Podcasts about white fox

How can you tell where the real innovation in publishing is happening right now, and why is it emerging from the indie side first? How do you market your own book when you've spent 35 years marketing everyone else's? John Bond talks about Going Indie and what he's learned about authors who last. In the intro, my thoughts on writing with AI, Charles Dickens and encouragement for the 3-year-old dancing to K-Pop at the wedding, UK copyright law, The end of an era — Hugh Howey; Notre Dame, Paris; Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it's delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn John Bond is the co-founder of Whitefox, a premium publishing services agency, and has over 35 years in traditional publishing, from bookselling to marketing and management. He's also the co-author of Going Indie: Publishing Your Book Your Way, with James Silver. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why 2012 was a watershed moment for publishing in the UK Whether the snobbery around self-publishing has finally gone How to co-write a book with someone, and why there's no formula The pride swallowing involved in getting endorsement quotes for your own book The shadow economy of indie sales that no industry chart measures The hallmarks of writers who build a long-term career You can find John at wearewhitefox.com. Transcript of the interview with John Bond Jo: John Bond is the co-founder of Whitefox, a premium publishing services agency, and has over 35 years in traditional publishing, from bookselling to marketing and management. He's also the co-author of Going Indie: Publishing Your Book Your Way, with James Silver. So welcome back to the show, John. John: Thank you, Jo. Thanks so much for having me. Jo: You were last on the show in 2022. You've been on a couple of times, but just set the scene. Tell people a bit more about you and your long background in publishing. John: I suppose I could say I started as a marketing manager at Penguin back in the early 1990s in London, and that role eventually evolved into running sales and marketing, as it often does. I did that at Penguin and at HarperCollins. Then I ran one of the publishing divisions at HarperCollins, including 4th Estate, and published Hilary Mantel and Jonathan Franzen and Chimamanda Ngozi Adichie and others. I left that in 2011 and set up Whitefox in 2012, and it's a classic startup story. It was somebody I worked with at HarperCollins. We sat around a kitchen table, came up with an idea for a business, which was Whitefox, and that's grown into the creative agency that it is today. Jo: So back then, did you think, “I can do this better”? Was that the impetus, “I can do publishing better than Penguin and HarperCollins”? John: No, I thought we would solve a problem. There's something very attractive about that whole startup mentality and beginning something from scratch. I mean, I was in my early 50s. I'd had a long career in traditional publishing. On the plus side, I knew a lot of people, and I thought I could get meetings, people would reply to my phone calls or my emails. On the downside, I didn't necessarily have the energy of a 20 to 25-year-old. I knew a lot of people and I knew quite a lot of things, and I also knew what problems something like Whitefox could solve. We set up with this idea that if we could galvanise and organise the diaspora of freelancers in the publishing space and make them available to anybody that wanted to make a book, that that would be quite a powerful thing. These incredibly creative, wonderful people who were below the radar and were not particularly valued or managed or utilised properly. I thought if we could access that and make that available not just to traditional publishing people who know about these people, but to individual authors, businesses, brands, people that wanted to make a book, and if you added a layer of our expertise from traditional publishing, that could be quite powerful, I suppose. That's what I was thinking back then. Jo: It's funny, though. You said these wonderful freelancers who were not particularly valued or managed or utilised properly. That could also apply to a lot of authors in traditional publishing. John: Totally. Totally. But if I'm honest, I don't think I was thinking about that. What's really evolved since we started, even in that 2011, 2012 period, is so much has happened to independent writers, indie authors. The whole ecosystem has become much more vibrant, and what is accessible to those writers is much greater. I'd like to think we've played a part in that. What that's done is put power back into writers' hands, and that quickly became apparent in the business as a byproduct of what we'd set up. Jo: Yes, and 2012 I do think in the UK was a pivot point, because I got into self-publishing in 2006/2007 when the Americans did with the beginning of the Kindle and the iPhone. Really the American ecosystem grew first. I happened to be in Australia, and so I think I was able to escape the negativity of the vortex in the UK, which took a number more years to embrace self-publishing as a force to be reckoned with as opposed to an embarrassing thing in the corner for vanity press. Do you see 2012 as a changing point in UK publishing? John: I think we'd just come out of the Kindle moment, hadn't we? There were all sorts of conversations going on about how that was