing now and feel like no one has ever followed this pattern before. Of course we have that. It's that it's really about that longterm goal. And it's really about delivering services. Not about the patterns, the specific patterns that you use or the words that you say or the the verb tokens that you use or how it's compiled, or is it interpreted that doesn't matter. It's like what happens after the demarc point. Thanks for making time for us this week to hear more of technically religious visit our website, TechnicallyReligious.com where you can find our other episodes. Leave us ideas for future discussions and connect to us on social media. Corey: 30:01 .Net! Patrick: 30:02 Go but optimized for Google, so GoLang. Doug: 30:06 Delphi. Leon: 30:08 Perl! New Speaker: 30:08 Guys, guys, please, can we just unite against our common enemy? All: 30:12 Php!  

Hi everyone, and thank you for tuning in to another episode of the We Make Books Podcast - A podcast about writing, publishing, and everything in between! This week, we’re talking about a special state of being: The Debut Author. Who are these mysterious creatures, caught between a new chapter of their lives and the rest of their careers? What do the fates and their futures have in store for them?  And how the heck do you kill all of this time waiting for your book to be released??  Being a debut author is uncharted waters for most, how exactly do you navigate this? We talk about all of these things, yell about cookies, and Kaelyn nearly dies of shock after Rekka makes a sports analogy mid-episode. We Make Books is hosted by Rekka Jay and Kaelyn Considine; Rekka is a published author and Kaelyn is an editor and together they are going to take you through what goes into getting a book out of your head, on to paper, in to the hands of a publisher, and finally on to book store shelves. We Make Books is a podcast for writer and publishers, by writers and publishers and we want to hear from our listeners! Hit us up on our social media, linked below, and send us your questions, comments, concerns, and your thoughts on Amazon’s upcoming Lord of the Rings Series. We hope you enjoy We Make Books!   Twitter: @WMBCast  |  @KindofKaelyn  |  @BittyBittyZap Instagram: @WMBCast  Patreon.com/WMBCast Rekka:00:00   Welcome back to, we make books, a podcast about writing, publishing and everything in between. I'm Rekka Jay. I write science fiction and fantasy as RJ Theodore. Kaelyn:00:08   And I'm Kaelyn Considine. I am the acquisitions editor for Parvus Press. And today we're talking about debut authors, uh, which Rekka still is one. Rekka:00:19   Technically. Kaelyn:00:20   As of when this is being released. But yeah, not for much longer now for much longer than two weeks. Kaelyn:00:26   I will no longer be a debut author and we'll have to hang up that hat. So this episode was inspired. Well, we already had the idea to do an episode on being a debut author because I've seen it come up a lot and since we agreed that we would do that, it came up a few more times. Um, @ka_doore - K.A. Door, who is the author of the Perfect Assassin, did a tweet thread about the handbook that needs to be written for debut authors. Kaelyn:00:54   Someone should handle that. Kaelyn:00:55   Yes. And um, Kai did offer that. If anyone would like to pay her to take two weeks off of work, she would happily write that handbook. And so some of our topic points were taken right out of that. And then Melissa Caru, author of The Tethered Mage @MelissaCaru also sort of talked about what an odd sensation it is to be a debut author. So those were two that I wanted to just shout out and thank for, um, you know, just kind of guiding our conversation a little bit. And also, you know, like say, hey, we see you. You know, cause as you'll hear in this episode, sometimes you're just like, what am I doing? Who, who am I now that I have a book deal and, and what am I getting into. Kaelyn:01:40   It's both an identity and existential crisis. Rekka:01:43   And it's a big to do list as well. So, um, we talk about the tasks that you need to accomplish, the things your publisher will be doing. How would it talk to your publisher and your agent during this time when you feel like maybe they're just busy and they don't have time for you because they're supposed to be doing something and you shouldn't be bothering them. Stuff like that. And then also like how to feel and how not to feel and how to distract yourself from your feelings. Kaelyn:02:04   Yeah. So, um, we hope you enjoyed the episode and by the way, stick around through the end of it because we have some news announcement type thing and then also we have a giveaway the end of the episode. Um, so, uh, stick around. Take a listen there and um, we hope that you enjoy Episode 11: Debut Authors Kaelyn:02:32   We don't have the material to make cookies. Rekka:02:32   We're going to grab stuff out of the kitchen. Kaelyn:02:46   Rekka, how long have you known me now? YOu can't be like, oh, cookies and then not have cookies for me. Rekka:02:51   We'll make cookies when we're done. Kaelyn:02:53   God dammit, now I want a cookie. Rekka:02:56   Let's get through these episodes and earn our cookies. Kaelyn:02:58   Fine. Rekka:02:59   Okay. Kaelyn:02:59   But only because I like you. Rekka:03:01   My idea for today was to talk about what life is either going to be like if you are a, uh, a newly signed author or what life is like if you are on your way to your first release stage or what life was like if you are listening and, and feeling these feels in retrospect. Kaelyn:03:25   There's a lot of feelings going around here. Rekka:03:27   I'm trying not to make this one like a tear jerker or my own sob story, but there is the potential for some feelings and having to talk about them. Kaelyn:03:38   Hey, look feelings, feelings are okay, feelingare things. Rekka:03:42   Are they though? Kaelyn:03:44   I mean I don't have them personally, but I'm told that - Rekka:03:48   I just feel like life would be easier without them. Kaelyn:03:51   It is, it definitely is. Rekka:03:54   Um, I tried to put my feelings in books and not contain them in my human self. Kaelyn:04:00   Well that's great because then we keep getting books out of you. So as long as- Rekka:04:04   It does work - Kaelyn:04:05   As long as you keep uh, on that track, I'm happy. Um, so yeah, we're talking about, you know, what happens over the course of getting signed your pre-release and then your book coming out and what your, your life changes if you will or lack thereof. In some cases. Rekka:04:22   Things are going to change except they also kind of aren't. Kaelyn:04:25   Yes. Rekka:04:26   Um, so when you have signed your book deal, unless you are an outlier, you don't get to quit your day job. Kaelyn:04:35   I mean that would have to be one hell of an advance. Rekka:04:37   It would. And considering you probably only get a portion of it when you first signed the contract, it would really have to be a hell of an advance because now whatever that is, if you were to quit your day job would have to last you probably like 18 months. Kaelyn:04:50   Well, here's, here's, I'll take it a step farther. If you have an advance that would allow you to quit your day job, you're probably not a debut author. Rekka:05:00   Right. Or, or somehow you got a really good agent - Kaelyn:05:04   Or you're Robert Mueller. Rekka:05:05   Is that his debut? Kaelyn:05:08   Well No, I mean like, you know, if he gets a book deal he's going to get - Rekka:05:13   Yeah. Kaelyn:05:13   I'm sure he'll be getting a multimillion dollar advance. Rekka:05:16   Anyway, the um the advance you get is not going to allow you in 999 cases out of a thousand is not going to allow you to quit your day job. So your day to day life doesn't change except now you are a signed author and you have signed author responsibilities. You thought your manuscipt was done. Let me tell you, your manuscript's not done yet. Kaelyn:05:42   Also, if you thought your manuscript was done, please go back and listen to the previous 10 episodes of this. Rekka:05:47   Right. So there's more work to do on your manuscript. You will be, um, meeting and starting to work with your editor at your publisher. And um, you'll probably start to talk to different people at the publisher who are going to help with the launch. Uh, as you get closer to that. And so we just want to kinda list and you know, topic by topic, go over what kind of things you need to be expecting. Kaelyn:06:16   Yeah. So we won't spend too much time on like the meeting with your editor kind of thing because I'm, we did a lot of that in episode three for the um, you know, sort of walking you through the process, but you'll meet your, you know, meet your editor officially if you haven't already. Chances are, you've probably talked to someone before this, um, sit down and get a timeline out, get a, you know, we expected this by this date, which again will probably be in your contract, read your contract. Um, what the main thing that you're going to kind of have to pay attention to before that leading up to this is marketing and promotion and your publisher should be handling a lot of that. Have a plan. Again, this is probably hopefully something you talked about before you sign with them. It might even be things in your contract. Rekka:06:59   Which would be good because then you have it to reference and everyone has signed the agreement that these are the dates and the, and the things that are going to happen and the expectations for the marketing. Kaelyn:07:13   Yeah. So leading up to your book release. Um, so you might be going, okay, well that's what like my publisher's doing, like, but I'm not, you know, I'm not buying ads and doing, uh, you know, marketing stuff. But you might be recruited to appear at different events or readings. Um, you might be asked to do like some promotional stuff, you know, interviews or things of that nature. Rekka:07:39   Mmmhmm, so the other thing that you can be doing, you know, like up to this point, when you were a drafting author and you were writing your first book and you were on submission, if you had any presence on social media at all, it was probably related to like, oh, this is so hard. Or you know, commiserating with other writers and that sort of thing. And now you are an author with a publishing contract and you need to start thinking about how to get future readers onto your social media. So that's something you can sort of be doing is, um, looking at ways that you can build your platform for readers as well as, you know, your fellow writers or just your friends or the companies that you followed or whatever