going to change things forever. I think no one quite knew what the upshot of that was going to be, but we knew that it was incredibly disruptive. In 2012, Penguin, as it was then, before Penguin Random House, had offered to buy Author Solutions for $115 million, presumably seen as some kind of defensive measure as to what the market was going to evolve into. I think it felt like a real period of change. In the UK, James Daunt took over running Waterstones, and he was then ultimately going to run Barnes & Noble. It felt like a bit of a watershed. I think we were lucky in that sense, that maybe in the UK and in London, what we were creating coincided with an opening up of opportunity and creativity, and people wanting access to more tools to be able to do things themselves. Getting this idea that you invest in your own talent and what that could mean for your ability to do things quicker, better. Some of it was happenstance, but lucky for us. As you say, we then became aware that in a sense a lot of these things had come to fruition earlier on the US side. In London, that whole idea of setting up something that wasn't a traditional rights-owning model, but where you wanted to be working with people creatively, felt actually really exciting and timely. Jo: And when you started to work with independent authors, probably a couple of years after that, you started to work with a lot more indie authors and things really started to change in terms of the business side. Did you feel any of the snobbery from the traditional industry? Like you mentioned, you have a lot of contacts, a lot of connections. I came to your wonderful launch party and there were just people from all over the industry. I wondered if you got any kickback, or if anyone raised their eyebrows a little bit at who you were choosing to work with? John: Oh, definitely. And I would say I really think that's gone. You may think differently, Jo, but from my perspective, I think there has been such an evolution in the nearly 15 years that we've been going. So any of that residual snobbery, looking down your nose at people that were going DIY, producing multiple books, learning from every single publication. We've spoken about this before. I remember you sat on the panel of a FutureBook conference in the UK, which was run by a trade magazine, with this idea of looking at the, in quotes, “digital future of the business.” It felt like there were a lot of things being talked about, but not a lot of action on the traditional side. I suppose some sort of awe that there was some magic going on with people who were making a success of self-publishing. But then quite a lot of people looking down their noses at things that shouldn't get through the gatekeepers. I do think that's gone. Or if it's not completely gone, I can see it on the way out of the door, because there's no room for that when agents are struggling to sell books to publishers because publishers are looking at the next indie author, the next Freida McFadden, the next Sarah J. Maas, the next Rebecca Yarros. So whoever it may be, or wherever they're publishing, whatever they're doing now, wherever they may be, knowing that a lot of those people will already be publishing and be on not their first, second, third or fourth, but potentially their 10th or 11th book. It's a race to see who can help those authors, as a traditional publisher would see it, amplify what they're doing. I think the idea that there's an us and them, if it did exist then, which it certainly did in certain publishing quarters, is gone. I used to go to those conferences, like the FutureBook Conference, and certain publishers would talk about publishing, and when they meant publishing, they meant a really tiny area of quite literary, traditional imprints. That's what publishing meant. They didn't even mean publishing to mean educational publishing, or children's publishing, or academic publishing, and certainly not Kindle or POD or whatever. So I think that's had to change for very good, sound, commercial, economic reasons. Jo: Yes, you're right. I definitely have heard, as we go to similar events sometimes, and you do hear agents used to talk a lot more about finding books very occasionally in a slush pile, or doing courses so you could meet people and do pitch events and all this. Now it's often build an audience on BookTok or whatever, and sell lots of books, and traditional publishing as an amplifier, as you said. That's how I always hear them pitch it now, the question of— What can traditional publishing still do when indie authors can do so much? It does seem to be, well, we can amplify you, we can get you into traditional press, we can get you in traditional bookstores, we can help you with film and movie deals, that kind of thing. So that's really interesting, because that's actually changed quite a lot. They don't now seem to say, “Oh, well, we can make sure we pay you,” or, “We are editorial success as such.” John: I think they don't say editorial success or quality or indeed marketing, because that was what used to be said. I think there's an understanding that a lot of indie writers are better marketeers of their own books than traditional publishers, and if you go into the publishing machine, then you'll get your slot. It lasts for a certain period of time and then that moves on to another book. Whereas obviously if you're writing your own book