was your Twitter before. If you haven't started to cultivate it toward your writing presence, then you might want to start to like reconfigure how you talk on social media, not as in like become someone fake, start to talk about different things. Um, start to, you know, the process of launch and - Kaelyn:08:47   Keep everyone up to date with you know, what's going on with you. Um, one thing is it's, it's just nice to see, I really enjoy seeing people that I know or work with, you know, saying like, oh, it's this many weeks or I just got this back and it's, it's nice. It's a way of, you know, kind of, because this is a community of people you probably got a lot of support from over the years. They should want to cheer you on. Rekka:09:13   Right. Kaelyn:09:13   Um, but also it's just kind of one of those, and you know, it depends on how big of a following you have, obviously, but just keeping the reminders going that like, I have this book coming out. Rekka:09:27   Right, because eventually you can do a cover reveal. You can, you know, tweet that and then pin it to the top of your feed. And now when someone goes to your Twitter profile, you've got your preorder link at the top. Um, now in your bio you can say the release dates and, um, you know, if you've got a short link, you can put that there. Your banner can now have your cover art on it. You know, now you see, you start to like turn this into sort of a funnel for somebody who appears at your profile for the first time. They know exactly how to find your book because you've made it easy for them. Part of your half of the marketing is just keeping up your presence and making it easy for people who find you to also find your books. Um, this does not mean that three times a day you need to tweet pre-order my book, preorder my book, pre-order my book. You're - Kaelyn:10:20   Oh please, don't do that. Rekka:10:21   You're going to chase people away with that. Kaelyn:10:22   You are. Yeah. It's, um, you know, when something comes up or you know, something changes or you have news, it's always a nice little time to be like, Hey, I've got this book coming out also. Rekka:10:32   So you have this publishing deal and you're talking about it on Twitter. Um, you know, you're not revealing anything that's, you know, secret to your contract or anything like that, but you are talking about the process and you're sharing it with people. And those people may be writers. Those people might be future readers. Um, they might be friends, but in the rest of your life, since you didn't get to quit your day job, um, you might be tempted to tell your coworkers about your new book or, uh, people at the grocery store, et Cetera. Kaelyn:11:01   Random people in passing. Rekka:11:05   Random people. That impulse may fade rather quickly. When you get to the same question from every single one of them thing, which was how much money did you make or when's the movie come out? Which is a great way of saying, I don't plan to read your book. I just want to know when you're famous. I just want to be able to say I knew you. Um, yeah, those, those are the types of questions you're going to get from people who don't really know how to engage. My, uh, my coworkers. Um, the one who was most excited for me basically said, so you don't need this place at all anymore and well, not quite. Kaelyn:11:39   They don't know how things work. Rekka:11:41   And I believe there is a perception because I left that job. I believe there's a perception that people thought I left it to go become a full time writer. And while that would be absolutely wonderful, that is not reality that I ever expect to come true of being able to support myself fully on my writing without pulling some serious hustle and probably working harder than I do now to market the self published books. Kaelyn:12:06   Give us all of the words Rekka. Rekka:12:08   Yes, and Parvus will be clamoring and say, no, you can't self publish that. We want that. So, um, so that is, that's like a weird realm that you're going to exist in. You want to effusively bubble over with this news and it's not going to be taken exactly how you mean it from a lot of people. Like, um, just to warn you, there are people who are going to think you're bragging. There's that, going back to that perception that you can now quit your day job and all this kind of stuff. People might think you're bragging because they don't understand what really hasn't changed all that much. Your book is going to come out, but, um, it doesn't mean that you're going to start driving a Tesla. I mean like those big advances, that's what people see because those are the ones that make the news. Kaelyn:12:51   Yeah. Rekka:12:51   So that's what people might perceive that you are um, expressing when really, you know, like part of it is your excitement. Part of it is your relief because you know, you worked really hard and yes this is a good book and yes someone does want to publish it. Kaelyn:13:07   You know, at the end of the day this is, this is hard to say. Your coworkers, if they're good people will say, that's great, congratulations. When does it come out? Oh, I'd love to preorder a copy as far as they're concerned, that's all they need to- Rekka:13:16   Right. That conversation was a moment in time for them where it was like this is your new brain space where all you can think about is wanting to talk about this book all the time. Kaelyn:13:27   So just, you know, be aware that like, yes, this is life changing for you. For other people it's something that they're aware of and they're happy for you about, but it doesn't really mean that much to them. Rekka:13:38   And to that point, even within like the social media circles where you do have a lot more support, like you'll announce your book cover reveal and you'll get maybe a little bustle of attention that day, but it's going to fade similarly because not everyone has room on their plate to obsess over your book the way you do. Kaelyn:13:57   Exactly. Rekka:13:57   And most people don't even want to. And most people are doing their own thing and have their own obsessions. And so that can lead to almost like a dysphoria about the process. It feels very strange because yes, it's happening, but there's nothing to tell people today that isn't the same thing you told them yesterday and it can feel, it can actually start to feel a little bit extra lonely, um, because you feel like everything should be great, but you're slightly disappointed because you can't talk about it. It's actually easier to talk about how you are still searching for an agent or a publisher than it is to say, I am still working on my copy editor. Kaelyn:14:36   Well, there's more people to commiserate that the pool every time. This is the thing is every time you hit a success - Rekka:14:43   Like a career point - Kaelyn:14:44   You're taking another step up the pyramid, if you want to think of it that way. And there's coming - Rekka:14:49   You were a small fish in a big, in a smaller pond, Kaelyn:14:52   There's fewer and fewer people every step up. So, you know, when everyone's at the, you know, in the pond together going, I'm just trying to get my, well, let's say that's the ocean. Rekka:15:04   [laughs] Yeah. Kaelyn:15:05   I'm just trying to finish my book. Then you go to the, I finished my book. I'm just trying to get an agent. Then you get the agent, then you're just trying to get a publisher to pick it up. Then you get it published. Then every success narrows the field of people that you're in the same boat at. Rekka:15:21   That's right. It's like a funnel. Kaelyn:15:23   Yeah, exactly. Rekka:15:24   And there's a lot of filters and the folks who were with you in the ocean aren't necessarily going to follow you into your little Koi pond if you wanna, you know, talk about like making it all the way to the end of it. Kaelyn:15:37   Oh, it's definitely a Koi pond. Rekka:15:39   Um, goldfish bowl? Kaelyn:15:41   I like the Koi pond. Rekka:15:42   Yeah. Kaelyn:15:42   Some flowers in there, a little water for landscaping, some pretty fish, nice plants. Rekka:15:48   Um, so and too that, um, you know, along with that comes the imposter syndrome. And the funny thing is, and I've heard this mentioned many times, is that the imposter syndrome hits harder the more success you find. Kaelyn:16:05   I was going to say actually this is part one of the impostor syndrome. Rekka:16:08   Well, yeah. Kaelyn:16:09   Before you're published. Rekka:16:10   Yeah. Um, it's part of a whole process of, I think part of it is I feel like I should have eyes on me, but things haven't really changed all that much. Therefore I must be bad. That's kind of what posture and you know, like there's that game, um, where you like do the fortune cookie thing and you end every fortune cookie with in bed. Kaelyn:16:31   Yes. Rekka:16:32   Imposter Syndrome is that, but it ends every thought you have with therefore, I am a bad person and a bad writer and my books are bad and no one likes me. It's a very long version of the - Kaelyn:16:43   That, that's a big one - Rekka:16:45   But it's kind of what it's like. Um, things that are normal, things that everyone is experiencing end with this thought of, therefore I am bad and I should feel bad. Kaelyn:16:56   Um, something about writers, and I'm going to say this and I don't mean it in the like re- bad reality star type way. Writers need attention. And while I know that sounds like a petulant child, I don't mean it in that way. I mean that this is such a vulnerable thing to do. So when I say need attention, I mean, need encouragement - Rekka:17:26   We need a cheer squad. Kaelyn:17:26   and attention and people going, you're doing the right thing because for a debut author, you don't know if you're doing the right thing. This has never happened before. So it's nerve wracking because it's, you're like, yes, you're out of the ocean, but now you're in like Lake Michigan and at least you knew what was going on in the ocean. So being you feel adrift a little bit. So getting attention, when I say that means encouragement, discussions, talks and plans about things. Just attention on you and your book because it makes writers think like, okay, yeah, I got this. We're good here. Rekka:18:03   Yeah. And his frequent check-ins as you can get from your publisher, like encourage them to do that because it does, it just makes them, you know, cause it can get really quiet. Kaelyn:18:11   I - Rekka:18:12   They're part of the job. Kaelyn:18:12   I mean, I will say my authors, you know, depending on their personality, some of them are happy just being off in little author world forever. And um, you know, only talking when we need to, but like a bunch of them, like I, I email them every other week, every week or so, and just be like, hey, how's everything going? Need anything, you know, how's the next book coming? Um, one because I like all of my authors and I like to hear from them, um, too. But I think authors have a thing a lot of times that they don't want to bother their editor too much. And like that's nonsense. You should absolutely, every time there's a problem, be talking to your editor. But, so I always try to do that just to open the door for like I'm having this problem! Rekka:18:55   And if you have an agent, um, that you have another layer of like somebody that can be part of your process or, or help reassure you in these like scary, quiet moments and things like that. And so, um, the bigger the team of people that you work directly with on your books, I think the better you'll feel because you know, if, if you can set up a rapport with your agent or your editor or something like that where you are in touch pretty frequently. And also on that note, like know what you want out of the relationship from the start and - Kaelyn:19:26   I was just going to say that before you, you know, really get into this, um, a good conversation to have with your agent and with your editor, especially your editor because you know, your agent, that's a different relationship. They work for you. They, um, your editor technically also works for you, but it's a different, it's a different relationship with them. Rekka:19:46   There's a power balance there. Kaelyn:19:47   So having a quick conversation of like, you know, check-ins, how much communication, um, you know, I always tell my authors, like, if you need something, email me just, or you can send me a text, you can DM me on Twitter, whatever is easiest for you. Um, just, you know, I'm fine with you being in constant communication. It doesn't have to be relegated to our scheduled calls. Um, some editors, you know, understandably don't, you know, want that, they'll have more boundary set. Um, I on the other hand, have no boundaries. So, um, yeah, so that's, I mean, that's most of the pre-stuff. Rekka:20:26   Yeah. Um, and just further on that note, like don't pretend to be a super altogether, not at all anxious author, and then suddenly 10 months into the process or, or don't just suddenly have a breakdown on them. Like, be okay with like talking to them whenever you want to - Kaelyn:20:46   Accept that this is going to be a stressful process and is going to put you in a very vulnerable position. Because if you try to keep up a brave face the entire time, you're going to lose your mind. Rekka:20:57   You have allies in this now, that's what comes with the publishing contract. So, um, don't be afraid to reach out to them, if you have questions. Kaelyn:21:05   It's a skill to acquire as well. But you know, eventually your book is going to come out. So then that's going to come with a whole other separate set of anxieties. Rekka:21:15   You will have been getting busy as your book is approaching. And um, what I wanted to also point out is that like in these long stretches of silence, you can be finding your community also by going to conferences. And we've talked about this a little bit, I think in episode, uh, the first two episodes we talked about, things you can be doing while you wait. Kaelyn:21:40   Oh yeah. Episode three after publication. We did a lot of, um, stuff about things that, you know, if you want, if you're interested, we talk a lot about that, but we, you know, we'll discuss it here, again, maybe go into a little more detail. Rekka:21:51   Yeah, it's just, you know, there are other writers who are at these stages. They're at every stage of the process and these are the people that are going to understand what you're going through the most. So, um, you know, find them at the conferences, friend them on Twitter and then it won't be quite as lonely through this whole process. Kaelyn:22:10   But also at these conferences and conventions that is a chance to promote yourself and your book. Rekka:22:15   Yes. Kaelyn:22:15   Going to these and signing up, you know, sign up for a panel or depending if they do that, do a reading. Um, first of all, they're a lot of fun and it's a really good experience to have. But I think, um, it, it gives you an idea of how hard it is to get up and talk about these things and you know, crowds and stagefright aside, this is something Rekka and I keep discovering when we're working on this, it's hard to organize your thoughts on this topic. Um, I always think that giving presentations about things or discussing them is a great way to sort of force yourself to sit down and confront realities. Rekka:22:55   And one of the things you're going to be doing at this point when you're waiting for your book to come out is preparing these sort of like nonfiction autobiographical sort of stories. Kaelyn:23:05   Oh yeah. Rekka:23:05   And doing presentations at conferences is a great way to get in the mindset of nonfiction because it is a huge shift. I had a really hard time when I was writing the essays for Flotsam is released all the blog appearances and that sort of thing. I had a huge mind block of being able to go from nonfiction to fiction. It's a, it's a skill to develop and it's not the same as writing fiction. Kaelyn:23:33   No, and I mean I will say as someone who, uh, prepares information like that for our releases writing, it sounds like it should be such an easy thing. I just need write my biography and tell a couple, you know, things about myself. Well, here's one thing maybe a lot of people don't consider. You really need about five versions of your, about me. Rekka:23:56   Yes. Kaelyn:23:56   One that is literally two sentences, like the kind that can just be stuck in the end of a magazine thing. One that's maybe a paragraph one that's two paragraphs, one that is considerably longer and more detailed and that's for if somebody really needs a lot of information about you, where you the author or the focus of everything. And then one that is kind of like a press release and that's the one that, it's funny cause I said press release, but it's actually what you're going to say out loud to people real quick about yourself. Think of it as if you're in an interview and like, so introduce yourself, introduce herself. I'm, you know, in my case it's, I'm Kaelyn Considine, I'm the Acquisitions Editor for Parvus Press and I also head up our editorial group and then you have to, the end of it should factor into what about you is relevant to the conversation, to the conversation that's taking place. Rekka:24:52   And it should sound natural. Kaelyn:24:53   Yes. Rekka:24:54   Because, um, when you say these out loud, it's very different from writing for them and let them - Kaelyn:24:58   Practice them. I mean you heard I just did mine right there and I have that memorized at this point. It's, it comes, it's, it's like a reflex now. Rekka:25:08   Yeah. And that's important because you know, you get frazzled, you might, um, you know, sit down and they've got the mic running already, you, but you realize like you just sat down on the end of your sweatshirt or something like that and you've got to readjust and they're already asking you to introduce yourself. So like these things that are practiced ahead of time, and I don't mean to make it sound like you're regurgitating it by rote, but you want to be comfortable so that, um, you know, the simplest things aren't difficult in that moment because, you know, you'll need to focus on the interview questions, you'll need to focus on, you know, whatever the topic is. So, um - Kaelyn:25:46   Get into this mindset where you are an author and you need to be able to communicate that quickly, effectively. And as a reflex, it will take a while to get used to that. Um, when I first started with Parvus, I did actually, this is, this is a good example. Um, I was just very, I won't say shy, but like people would, you know, I'd introduce myself and say on the Acquisitions Editor for Parvus Press, oh, that's so cool. I'm like, yeah, you know, it's not a big deal. The thing is it is a big deal and I should not have said that. But you want to, I don't want to say come off as humble, but like I personally get uncomfortable when people are like impressed with me and I think that's - Rekka:26:33   A great way to deflect that without actually deflecting it is to say, yeah, I'm super excited about it. So it's like you are appreciative and grateful for what you have, but also like acknowledge that it's an awesome thing. Yeah. So that's something to like maybe, you know, put in your pocket for getting compliments is don't deflect compliments. Like if you were a football player and someone passed you the ball, you would not deflect it and what you want in - Kaelyn:26:58   Rekka, was that a sports analogy?? Rekka:26:59   I, I, I've watched like a bunch of football in the past or - Kaelyn:27:05   Oh my what? Oh, oh boy! Rekka:27:07   Don't ask me to make a baseball analogy. I'm falling asleep because it's gone on too long. Kaelyn:27:12   I'm sorry. We need to stop for a second listeners because I am, I'm so happy right now. Rekka:27:20   Who says I'm going to watch football this fall? Kaelyn:27:22   No, we're going to watch football now. Rekka:27:25   Sorry, this is the end of the episodes. We're going to take a break. What is it? August through February and then we'll be back in March. Kaelyn:27:31   My world has been rocked, you know, in the best of ways. Anyway - Rekka:27:34   Don't deflect compliments because that is what you want and if you keep deflecting them, people will stop giving them to you. Kaelyn:27:40   But I mean in my case I like, you know, and it was a mind shift. It was the, you know, I have to get myself into the like, Oh Haha. It's no big deal. Get away from that. And like now people were like, oh wow, that's really cool. Do you like it? I love it. It's a lot of work, but I really enjoy it. You know, don't you know, you can, there are ways to roll into it to say thank you. I'm really excited. Thank you. It's a lot of work. But I love doing it, you know - Rekka:28:04   So, so, but like here's the thought. That person is excited about what you just told them. This is a great time to pitch a book at the same time. So by deflecting it, you end the conversation. This is like Improv. Yes and, not no. Kaelyn:28:21   [laughs] Rekka:28:21   You know, so that's not sports ball referencing but I've never done it. Kaelyn:28:27   I still, I don't know what I've said for the last, I'm going to have to go back and listen to this