and you're marketing your own book, you're able to do that yourself 24/7 wherever you are in the world, and you will know more about your readers and your audience and how that evolves than a traditional publisher would. What they probably mean now is, as you said, as much as anything, distribution, or even physical distribution. Because to be part of that process, I think that is still where a large conglomerate is able to wield some muscle, with this idea that if you physically want to see your book in bricks and mortar retailers in X outlets around the world, that's potentially easier to do if that is your aim, via a traditional publisher. So it is constantly evolving, because it used to be that marketing was the silver bullet, and I don't think that's the case anymore. Jo: No. We'll come back to marketing, shall we? Struggling with marketing. So let's get into your book. You recently co-wrote Going Indie with James Silver, Publishing Your Book Your Way. Obviously you already knew a lot about indie authors, so I wonder, what did you discover in the process of researching the book and the interviews you did? And I was one of your interviews. Did anything come up that surprised you, since you're already pretty embedded in the world? John: I would say some of it was reinforcing what I knew. So how everything is so intertwined, how in some ways unlinear everything is. People are doing lots of things in a different order to the way that traditionally writers would perceive this relay race of a manuscript gets passed to an editor, an editor passes on. That's just not how it is or needs to be anymore. I still think there is—not even a misconception—but I think there's a received wisdom that when you're talking about self-publishing, you're talking about fiction. The majority of books that Whitefox produces are not fiction, they're non-fiction. Some of them are quite mainstream, some of them are quite niche. That idea of connecting to your audience and your followers, and being slightly more scientific about how you find readers in your non-fiction niche, I think is still unspoken about in a way, in that genre fiction tends to be what people automatically assume the conversation is about. This probably doesn't surprise you, but I was pleasantly surprised to have it confirmed to me quite how much swapping and sharing there is of skills and knowledge in that space. I'm not saying indie writing is egoless at all, but there's quite a lot of sharing of knowledge and what works, and collaboration, which I think is great to see. Again, if you've, as I did many years ago, come out of corporate conglomerate publishing, traditional publishing, there's less of that by the very nature of the kind of organisation. And look, we just talked about marketing a little while ago. I do think this whole idea that the cutting edge of experimentation, it's not traditional publishing, it's indie writers. They are looking at not just how to find readers, but how to fulfil orders, how to make commercial sense of what they're doing from the absolute outset and get-go of what they're doing. And just how now the lines are blurring between what would be classified as traditional digital publishers and the writers who are doing their own thing, or doing their own thing on behalf of a few other writers. Those lines have completely blurred. There used to be this traditional hardback, paperback, X number of books a year, a year after hardback there's a paperback. This is the model we have been doing for centuries, and people doing things on their own. I think that's blurring massively, and the Venn diagrams of people's areas of expertise are just overlapping massively. Jo: Well, I think you're right there, and certainly the hardback special editions with sprayed edges and foil. A lot of us now are doing that first and not putting out the other, or putting out the rest of it at the same time. I dare say probably there are more indie authors with sprayed edge hardbacks than there are traditionally published authors. John: I'm sure that's right. And what's interesting is if you go to a traditional book printer, they are loving the direct communication with writers, that's not coming through traditional channels and traditional relationships. It's great business, it's interesting. I think that's something that's even developed in the last couple of years, that cutting out of some of the middle men required. Jo: Yes, and in terms of supporting freelancers and small publishing houses and printers and stuff, the other thing I've heard is that indie authors pay upfront, or they pay quickly, compared to some of these big publishers who are asking for long lead times and steep discounting. So actually a lot of these independent businesses are doing better under indie author work than they were under traditional. John: I think that's right, and that's what I mean also about the sharing of information and this collaborative idea of sharing creative knowledge. I mean, I'm making it sound like a kind of 19th century cooperative, which it isn't. I'm not suggesting that for a second. It's this idea that there's a lot of people learning a lot of things and there's a keenness to share some of that information, because if you've developed your own readership for your unique creative product, some of those learnings are very exciting. The printers I've spoken to love working on those