and find out what I actually said because I'm still in a daze from - Rekka:28:34   No, you're good. You're good. Um, yeah. So you want to keep the conversation moving, especially if this person is now interested and enthusiastic because as an author you have a chance to tell them about your story. As an editor, you have a chance to tell them about your, you know, your upcoming calendar. These are not people that you want to say. Yeah. It was great talking to you by like, you know, when you're, when you aren't prepared to have these conversations ahead of time, that's what happens. You kind of like end up closed up because you realize, oh I should be saying- Kaelyn:29:08   Words! Rekka:29:08   Sure, nevermind they left you know, so we're good with words but I'm talking out loud is a switch. A nonfiction is a switch and honestly now you need to be moving into marketing mode. You're pitching yourself, you're pitching your book, you're putting on the personality of the author you want to become. Kaelyn:29:28   So Rekka, real quick, you went to Reader Con recently. Rekka:29:31   I did. Kaelyn:29:32   And if you don't mind talking about it. Rekka:29:34   Yes. What did, what did we do leading up to Reader Con and this is to imagine that like Kaelyn would call me up because I had a three hour drive to Reader Con and I had expressed to her a couple of days before that it was a little nervous. I realized I was going to be on a podcast and um, so I knew I was going to be interviewed. I knew I was going to meet new people and that someone was going to turn to me and say, tell me about your book. And I have been so busy with lots of editing and lots of other things. And my, and the tricky part about having a second book coming out is that you kind of also have to pitch the first book because it's - Kaelyn:30:12   You've got work that in a little bit. Rekka:30:12   I suddenly said to Kaelyn, um, a few days before Reader Con kind of like, oh, I should be thinking about my pitch. And Kaelyn said, this sounds like an opportunity for me to dig in my dress up box and put on mustaches and hats and pretend to be someone else. Kaelyn:30:28   One of them was a tutu. Rekka:30:30   I like to imagine that you did dress up for each of these voices that you assumed. She called me while I was on the road to Reader Con it'a a three and a half hour, a little bit less. I think it was a three hour drive and she called me up with a different accent every time pretending in character to be somebody who was calling me for an interview or a newspaper clip - Kaelyn:30:53   Or somebody at the convention, you know - Rekka:30:55   BUt it was funny because you, you were so in character and I'm like, who is this person that just calls me up out of the blue and asks me to tell them. Kaelyn:31:02   Why are you laughing at me? Rekka:31:04   People don't - Kaelyn:31:04   You don't laugh at people that want you talk to you. Rekka:31:07   So I would be giggling awkwardly and Kaelyn would be like, I don't understand what's going on. Kaelyn:31:12   Is there something funny happening. Is this a humorous book? Rekka:31:15   So Kaelyn's Scottish accent, Russian accent. And what was the last one? Kaelyn:31:22   Did I do? Rekka:31:22   Transylvanian or something? Kaelyn:31:24   I thought I did my Bronx accent. Rekka:31:26   I don't think you did in New York. Kaelyn:31:27   North Jersey? Rekka:31:28   No. No. Kaelyn:31:29   Okay. I don't remember. Rekka:31:31   I, I would have given you like credit for authenticity based on your location. We had a few different accents going on. Some, some were more distracting than others. And - Kaelyn:31:44   But see that's a test because things will be distracting us. Rekka:31:47   The, yes, exactly. So she made me not memorize but sort of outline my - Kaelyn:31:54   Bullet points. Rekka:31:55   My book's marketing in my head so that when she asked me about it each time I told her it was different. Kaelyn:32:00   And it was natural. It wasn't, uh. Rekka:32:03   You want it conversational because otherwise it sounds like it wasn't a script that you had memorized otherwise it's a book report or something. Kaelyn:32:09   Exactly, yeah. It's um, it's your back copy. So, um, you know, but the whole point of that is like, it sounds silly but you need to practice because you're not gonna realize how hard it is. I think everyone thinks like, oh well, whatever. I just have this book. It's like, uh, you know, I mean, okay, cool. Tell me about it. You have 30 seconds. Rekka:32:29   And in fact that's a good point because many authors when they tell you about their book, and hopefully they've learned this by the time they've queried an agent and submitted it to a publisher, but many of them will just start telling you the plot from point a to point z. Kaelyn:32:46   And you don't want to do that. Rekka:32:47   That is not a book pitch. Kaelyn:32:48   No. Rekka:32:48   That is, that is going to make people eyes glaze over and they are going to walk away going, what the heck was that? Even if your book is amazing. Kaelyn:32:56   Yeah. A book pitch is plot, character, setting are the three. If you have 30 seconds, that's kind of what you need and you're thinking of this going like, okay, so I need a sentence for each of those. No, they should all work together and maybe you will need, yeah, maybe you only need a couple of words just for the setting. It's set on a distant planet. It's in a hidden fairy forest. It's, don't, I'm gonna say this, don't overcomplicate it. Rekka:33:24   Right. The things you think are important to your book and really fascinating probably don't matter so much in the pitch. Kaelyn:33:31   That is, that's actually a very good point because this is something I come up with with authors a lot. Your favorite part of the book does not mean that that's the important part of the book. Rekka:33:41   Or it's not the part that's going to sell it. Kaelyn:33:42   Exactly. Rekka:33:43   So be careful about like how much you try to jam into your pitch. Just make it about the fascinating things. And some people hate comps, some people love comps, but try to have some comps on hand. And by comps we mean you know like titles that you can compare your book to that are going to express what a person might be able to expect when they open it up. Kaelyn:34:06   So one last point and then I promise we'll stop talking about this because like we have planned to talk about pitches, but like this is really, you know, it is important - Rekka:34:16   And this is a good moment. This is like you've got some downtime. This is really ideal time to be fixing. Kaelyn:34:22   I know that this is not something everyone does wakes up and knows how to do, but learn how to read a situations and be self-aware. Um, if you're at a convention and there's a bunch of people all just hanging out talking, you know, you might go, go around and introduce yourself or you might say, yeah, since I've got this book coming out and like, oh, what's it about? Give your pitch and then stop. Rekka:34:48   Yeah. Kaelyn:34:48   Because chances are no one else really, I mean, unless people are asking you questions about it, the thing is that if they really want to know, they're going to go buy the book and read it, but just be self aware, don't corner people and make them listen to you. Don't, um, you know, people that are clearly just not interested or being polite because here's the thing, you don't want to be the person that got the reputation for, oh my God, they would not stop talking. Rekka:35:15   Oh, here they come. Kaelyn:35:15   And I was like, um, it's, and it's a hard thing to do sometimes. Just, you know, reading people, engaging what they're, you know, thinking and feeling about what's happening. But, um, it's important because you don't want that reputation of like, oh my God, they just would not shut up, crap. They're coming. We gotta, we gotta get outta here. So just be self aware. Um, Rekka:35:39   If someone introduces you at bar con to an agent and you need an agent, then absolutely have your pitch like fluid and ready to go. And that's a good point. At Bar con, you might have some alcohol in you. So you also want to practice your pitches when you might be stumbling over your tongue a little. Kaelyn:35:55   Yeah and also you want to practice your self-restraint when you have some alcohol in you. Rekka:36:00   And cut your alcohol with some club soda or maybe don't drink alcohol if it's not good for you, Kaelyn:36:07   Just be self aware, just you know, know what, know what you're going to be like. Rekka:36:12   Yeah. Kaelyn:36:13   In sobriety and otherwise. Rekka:36:15   Yeah. So be realistic. And if it's going to impact your career negatively, then skip it. Kaelyn:36:19   Yep. Rekka:36:19   You can still hang out at Bar Con and sip a cranberry juice. So um so conferences, that's where we were getting at was are great way to um, hone this skill, your sales, but also build your community of support. So now your book is here. Your blog posts are out. They give you, like when those blog posts get launched at the, um, the sites that are hosting them, that's a great opportunity to retweet and share it and pitch your book again to people on Twitter, um, in a natural way because you have new content to deliver them. Um, you know, leading up to launch, you can post about how excited you are because genuine enthusiasm is going to be welcomed versus you know, just book pitch, book pitch, book pitch, book pitch. And so your book is out and what does that Book Launch Day like? Kaelyn:37:13   Pretty much like any other day, any other Tuesday except you feel like something should be happening. Rekka:37:20   So you might be tempted to reload your browser, you know, to see like are people talking about me? Check your phone a lot, you're checking your email a lot, looking on Amazon, watching the ranks, like try to have something else to do that day. Maybe if you can make plans to go to an aquarium or you know, like if you want to take the day off, you can, if, if going to work will keep you busy and distracted and won't give you opportunities to access like that might be the best place you can be. It's tough. Kaelyn:37:50   Yeah. I think, um, it's, it's funny because I'm never quite sure what authors think is going to happen that day, but here's the, like, you're not going to have like a bunch of reviews flood in on your first day. You're not going to have like immediate sales numbers. You're not, there's really not a lot that can happen now in the coming weeks. And I would say even for the first week, there really isn't a lot that's going to be, it's going to be happening, Rekka:38:16   Right. Except you do want to see that you are present. Yes. Like you know that the marketing has continued that um, you're talking about it on social media. Like you, hopefully you have the same sort of activity from your publisher. Um, any PR is going out. If there are articles about the release, you know, depending on how big it is, then you know, these are opportunities to share and keep that momentum going. And if you have some friends with their own audiences who have read the book, you can ask them to also, you know, help you out and tweet about how much they loved it, if they had a chance to read it. Kaelyn:38:52   Exactly. So, um, yeah, so that's, I mean, that's debut day and there really is not much to it unfortunately. Rekka:39:00   And the best thing you could do is work on book two. Kaelyn:39:02   Yeah. Rekka:39:02   And you know, try to avoid good reads, try to um, you know, stay away from the reviews because they're not for you. Take care of yourself, be nice to yourself and don't hinge like your entire experience of being an author on what happens on that day. Kaelyn:39:20   Yeah. So after release - Rekka:39:22   So following your book launch, you will probably have some appearances to make at either libraries or bookstores. Um, indie bookstores. This is a great way to get them on board with your book, by having your events at their location because, um, they're going to expect that you're going to draw some audience. It's stuff that they can entice their, uh, customers to the store with. But, um, so that bookstore is happy with you. You've brought local people. Um, on that note, if you are trying to plan as many things as possible, you don't want to cannibalize the book sales by going to two places that are really close together. They're not going to appreciate it and you know, going to have a weird awkward quiet visit with one or both of those. So, um, try to drum up as many, you know, people that you can bring along, they'll try to drum up their customers to come along, things like that. Um, you have to expect that one or more of these might be a bit of a dud. You know, if you are just trying to find any place that you can get into. Kaelyn:40:26   Keep your expectations, realistic too. Rekka:40:28   Yeah. Because you don't know what the audience for your genre is going to be like at any of these locations. So it might be crickets at some of them and that's okay. You know, eventually someone always tends to wander in and - Kaelyn:40:40   And just be like, hey, so what's your deal? Rekka:40:43   Well, sometimes they know and other times they're there because you're an author that succeeded and they are somebody who wants to write a book. So that happens too. But, um, yeah, so you've got maybe some podcasts appearances is that are, uh, broadcasting as, or after your book comes out, you want to keep sharing those, some interviews, um, on blogs or you know, if you're lucky radio or something like that, get in touch with your local papers. Maybe they can announce your book launch. Um, so you have, um, one book out, chances are you've got another one in your contract or an option. And if you're a writer, you know, chances are you like doing that. So once the dust settles, and honestly, if you can make a habit of doing it in the midst of chaos, that's even better. But keep working on your writing. Kaelyn:41:29   Well, I'm going to qualify this by saying that you're probably working on your next book before the first one's out. Rekka:41:34   Yes, definitely. Kaelyn:41:35   Um, so if nothing else, if you're overwhelmed and you're worried, keep working on your craft, keep like working on the thing that made you an offer. Rekka:41:46   Now you will see other authors on Twitter and around talking about how awful the second book is. And so since that's such a topic, I think we can save that for another discussion. Kaelyn:41:57   Oh, definitely. Yeah. Rekka:41:58   There's a lot that goes into focusing on writing a book when one is coming out. Um, as we mentioned, all the distractions of copy edits coming in and stuff like that. So I think we could talk about that for another half an hour or - Kaelyn:42:08   No, that'll be, that's another episode. No problem. Rekka:42:11   Not making this one run on any longer than it already has. But yeah, I mean, you're not alone in this, and there are lots of other authors who have already gone through this. There are authors who are going through it at the exact same stage that you are right now, and there are authors who are looking forward to going through this, figure out the best way for you to cope with the strange silences and the process. Kaelyn:42:29   Have a list of things that you can be working on, things that like your blog posts pit, practicing your pitch, and when you're feeling lost, confused and directionless, pull out that list and go, all right, I'm going to spend some time on this thing. Rekka:42:44   Right. Kaelyn:42:45   Um, and just in life, I find that generally helps. Rekka:42:49   But, um, knowing what the next thing that you need to do is sometimes a really clarifying thing that can just break the mood that you start to fall into the malaise of like, oh, am I good enough? Like you're, whether or not you're good enough and someone bought your book, so you are please, you are good enough, like repeat it into the mirror to yourself, but um, you know, break through that by just getting some work done. Kaelyn:43:12   Yeah. Yeah. Okay. So, um, I mean I think that's the episode. Rekka:43:16   That was more than the episode. Kaelyn:43:19   Yeah. Rekka:43:19   Sorry, folks. Kaelyn:43:20   Um, so, you know, hoped that was informative or maybe a little, a reassuring hopefully. But, um, you know, it's good. It's good stuff to hear. Rekka:43:29   And if this has, um, brought up more questions or anything like that, please reach out to us on Twitter, ask us some, you know, refining the questions and we can reapproach this topic with more specific things in mind in the future. Kaelyn:43:42   Exactly. Yeah. So, um, thank you everyone for listening and, uh, where can they find us on the socials? Rekka:43:46   They can find us @wmbcast on twitter and instagram and also at patreon.comWMBcast. And if you could leave a rating or review and the apple podcast app, we'd really appreciate that and we'll read those in a future episode and we will. Kaelyn:44:03   Cool Rekka:44:03   Alright. Thanks everyone. We will talk to you in two weeks. Kaelyn:44:07   Two weeks. Uh, wait. Well what's happening? Rekka:44:11   Hold up a minute. Kaelyn:44:11   So, um, in two weeks, our next episode is starting Submissions September, we're doing one episode a week for September, so you're getting four instead of just two like, you know - Rekka:44:22   Potentially five. Kaelyn:44:23   Potentially five. Yes, we have to- Rekka:44:25   Possibly you are going to get five episodes. Kaelyn:44:27   So we're covering pretty much all of this steps leading up to submitting your work and then also the process of doing that. So, um, we, when we were organizing, and I know it doesn't sound like it, but we do organize and you know, try to plan and think about things. Rekka:44:46   How dare you? Kaelyn:44:46   Um, but when we were kind of putting our thoughts together on submissions related topics, we were like, you know what, I feel like it's doing a disservice not to do all of these at once. And then we're like, well that would take two months. So that's a long time to go through all of these. So we decided we're going to do Submissions September, like I said, four episodes, one every Tuesday, possibly five episodes depending on, on how this some things a workout and we're just going to cover the topics related to that. And um, so we're excited to do it and I think it's, I think it's a good idea. Tell us it's a good idea. Rekka:45:24   Well, yes. And at this point we are about to start recording it long before you're going to hear those episodes. So if you've asked us questions about submissions already, thank you so much. We had definitely taken those into consideration. But um, if you are listening to this episode at the end of August, then, um, all these episodes are already recorded. So if you have extra questions, go ahead and, and start shouting them at us. But if we don't answer them during September, no, it's just because of the timeline being what it is. And we'll get to them in another episode. Kaelyn:45:56   If we get enough questions, we can do another episode, that's just a wrap up. Rekka:46:01   Yeah, absolutely. Six episodes in one month. Why not? Kaelyn:46:04   Hey, you know, we have nothing but time, right? Rekka:46:08   Yeah. Time is great. Kaelyn:46:09   So, um - Rekka:46:10   Speaking of those book launches though, in the, in our next episode - Kaelyn:46:14   Oh yes, yes. Rekka:46:16   I would like to entice you all. Kaelyn:46:18   So the first episode of submission, September is coming out on September 3rd, which also happens to be the book launch of "Salvage". Rekka's Second Book Day. Very excited. Rekka:46:29   Or this awesome person, RJ Theodore. Kaelyn:46:33   Yeah, I've heard her like, she's fine. Rekka:46:36   Sheis exciting and she is magnificent and she is - Kaelyn:46:39   The embodiment of all things right and good to in the world. Yes. Um, no Rekka's second novel in the Peridot Shift Trilogy, "Salvage" is being released that day. So, um, to celebrate that, uh, we're going to give away three copies of "Salvage" to, uh, I don't know. What do you want to make the stakes here? Rekka:46:58   So the first three people to share this episode to their friends on Twitter and use the Hashtag #sporkpunkwieldersunite can choose from an ebook or a printed copy depending on how you prefer to read, because we definitely want you to read the book and, um, let us know if you've read "Flotsam" too, because if you haven't, there's, there's some spoilers in "Salvage" for "Flotsam", it's a one arc. Kaelyn:47:23   Right. And print copy, you know, Rekka, will sign it, obviously. Rekka:47:26   Obviously. Kaelyn:47:26   Yeah. So, um, so yeah. Okay. That's our episode. Uh, so September, Submission, September, get ready for that. We're excited. Uh, release of "Salvage". There's a lot of S-s coming up here. Rekka:47:36   It's a very alliterative uh, sesserrating civil, months. Kaelyn:47:41   So, yeah. Well, thank you everyone again, so much for listening and we'll see you in September. We're going to be a, we're going to be pretty tired. Rekka:47:48   Yeah. If we, we, you know, the episodes will go live. We may not be alive. Kaelyn:47:53   Yeah. So just remember us fondly. All right, thanks everyone. Rekka:47:56   Take care.  