kinds of things, because they are also being challenged to come up with new ways of developing ever more innovative physical product. Jo: Yes, I think it's a fun, creative time for sure. Things like Kickstarter, which you came on and talked about crowdfunding years ago, and I've obviously done. I think, what am I on now? Seven? I've just done my seventh. John: Wow. Jo: It's so much fun. But now what's happening is traditional publishers are arriving on Kickstarter and all that kind of thing. So we really see a blurring. Let's come back to your book, so Going Indie. You co-wrote it. Now obviously there are lots of positive sides of collaboration, but in terms of any challenges with collaboration and co-writing and the writing process of doing this? Because I've done this several times and I've found it very challenging. So tell us about the collaborative writing process. John: We thought a lot about it before we took it on. What I would say, having done it, is I am assuming there is no formula for how you do this. At Penguin I worked with a married couple who were crime writers, and they wrote books together. They merged their names so it appeared to be one name. I could not tell you, and they didn't share what that process was, whether they were writing different chapters or … I don't know. So I can only speak from my own experience. James is an established journalist. He's great with deadlines. He was very good at chivvying me along when I needed to be persuaded to hit the deadlines that I'd promised. I write blogs, I write newsletters, I write content for our website, but this is my first book. I've never written anything of this length. So in a way it started with the structure. It started with this idea that we would play to what we perceived as our respective strengths in terms of writing. We absolutely were not each writing every third word or anything like that. It was a process of trust in different parts. I thought, James had done some research and will be better at writing that. He deferred to me on areas that he took to be my areas of expertise. We did every interview for the book together. We went over the notes from those before they became part of the interviews for the book. And some of the book's elements are diagrammatic, so those are very easy to collaborate on. I think we tried to be professionally, creatively constructive with each other. So it was raising an eyebrow rather than shouting at each other if we didn't agree about something. A lot of it was down to the editing, and I don't know what your experience was like with a co-writer, but a lot of it came down to: here is something which is quite baggy. How do we, between us, make this as tight as we possibly can? I don't mean copy editing or proofreading. I mean the actual sort of, how do we get this into a pithy, usable, practical but discursive book? We didn't ever set out for this to be a pure reference book at all. We wanted to take a snapshot of what was going on. So a lot of it was genuinely trying to do some research and get people to feed into what was going on from lots of different perspectives, which is why we wanted to get mainstream traditional publishers, we wanted to get agents, we wanted to get indie writers, we wanted to get people who have all sorts of experiences and perspectives. That's what makes it what it is, which is, here's what we think are some of the interesting discussion points of what's going on now. Jo: It is a fantastic snapshot. I think it's really interesting—and obviously you also have seen my book, Successful Self-Publishing, which is on its fourth edition—this is one of the difficult things with snapshot type books. So have you already thought about that? I know this one has just come out, but have you thought, “Oh no, in five years we have to do it again”? John: Well, I think we thought we're going to have to address AI, which we do in the book, and we really tried to caveat that with saying, look, so much may change so quickly, and here we are talking about what we know now. We obviously tried to set the context for where we are now, and we tried as much as possible to make something which would last as long as we can. I think what we did think was, we have tried to make it as international a perspective as possible. But at the same time, we are a London-based agency, and a lot of the views will be from people based in the UK. So I think what I would like to explore is something that looks at potentially somewhere like the US, where I think there'll be different people that would perhaps have different perspectives on different things. So I think we thought about potentially there being future iterations of the book, but not yet. Jo: Not yet. This is the challenge with non-fiction, of course. On that, I would say what you just said around the US and stuff, the successful UK authors all use the same systems as the US. So I wouldn't say that the US … I mean, we all have the US companies we all use. I say Kobo is obviously Canadian, but I would say that we use the same ways of doing things. Obviously you might interview a different author, but … John: That was all I meant. I meant interviewing. Because we've interviewed agents and authors and publishers and they are largely UK based. So it was the idea that maybe there are some perspectives on things rather than systemic. Jo: Differences. John: Yes. Just that. Jo: So then I