THE DOOMED & STONED SHOW -Season 5, Episode 17- Here we go, headlong into another countdown of the Top 25 albums on the monthly Doom Charts from www.DoomCharts.com! Billy Goate of Doomed & Stoned and co-host Bucky Brown of the Ripple Effect discuss the bands and albums on the list, while counting down their favorite tracks from the April edition of the Doom Charts! PLAYLIST INTRO (00:00) Albez Duz - "Emperor is Blind" (00:25) Eyes Fly - "The Dead, Living" (10:24) HOST SEGMENT I (15:44) Pesta (no. 25) - "Witches' Sabbath" (26:29) Pyramidal (no. 24) - "Visions of an Astral Journey" (34:45) Druids (no. 23) - "New Breath" (43:49) HOST SEGMENT II (48:21) Crypt Trip (No. 22) - "Death After Life" (1:01:43) KOOK (No. 21) - "Left Behind" (1:06:21) Monocluster (No. 20) - "Ocean In Our Bones" (1:15:08) HOST SEGMENT III (1:25:15) Smoulder (No. 19) - "The Sword Woman" (1:32:58) No Man's Valley (No. 18) - "Outside The Dream" (1:38:15) Haze Mage (No. 17) - "Bong Witch" (1:41:49) HOST SEGMENT IV (1:46:38) Monkey3 (No. 16) - "Mass" (1:58:33) High Priest (No. 15) - "Offering" (2:05:04) Lord Vicar (No. 14) - "World Encircled" (2:12:04) HOST SEGMENT V (2:18:40) Big Business (No, 13) - "Heal the Weak" (2:30:35) Cities of Mars (No. 12) - "Hydrahead" (2:35:41) Hey Satan (No. 11) - "KO Computer" (2:40:36) HOST SEGMENT VI (2:44:22) Wizzerd (No. 10) - "Great Mother Gaia" (2:52:50) High Reeper (No. 9) - "Buried Alive" (2:58:49) Troll (No. 8) - "The Door" (3:02:34) HOST SEGMENT VII (3:15:09) The Devil and The Almighty Blues (No. 7) - "Time Ruins Everything" (3:25:15) SKUNK (No. 6) - "Blood Moon Rising" (3:33:26) Magic Circle (No. 5) - "I've Found My Way To Die" (3:38:23) HOST SEGMENT VIII (3:43:34) The Well (No. 4) - "Death Song" (3:52:19) Green Lung (No. 3) - "Let The Devil In" (3:57:07) Shotgun Sawyer (no. 2) - "Ain't Tryin' To Go Down Slow" (4:02:09) HOST SEGMENT IX (4:05:26) Clouds Taste Satanic (No. 1) - "Pagan Worship" (4:12:00) *Information on how to purchase the albums featured in today's broadcast can be found at www.DoomCharts.com. If you dig the music, please show the band's some love! ------------------------- Thumbnail by John De Campos/Ghost Bat Illustration from 'Chronicle' by Haze Mage Incidental music: Dark is the Water, Sativa Breather, Gypsy Sun Revival, Sons of Alpha Centauri, Cleõphüzz, and Goat Bong ------------------------- Become a monthly supporter of The Doomed & Stoned Show and receive a bonus show with over 2 hours of brand new music and rare discoveries, made especially for patrons. Visit https://patreon.com/doomedandstoned to become a 'High On Fiver' supporter! ------------------------- Enjoy discovering new music? Check out Doomed & Stoned's scene-by-scene compilation series at doomedandstoned.bandcamp.com! Exclusive debuts, interviews, album reviews, concert footage, and festival photographs each week in our magazine-style blog: www.DoomedandStoned.com Daily updates at https://facebook.com/doomedstoned and https://twitter.com/doomedandstoned Live concert footage at https://youtube.com/user/crazispeedemon and https://youtube.com/doomedandstoned -------------------------

In this Episode of Kapow Cast, The Queen of KAPOW talks about letting others Grow. She talks about giving people the space and creating space for you to grow. It is not Money that matters but Life’s lessons learned along the way that make you a better person. Keep Listening and Watch out for more… Massive Kapows to you!   Few Points from the Kapow Cast The fact of the matter is that over the last three years I’ve really and truly gone from nobody online to being somebody online. Which has been fabulous, it’s been amazing  it’s been really really cool. I just want to say to you this. I've lost a lot of people along the way and I had to say goodbye to a lot of people on the along the way who honestly they just wouldn't or couldn't accept me for the new version of myself. (00:58)   I'm still humble as all crap. I honestly believe that the more money you make, the more humble you must become, the more you must help and support others. (01:10)   I actually have gotten quieter in the marketplace over the last year-and-a-half. Honestly, I don't know want to talk money and it’s not something to talk about like “Oh my gosh, I’ve made some….. Blah blah..” (02:20)   People who haven't given me the space to Grow and and loved and accepted me for who I am in that, there are the challenges that I've had to overcome to become the best version of myself, They are not in my Life anymore. (03:16)   Well No, I've got a ton of friends that I've still got from back in the old days, but the fact of the matter is that  to become who I truly am I need to step out of the Arena that I was playing in. (04:21)

I’m gonna set somebody free today.  Are you ready?  You don’t always have to explain your “no”.  Disclaimer.  I’m not telling you to disobey your parents.  I’m not telling you to be insubordinate to anyone who is in a position of authority.  So don’t be like “Well NO, and Na’Kole said I don’t have to explain anything to you.”  Don’t do that, okay?  Thanks.   Seriously, though.  You don’t have to explain your “no” all the time.  If someone asks you to do something, you can say, “I’m not going to be able to do that”, and that’s good enough.  You don’t always have to apologize for not being able to do something, as if not being able to do something is an offense against someone else.  Let me give you an example.  I’m not sorry that I cannot come to the phone.  Why?  Because if I can’t come to the phone, that means that I’m doing something productive with my life that currently demands my attention.  I’m not attaching “I’m sorry” to that.  NO, I can’t come to the phone.  Period.  Does the phone company apologize before they tell you that all of their representatives are helping other customers?  Absolutely not.  Why?  Because they don’t owe you an apology for being present and conducting their business.  They only time they apologize is when the wait times are extremely high - and even then, not all of them apologize.  I’m not saying to be arrogant and say, “No, I’m not answering your call.  Shut up.”  That’s not what I’m saying at all.  But at the same time, you are not wronging someone just because you’re not always available to them. If you don’t have time to go to an event because you need to study for finals, it is totally okay to say, “I’m not going to be able to make that”.  PERIOD.  You don’t owe the world an explanation about what you’re doing with your life.  Now if it’s a good friend, family member, etc. and the relationship warrants an explanation, you have to make that call and act accordingly.  But I’m telling you right now that I’m not going to apologize or explain my “no”.  And that’s not being prideful.  It’s not.  But you don’t apologize for your yes.  You don’t explain your yes.  You just say “yes”.  And with the same power, authority and fervor that you say “yes”, you should be able to say “no”.  It really is a complete sentence. Have an amazing day today.  Show love to yourself AND others.  Be GREAT!  I speak life to you and everyone and everything connected to you!  Catch me tomorrow! XOXO, Na'Kole ♥

Episode Description Notes: DIABLO 4 IS UPON US? Well… No, not yet anyway.... BTW where are all the devs going? Shouldn’t they be working on an expansion AND a new diablo title?? Are botters REALLY THAT SALTY! Why would you DDoS Blizzard? You got caught cheating! Children... My head is still spinning from that 360 degree video of the Blizzard offices. I checked for D4 stuff, saw nothing QQ. I really should organize my gear but I’m writing this instead... Link to Cosmetics Article: http://us.battle.net/d3/en/blog/20095515 Blizzpro Article: http://diablo.blizzpro.com/2016/04/13/diablo-4-replacing-diablo-3s-expansion/ PTR Invoker’s/Firebirds Changes: http://us.battle.net/d3/en/forum/topic/20743144171#1 BONUS: IGN Tour of Blizzard: https://www.youtube.com/watch?v=mUhiKjKjUCM You can E-Mail the show at: NephalemofSanctuary@gmail.com You can support the show at: https://www.patreon.com/nospodcast?u=3108641&ty=h Find the show on Twitter at @nospodcast Find Devon on Twitter at @Kulanah Find Colin on Twitter at @InukshukNOS Affliate links: Audible: http://amzn.to/1VKQHBb

Discuss Bamm.TV’s model of shooting original content from independent artists and distributing it worldwide to get the artists greater exposure and a secondary source of incomeTRANSCRIPTSpeaker 1:One of our main goals of Calyx is to play music that you haven't heard before. We love doing it. We've done it for 50 years and you can help us Speaker 2:do it for another 50 by contributing during a fundraiser that starts next week. Come on. Calyx has been doing this thing to close 50 years. The music industry around us has changed dramatically. The last decade has brought turmoil with the industry revenues shifting from the offline world to the online and artists trying to find where they stand in this new economy. It ended of use with Fam TV, [00:00:30] the San Francisco startup to proposes to use technology to get art as a bigger share of profits. Stay with us. Speaker 1:My name is Chris Hansen and I am the cofounder and CEO of Bam TV. Okay. And um, so give me your problem statement. We always start with this is kind of you see from a market perspective [00:01:00] what's going on. Where did you see the opportunity? If you look at where the music industry is right now, uh, approximately 96% of recorded music sales come from 20% of musicians. And that is an extreme inequality that is a product of, uh, you know, this, this system that we've inherited, the system that was based on physical products and not on services [00:01:30] or access. And so, you know, in the process over the last decade, um, emerging artists have been left in the dust and there really is no means for them to first of all get exposure. But secondly, to monetize their content, it's, it's almost impossible. So we addressed this problem as musicians. Speaker 1:Um, two of the other early hires and I were in a band together. So [00:02:00] we, we know some of the trials and tribulations of being an unknown artist and, uh, that's really where, where the idea was born out of. Okay. And tell me a little bit about your background. You're a musician and what other kinds of experiences do you have? So I mean, to go way back, uh, the idea really germinated, uh, in Atlanta, um, where I ran a gallery in a multimedia performance space. And, [00:02:30] uh, you know, we did a, in the summer of 2000, we did an eight week series of live video streaming programs. So it was called the blue milk show. And uh, you know, we learned a lot, but we also, one of the things we learned was that the, uh, the Internet and the general public was not ready for live video streaming in 2000. Speaker 1:Um, nobody could watch it. So then, um, you know, at the time I had launched with, with some artists, friends and in [00:03:00] Atlanta and also with my brother. And during the years, my brother and I is kind of bounced the idea back and forth. I came out to San Francisco to get my MBA. And, uh, the capstone of my entrepreneurship emphasis emphasis was, uh, this idea of bricks and mortar media. And the idea at that point was to create a venue that would be open to the public, that would live stream and record performances from, uh, independent and emerging bands [00:03:30] and serve as a content creation factory basically for this next generation of video content. And, uh, we pitched the idea and investors said, well, you know, it's interesting, but, uh, first go prove that you can get traction and that you can find, uh, you know, the talent. Speaker 1:And that you can find an audience. And so that's what we did. My brother and I have bootstrapped it to this point [00:04:00] and we've recorded over a hundred bands. Um, and we've got distribution agreements in place in a 150 countries that isn't there a venue called brick and mortar in Sydney? Is that, is that just by coincidence? It is by that is by coincidence that, that you're referring to? Uh, yeah, it's a, it's a little jazz club. I think it's owned by, uh, the same person that owns the new parish. Uh, used to be Coda. Um, but there is no, uh, [00:04:30] there is no relation. Okay. And um, so you went on the fundraising trail of these investors is do you to go to like a y Combinator or those types of organizations that all this tech startups go to or where, where are you trying to find audiences? Speaker 1:I think there's, there is a place for incubators for a lot of, a lot of, uh, startup ideas. We maybe did things the hard way, but maybe in other ways we were our [00:05:00] own incubator. Um, the idea of recording live performances began in our garage that we had rehearsed in as a band. Um, so from a garage in the inner Richmond, uh, we bands actually came in and recorded a full set and you know, we kind of, we kind of winged it and uh, you know, I was operating pro tools at the time and the other directors were operating cameras. Um, then we moved into a studio in Soma and best thing we ever did for the business was [00:05:30] stop recording on protools and hand the cameras to the film school graduates who actually knew what they were doing. And that's when, um, the content really started to take off. And so about, uh, sort of incubators and an early stage investors, um, you know, I'm not sure that we would've had a lot of believers early on until we just went out and did it. You can't, you can't say, oh, we're going to make content and it's going to be great. You're going [00:06:00] to love it. Um, cause until they actually see it, Speaker 2:ah, that's all extract. You're listening to KALX Berkeley 90.7 FM. This is method to the Nadis 30 minutes show about the innovative spirit of the bay area. I'm your host Ali desire. And today we are interviewing Chris Hanson, CEO of Pan TV. Speaker 1:A lot of companies talk about content or distribution and it's very difficult to do both. Um, [00:06:30] so how did you guys come? It sounds like you guys do both. You generate the content, but you're also building the networks that's your come to that, um, business model. So yeah. Um, I mean just the, the, the nature of the agreement that we have with the artist, uh, we don't charge them anything to record and we split net profits 50, 50. And because of that, they, you know, are more than happy to give us a global distribution license [00:07:00] to the content. And it turns out that, uh, this idea of a global, you know, frictionless distribution arrangement is extremely rare in the music industry. So in this sort of proof of concept phase, we realized a, with an all digital workflow, we could produce HD music video content at a fraction of the cost that it would have, you know, run up. Speaker 1:Even a couple of years ago, I, and B, there was an unmet demand for [00:07:30] content internationally. And it was actually about a year ago, we were at a trade show and a, a content provider from Taiwan, um, said, you know, I'm trying to get music content on onto this cable network, but you know, nobody will give me their content and I've got, I've got a shelf space for it, but nobody will give it to me. So we realized that was a, an entry point. And so a cable operator in Taiwan was actually our first client, [00:08:00] um, that served as, um, you know, a proof of concept for us to initiate a relationship with Samsung. And, uh, and so what we have done as part of our launch is, you know, we've created a unique content offering by way of an app for Samsung smartphones and tablet devices. Seems to be the Internet has enabled global distribution where you don't have to go and negotiate with all these different, [00:08:30] um, countries. Speaker 1:But why, what value add are you guys providing as opposed to them just posting on Youtube besides the production value? It seems like you guys bring, well, it starts with curation. Um, and there we've lowered the cost of production, but there still is a cost and you can only record so many bands. So really that's, you know, the used to be extremely good at this, um, back in the day and they'd go into [00:09:00] the clubs and see the opening band as well as the headliner. And you know, the equivalent of that today is going on my space, going on Facebook. Also go into it to real world clubs and just getting to know the band, seeing what other music blogs are writing about and what festivals are people getting into. And you start to see patterns, um, for bands that are just about to break through. Speaker 1:And I won't necessarily take credit for, you know, them breaking through [00:09:30] if they hit to the extent that they have, you know, some have gone on to Conan and Letterman and Bonnaroo and you know, festivals and that sort of thing. But, uh, I will say that our music director, Phil Bang is, uh, if he could pick stocks as well as he can pick bands, we wouldn't need this round of funding. I don't think. So. You mentioned the patterns. Can you give us an example of a pattern? Sure. I mean, uh, you can do anything in the studio. Uh, you can [00:10:00] add vocal filters. You can do auto tune would it doesn't matter. So one pattern obviously is how is the band well-rehearsed, you know, can the lead singer hit the notes? Uh, because if they can't, in our case, we're just getting a license to a live performance. Speaker 1:So if they can't perform live, it's a nonstarter. Um, but also, you know, how big is the crowd? How many followers do they have? Do you see them doing Kickstarter campaigns? Are they, do they have management? Are they with an Indie label? All of these things [00:10:30] kind of create a picture of the band and uh, yeah. Th then it's just about timing. Are they on a west coast tour? Are they local? You know, are they at a festival that we can go record? Yeah. So let's talk about the content cause we, we've mentioned the content quite a bit, but it's video contents, not the audio. The ban has a deal for the audio with the label, most likely. Well No. So it is the audio. Um, I mean, so I should explain. They can have whatever relationship with a label, indie [00:11:00] or major, uh, that they want with us. Speaker 1:They come in, they record the songs usually a couple of times just so we're sure we get a good take and then we get a license to distribute that, the audio, the video, and we can remix, sample, make derivative works and sub-license the live performance, the live performance. Um, and then let's say, let's say that an independent band comes in, they record, we distribute, everybody's happy, but they get signed [00:11:30] to a label and the label wants to buy back all of their previous recordings. That's fine. We agree to a, a third party appraisal of the content and that becomes the basis for, uh, the exit from, from the deal. So we're not trying to lock anybody into, you know, a lifelong commitment to Bam TV. Uh, we're just trying to know, have a deal that makes sense for, for us, for the artist and for our distribution partners and hopefully [00:12:00] for the labels as well. Speaker 1:But it, is it a, is it a potential that you guys would have your own label too and just do that work? Yeah, I mean, people ask us a lot if, if we're a digital label or, you know, label 2.0 or whatever. Um, and I, I can definitely see that comparison. Uh, there is a little bit of baggage admittedly to calling yourself a label. So, uh, I try to save that comparison for the [00:12:30] end of the pitch instead of the beginning of the pitch. But, uh, but yeah, there are definitely comparisons, but I don't, I think the nature of a label is going to have to fundamentally change in order to survive. And so the big difference from the major labels, the 50% of revenues are still from physical sales. So, you know, they're testing the waters on streaming and digital, but they can't cannibalize entirely the physical side, so they're not able to move as quickly. Speaker 1:[00:13:00] We have no physical revenues. Um, you know, the content is created, edited and distributed entirely in the digital realm. So we can just explore that territory and just find agreements that, that work for everybody. So you said that this business couldn't have, couldn't have existed five years ago because of the, the digital editing technology, wasn't there the end to end process? Can you take us through that process a little bit? Yeah. And what, I mean, it certainly would have been possible, but it would've [00:13:30] been cost prohibitive of just a few years ago. Um, so yeah, I mean, we, we, we have a soundstage, uh, in our San Francisco studio. Um, we, we shoot with anywhere from four to six cameras depending. Um, and then, and so we do a variety of things. We'll do a live switch of, um, the event. So it's available for live streaming, but we really spend a lot of time on post-production. Speaker 1:Uh, we run on final cut and we'll do, you [00:14:00] know, multi-camera editing. Um, and so that 20% of the content that we create, uh, we give away free and clear to the musician. So that's usually the single, and we really try to get creative with that and just make it sort of a spectacular, um, asset for the band to EPK or for, you know, promotional purposes to get subscribers. And then, um, you know, gradually we'll edit if it's five songs, 10 songs, whatever. [00:14:30] Um, it's, so there's any number of ways that we can distribute the final product, uh, anywhere from 60 minute episodes for our cable partner in Taiwan to a curated play mixes, which is how we present the content on Android, uh, with our Samsung partnership. The play mix is basically 10 to 12 songs is Kinda like a mixed tape for the digital age. We encourage our users to, uh, to make [00:15:00] their own play mixes and share them with their friends. So, um, you know, file sharing does not have to be illegal or immoral or give you a guilty conscience because when you get a streaming model, um, you know, we can encourage, uh, the more the merrier as far as Speaker 