guess another challenge, we've kind of nodded to it so far, is marketing. So let's talk about the challenges of getting this book out in terms of publishing and marketing. Because you've been on the inner circle side, trying to do that for other people's books, but your own book, this is a whole nother thing. So tell us about that. John: Well, how do you do it, Jo? I mean, honestly, I've loved some of it. I get how you become completely obsessed with your book and trying to make sure that you can get it into the hands of the people that you want to get it into the hands of. We've got some great endorsement quotes, which was a task that, how can I say this? I would call it pride swallowing. The idea that you really try and get people to say nice things about your book and, if they don't reply, you think, “How much do I pester them? How much do I annoy them by asking them again nicely?” And the absolute sheer unadulterated joy when they come back with something positive that you can use and utilise in some way. So that whole process of waiting for feedback, I suppose, and hoping that people are going to like what you've done and help you spread the word for it. We had a launch event, we've given books away. We've published the book as ebook and POD. I think one of the great things about that is it's enabled us to be completely adaptable and make changes right up until the last minute. That drove everybody in my team completely crazy because we were making changes up until the last minute. So, is the book definitely going to be available on publication date? What's it going to do? You know, all of that kind of stuff. Also, just getting this idea that I suppose you can never stop. Is that a very obvious thing to say to a writer? It probably is. You just can't stop, because if you go, “Right, well, I've done it,” complacency is the enemy. Just as soon as you've got that quote, or someone said that they're going to give you an opportunity to talk about it on a platform, it's just another day and you've got to keep thinking about how you can spread the word and tell people that it exists. Jo: Yes, well, I think that's right, and particularly non-fiction, which unless it's very timely and you must get it out right now. But other than that— Most books you just have to keep marketing for years. Then just as you say, when do you stop? Well, you kind of never stop unless you want to, unless you want to retire and just give up, basically. Dean Wesley Smith, who's a big writer in the US and a kind of a mentor of mine in past years, he talks about it as this massive sea of books. And when a book arrives, he pictures it coming down and landing on the water. So the day you launch, it's landed on the water, and then it begins to sink. Then there are all these other books coming down. It's like this rain of books, and your book is sinking as soon as it lands. And your job is to keep it afloat somehow. John: Keep it afloat. Jo: Yes. John: I think you're right, and it's such an interesting perspective for us, who work with a lot of people who have one book. You know, they've spent 10 years writing it. It's their life story. It's their memoir. It's their self-help book. It's their book that accompanies them on their speaking journey, or whatever. Then there are the people who are writing constantly and can't stop writing because they're exercising that creative muscle all the time and wanting to get better, and wanting to improve and learn and understand why this works and why that hasn't worked. Just getting a glimpse into what it must be like for that person for whom writing is not a hobby. I kept saying to myself, “This is not something you're doing as a hobby.” I want this book to be of value to people, and if I'm investing that time and effort into something that I want to get out there, you've got to commit to whatever it is you need to do to make sure you're not sinking. Jo: Yes. John: I will now not be able to get that image out of my head. Jo: Yes. I know there's people listening who don't have a mind's eye, which I always find fascinating, but for those of us with a mind's eye, you can now picture that and you will never forget it. The other thing, I guess, is that, having done a lot, over 40 books now, the inevitable thing is you cannot keep pushing all of those books back up to the surface. So when you do get the bug as such of writing, the most interesting thing for all of us is always the next book. It's always like, ooh, the next thing I'm doing, I'm very excited about. So you do have to pick your battles on marketing. So have you got the bug, do you think? Are you thinking of other books in general? Because as you said, you must be, I guess, in your 60s. John: I am. Jo: You could retire. John: I am. You were talking about that long career. I could. I mean, I really love doing it, and I would love to do more. I think one of the things that surprised me was just how many ideas came up while we were doing the book about tangents that one could take it. I have no desire to write a novel. I don't want to do that. I wouldn't be very good at that. I do think there are some interesting spaces around where there's a kind of intersection of creativity and learning, and how you can develop books that would help people who are trying to achieve different things in different sectors of publishing. So without getting too granular about it, this book doesn't really address brands who want to become publishers, and I think that is something that our business has developed into working with, not just individuals, but businesses and brands. I think there's definitely spin-offs of this book which are not about repeating what we've done so far. And this whole idea of what you've been doing for a long time, what we've been doing since 2011, 2012, it's evolving now at such a speed. I mean, who would have known what was going to come out of TikTok? As you talk about TikTok to Shopify, that whole kind of new ways of finding readers, of taking books to market. As you said, Kickstarter, crowdfunding. There's all sorts of things that I think will emerge, because in a funny sort of way traditional publishing at the moment feels quite conservative with a small c. I mean, the bestsellers. Dan Brown is number one in the bestseller list this week in the UK as I speak, who has been a bestseller forever. And obviously new writers come along the whole time, but the market feels a little bit as if it's waiting now for innovation. I think if that innovation's going to happen, it's probably going to happen in the indie space before it happens in mainstream publishing. So people are coming to us and thinking, does that represent a trend? Does that represent something which could be a way of looking at something a little bit deeper, doing some research around and creating something which is not a long book, not a massive thesis, but something which is indicative of something which could be useful for people. Jo: Just coming back on the Dan Brown is in the bestseller list. I think this is completely to do with the way that traditional publishing measures things. For many years, more than a decade, probably since the beginning of Kindle, certainly the beginning of Kindle Unlimited, there is a shadow economy, I call it, or a parallel economy. I would say that almost zero of my own personal sales are measured by any industry standards. Anyone who makes any money from Kindle Unlimited or Kickstarter or Shopify, or selling direct in any form, or selling books at conventions, none of this is measured by any traditional things. As you know, the New York Times list, for example, does not include Amazon sales in their bestseller list. So you've got indie authors in the UK who are incredibly successful who have to decide, say, someone like LJ Ross, for example, decides, “Okay, I'm going to set up a proper imprint with Gardners or whatever so that I can get in bookstores so that I can hit a Sunday Times list or something.” So I would say that seeing things like Dan Brown on a bestseller list has almost no meaning in the shadow indie economy. John: No, you're absolutely right. We're not even able to see audiobook sales. Jo: Yes, audio. Any kind of borrows, like Spotify. John: No, you're completely right. I suppose I was making a broader cultural point, that it doesn't feel like there's an enormous amount of innovation going on or risk taking within what I would call mainstream trade publishing. And there doesn't seem to be the need to be, because there will be more consolidation. Small companies will be bought by big companies, so there's growth through acquisition. There's still a hope that something will take off that is a surprise, and there's still an enormous reliance on established brands who, even through the traditional metrics of how you measure them, are probably selling less, but still at the top of the pile. I suppose that's what I was meaning. Jo: Yes, and I agree with what the industry looks at as signals. It's just, as we said, a lot of these signals are invisible. So coming onto innovation, at London Book Fair this year there were a lot of sessions on AI, and you mentioned AI briefly, and there is a chapter in Going Indie on generative AI. And of course there's a lot of negativity and drama and lawsuits and this, that and the other. But at the same time, at London Book Fair, a lot of traditional publishers talking about using it, and of course they always say, “Oh, we use AI only in marketing and business, not with the creative or editorial.” Everyone makes this distinction. What are your thoughts on what's happening and where's it going with AI? Is a lot of this stuff not happening in public and just going on behind closed doors? John: I think so. We do have a chapter in the book on AI. We've generated summaries of every chapter using AI, which we explicitly said in the book as well. We've got our Ten Commandments of what we think are useful guidelines. I think that there has to be an enormous amount being done, whether it's experimentation or speeding up for efficiency's sake, or things that slow you down, within mainstream publishing. There has to be more than just the guardrails around the creative process. And clearly when we're talking about metadata, book description, cover copy, presumably royalty calculations, presumably if you're trying to grow your newsletters. There has to be an enormous amount of activity going on. We're driven by the market, so we do not commission. Writers come to us and they either want to work with us and we want to work with them, or that doesn't happen. So we're in a sense seeing what the market is seeing, and that is a whole range of things. As I've said before, there's a lot of sweeping generalisations out there, which if you look back to that Kindle moment, we