2:hey distribution, you are listening to k a l x Berkeley 90.7 family streaming on the worldwide web@klxscuffberkeley.edu. [00:15:30] This is method to the madness of 30 minutes share to accelerate the innovative spirit of the bay area. I'm your host, Toby bizarre. And today we're speaking with Chris Hanson, the CEO of Bam TV. Speaker 3:So one thing I wanted to ask you about was, I was looking at your website and there's language about this was created for musicians by musicians and it's very pro musician, um, [00:16:00] business you're creating. And I guess I was gonna say pro musician software, but it's much more than you've got the production, you've got the distribution, you got the software apps, you guys are doing a lot of different things. Um, but the kind of the, the reason behind it all is to help the musician. It seems like from a monetary perspective to cut them into the deal. Can you tell us a little bit about the business of music right now and, and kind of where does the money go right now and how are you going to change that equation? Speaker 1:Sure. Um, [00:16:30] since since Spotify arrived in the u s and especially since the Facebook partnerships with music streaming services has come up, um, a lot of attention is being paid to how music streaming services pay artists, first of all, how much, and secondly, do they keep the same relationship with the labels as they do with independent artists? And [00:17:00] I have sympathy for the streaming services because 50 to 70% of their revenues go to the labels regardless of what they tell you or will disclose publicly. Um, you know, if you look at Pandora's as one as they filed for their IPO, it depends year to year, but it's 50 to 70%. And you know, Spotify is facing essentially the same thing as, as rhapsody as is RDO as is pretty much everybody. So they pay more [00:17:30] to major label artists than they pay to indie artists. Speaker 1:Um, and again, these were the negotiated terms. It was you played this way or you don't make it, you know, into this market. So if you look for independent artists, there's just, there's just no chance that going to make money through digital streaming services as they are today. So that's, that's sort of our sweet spot is addressing that audience and we feel, yes, it's nice to the artist [00:18:00] to be, to do this 50 50 profit share. But frankly, I think it's much better to, uh, to share profits 50 50 rather than to pay revenues 50 to 70%. So it just makes, from our perspective, and maybe we're more of a boutique play in this regard, but, uh, it makes a lot more business sense for us. Speaker 3:And the revenue. Is it purchases made off of the content online or is there advertising revenue as well, like Google's [00:18:30] adsense, that type of thing? Speaker 1:Yeah, it's divided into, uh, direct licensing advertising and premium subscriptions or premium services and a weed. So there are a lot of direct licensing deals where it's free to the end user in whatever market, but they're paying us directly per subscriber. Um, a good portion of the android and Ios, uh, revenues will come from advertising. Um, we have a couple of different advertising partners to help us reach [00:19:00] those international markets. Um, and then it seems to be that anywhere from you can expect anywhere from five to 10% of your, uh, your die hard fans to get some kind of a premium engagement. We also allow for downloads. Um, but you know, it just varies from market to market. Um, what makes sense. For instance, it's, it makes sense to have, it makes sense to have streaming only access in the u [00:19:30] s but if you're in a remote, you know, uh, part of India, perhaps, maybe you would rather have them downloaded to your device. Speaker 3:Okay. And speaking of India, it sounds like you have a global reach. Um, you guys are right now, but, um, you have to curate the talent, right? So that you can't have people everywhere, although you have distribution everywhere. So, um, right now it's mostly bay area based bands that you're signing or how's that working right now? Speaker 1:No, I mean I would for [00:20:00] sure there are a good number of bay area bands, um, just for convenience and there's a lot of great talent here. But, um, you know, most bands, if they're doing a west coast tour, they're going to stop in San Francisco. So we do catch a lot of touring bands that way. And then when we go to festivals like south by southwest or the photosynthesis festival or, you know, different genres, we're able to diversify, uh, quite a bit. In January, we'll be, uh, at does met in [00:20:30] the Netherlands. Um, and so that will be our first sort of European, um, content creation. [inaudible] and even, um, even in Taiwan, uh, we've tried to make the content more approachable to a Taiwanese audience. So we've hired an OnAir VJ who speaks mandarin and, uh, kind of introduces American rock or American electronic music to a, to a Taiwanese audience. Speaker 1:So we're [00:21:00] trying to, even if we don't produce content in a native country, uh, we're trying to address that market if there's interest. Um, I guess one thing I would add too is we have about a third of our content under the umbrella of Bam Latino. And so it's, you know, perfectly addressable for all audiences, but it really targets urban subcultures because it's all Spanish language or, or Portuguese language. Um, and then broader [00:21:30] markets in Latin America. So we're able to get a lot of artists who are filling stadiums in Latin America, but they're playing jazz clubs when they come to San Francisco. And so, um, you know, it increases our reach more than we could. Speaker 3:Okay. I mean, you guys are in some ways, you're, uh, your taste makers, like you are curating the talent. Um, and that's, that's, oh, there's a long tradition of that and the music business. Um, so how do you feel like you can [00:22:00] scale that kind of, you know, tastemaking or finding the people that other people aren't finding do it? Speaker 1:The great thing about scalability and being global is every new international market you, you open up to, uh, you've, you've got a new way to monetize a piece of content. [inaudible] but in terms of scaling the curation process, we actually, I mean, that's, that's one of the reasons why we are, uh, seeking a series [00:22:30] a right now. Um, and there's, in order to, instead of, you know, we do two to three bands a week, and in order to make that eight or 10, we need to have a larger studio so that we can set up multiple sound stages at a time and increase the efficiency that way. We also have plans to open up to third party licensing. There's a lot of great content that's already out there, but there's just no, there's no market for it because it's getting lost on youtube or you [00:23:00] know, nothing wrong with youtube, but it's not great for discovery. Really. Um, so once we, you know, now that we have a foothold in our own created content, um, we're opening up to third party licensing as well. Speaker 3:So, and I would assume that you guys, the content you curate will be, you'll be moving and where that people want it to go as opposed to you guys trying to push new sounds or you're looking for audiences that are looking for that stuff already, right? Speaker 1:[00:23:30] Yeah, I mean, again, it is this idea of looking for patterns, looking for bands that, that, um, are about to break through. And so there is some kind of, I mean there is a consensus with other tastemakers out there to a certain extent. You start to see familiar names. Uh, you know, as you dive in and band names is, you know, are very colorful. So, uh, you either know it or you don't. And, you know, um, so you do start, I mean, I, there, there are bands that deserve [00:24:00] to break through and the best situation for us is to be there when they're, when they're primed for that. Speaker 3:Yeah. Okay. Um, so you wanna give us a couple of examples of some bands that have come through the Bam TV network and it's made an impact on their careers. Speaker 1:Yeah. Uh, I'll, I'll start with, you know, one of the first bands that we recorded in our, in our San Francisco studio is, ha ha, Tonka. And these guys work really, really hard. They're on [00:24:30] tour all the time. And uh, so the first real compliment that, uh, that we got as a, as a company was when they, they told their fans, hey, we didn't have a tie, a chance to, uh, to make a music video for this song song as close every valve of your bleeding heart. And it's wonderful, by the way. And our live performance video stood in for as a substitute for them going to make their own music video. And that I thought was really cool. Speaker 3:[00:25:00] I love to talk to entrepreneurs about their vision. You know, you start something now and you're, you kind of scrap right now in the middle of it. But five years from now, let's say this thing takes off, what kind of impact or disruption will Bam TV have on the music business? Speaker 1:Well, I, I think the best, uh, innovations come from problems that the entrepreneur feels. I mean, you maybe not always, but I think once [00:25:30] you really empathize with the problem, you get a feel for it in a way that, that you can't just intellectually understand. And so I see where the, I see the trajectory we're on as being one element of that. Um, but we also have plans for, you know, ways for artists that are on the road to, um, to earn money directly from Bam t v so now, not just the profit share, but if they get customers [00:26:00] or if they get users to come online and download our app, we'll just pay them, you know, maybe it pays for gas money. Maybe it causes more bands to go on tour and take the leap. Maybe having a, an EPK that's a little bit more polished helps, you know, early stage bands get a better gig. Speaker 1:Um, I, I don't know if the, the music industry is ever going to be as big as it was, uh, you know, in [00:26:30] 99 or 2000 or whenever it peaked and maybe a smaller music industry is okay. Um, and maybe, you know, the only way for it, for a profit share to work is if we're transparent about how much we spend as a business and where our Costco and what we count as a cost. And maybe transparency is what the music industry really needs. Um, maybe it's okay to just shed the, the structures and the vestiges of, of what we had [00:27:00] and just start making it up as we go. And I think once we put artists sort of at the forefront and create a clear path for monetization for them, um, you know, the sky's the limit there. Speaker 3:That was Chris Hanson, CEO of Bam TV, a startup that is disrupting the music industry. We'd like to think of for being on the show today, and you can learn more about Pam tp by going to www dot [inaudible] Speaker 2:damn, that's p a m m. Dot. TV. This is a method to the madness [00:27:30] or websites method to the madness.org have a great Friday. Everybody. See acast.com/privacy for privacy and opt-out information.