were talking a little while ago about what was going on in 2010/2011, about the enormous broad brush strokes that were being perceived as a result of Kindle. Kindle has affected some areas of publishing, it's affected some not at all. I think it will be absolutely fascinating when the sweeping generalisations stop and there becomes, I suppose, even more transparency. The thing that people are looking for, isn't it? A little bit less opaqueness as to what is really being done. Because everybody's being so careful about what they say they're doing and what they're not doing. I suppose ElevenLabs is the one where people are openly engaging on the audio side. I mean, everyone is being so careful and cautious. Jo: Me too. John: What do you think? We spoke a bit about AI within the book, and I'm interested to know what you think. Jo: Well, I've obviously been openly talking about it since 2016. I openly talk about using it, and I've got my Patreon community where we talk about how we're using it, and tips on how to use it. But then, because I have been writing and publishing since 2007, 2008, I'm very strong in my creative voice. I'm very strong in my understanding of what I consider to be my level of output, and what I publish under my own name is what I publish under my own name. John: Totally. Jo: So the problem is for people who are less confident, I think, in what they're doing creatively perhaps. I know some people feel like they're scared it will take over or something. When you're as strong-minded as me, it's not taking over anything. John: It's not going to take over anything. And the other side of the coin is how many people are finding Whitefox using ChatGPT. Jo: Mm. John: I'm thrilled that we are emerging, through very detailed briefing of AI, as something that is worth engaging with. Jo: Positive marketing. John: Yes, exactly. As you say, I think there's a lot of negativity, and I think it will settle down eventually. I think less hysteria. Jo: Yes, hopefully sooner rather than later. So as we come to an end, you've been in the publishing industry a long time and seen a lot of people who have disappeared, but also those who've lasted. I wondered if maybe you could comment on those who last, because I definitely feel like I'm in my 50s now, and I want to keep doing this. I'm pretty obsessed with— What are the hallmarks of people who have a long-term career? So reflections on that. John: Oh, that's such a good question. I think there's some common characteristics and themes. So I think authenticity, I think this idea of being continually curious. I think there are people who can't help but create, and this idea that once you've sort of expelled once, that's enough. I think there's people that just can't stop creating, whatever you do with it. But this idea that the more you do, the better you get, the more you evolve and keep an open mind. I think there's definitely entrepreneurial writers who love this idea of keeping their readers engaged, and how that conversation is something that evolves and that collaboration evolves, is fascinating. I think if you love that, and you listen, there's always an opportunity to keep building on what you do. I love the writers who we work with. I can think of a writer who we're working on his fourth novel at the moment, and he is a bundle of positivity. No matter the trials and tribulations, the things that have gone wrong, his expectations definitely not being met with his first book. He definitely has this idea that he wants to keep writing, he wants to get better, and he is getting better. It isn't a journey that has a beginning and an end. It's something that will continue for as long as he wants to write. Every single book that he has published, he has learned and gained confidence, gained a network of connections that he's utilised himself now to not make the first half a dozen mistakes he made on the first book. Who knows where it will end up? But certainly the satisfaction he's getting, and the sales he's getting, are growing as he becomes savvier and quicker to make the right choices and decisions. So I think that's my honest answer to that. I think there are definitely people who think, “Phew, I have really wanted to do this book. Now I can rest easy. I've done my book.” Then there are people who really, whatever their objective, whatever the definition of success is from the get-go, just can't help creating. I do love that and respect that. I don't think our book falls quite into that category, because I think it's a slightly different thing. I think there are people who are still making a success of what they do and redefining that as they go on, and who are really open to ideas and input from different people and are not closed off. I love working with those people. Jo: So where can people find Going Indie and everything you do online? John: Well, Going Indie is available online at all good bookshops. It's available at Amazon and anywhere you buy books online as ebook and POD. Our website is wearewhitefox.com, and you'll find information about not just our book there, but a lot of other things that we're doing on that site. Jo: Brilliant. Well, thanks so much for your time, John. That was great. John: Thank you so much, Jo. It's been a pleasure. The post Going Indie, Publishing Innovation, And The Challenges Of Book Marketing With John Bond first appeared on The Creative Penn.

If you've ever told yourself, "I'll start Monday," "I just need more motivation," or "I can't seem to stay consistent," this episode is for you.This week on The Level Up with Lacey Podcast, I'm joined by the very first repeat guest in podcast history, Jess from White Fox Styling!

Cosy hoodies and tight party dresses have put White Fox clothing label founders Daniel and Georgia Contos on the Richest 250 list, and now their financial documents show big profits and huge dividends. Plus, Jim Chalmers is buoyant about falling auction clearance rates. Read more: First White Fox financial accounts reveal profits, dividends and how founders built a $1.42bn fortune Auction clearance rate fall 'a good thing' for first-home buyersSee omnystudio.com/listener for privacy information.

For a brief moment, things look just as they were. Three siblings sit in a bedroom together, talking about the future. But the fate of Cair Mallplex, a real reunion, and the very possibility of tomorrow all rests on Valeria's shoulders. The moon sits on the horizon. Mum's the word. Featuring pirate puns, a voided warranty, and the return of cassette tapes. Trigger warnings for references to violence, family death, grief throughout. Discussion of surveillance, mention of police brutality and imprisonment. Discussion of identity/stolen identity. Brief discussion of police brutality. Discussion of mortality and bombs. Brief mention of gender dysphoria. Find us on our website at undertheelectricstars.com! Transcripts are available on our website. Support us on Patreon ➠ patreon.com/mxeliramos Follow us on social media! Tumblr ➠ undertheelectricstarspodcast.tumblr.com Bluesky ➠ https://bsky.app/profile/utes-podcast.bsky.social Thanks to our patrons Lucas, Christine, Ferris, Chris Magilton, Audrey Pham, Joshua Hazeghazam, Seth Timple, Inigo Sherwani, Kyla Worrell, Everett Noir, James P. Olson, Miriam Brown, No1 Inparticular, and Merry for their support. Team Motzie Dapul as Valeria Reyes Rhea Anne as Caine Reyes John Patneaude as Sebastian Reyes Matheus Nogueira as Kaleo Hale Ari B. as Ava Jafari Christine Kim as Su-jin Yi Kevin Paculan as Vic Vass Robin Guzman as Jet Reyes, Sentinel, and Lookout Lushika Preethraj as Cybil Blanche Katriel Rose as Nell Palomo Rue Dickey as Ganymede Moreno Chaitrika Budamagunta as Lalitha Suravaram Additional voices were provided by Eli Ramos. From freesound.org “lino_15a_darkshoes_walk.wav” by sturmankin (https://freesound.org/people/sturmankin/sounds/272517/) “footsteps_down_stairs_3.WAV” by sinatra314 (https://freesound.org/people/sinatra314/sounds/209474/) “footsteps_down_stairs_4.WAV” by sinatra314 (https://freesound.org/people/sinatra314/sounds/209473/) “footsteps_down_stairs_1.WAV” by sinatra314 (https://freesound.org/people/sinatra314/sounds/209471/) “Quickly Walking Up Stairs” by deleted_user_7146007 (https://freesound.org/people/deleted_user_7146007/sounds/383889/) “footsteps_up_stairs_3.WAV” by sinatra314 (https://freesound.org/people/sinatra314/sounds/209476/) “VHS Tape” by coltures (https://freesound.org/people/coltures/sounds/391476/) “Backpack Foley” by slave2thelight (https://freesound.org/people/Slave2theLight/sounds/157012/) “lino_14a_lightshoes_walk.wav” by sturmankin (https://freesound.org/people/sturmankin/sounds/272511/) “Cold CityNight 1032PM 210209_0248.wav” by klankbeeld (https://freesound.org/people/klankbeeld/sounds/625668/) “Radio Garble & Static” by yfjesse (https://freesound.org/people/yfjesse/sounds/424153/) “Light Switch Off 1” by deleted_user_4772965 (https://freesound.org/people/deleted_user_4772965/sounds/256838/) “Convenience Store Door Chime (16bit, 44.1kHz, Stereo)” by zebragrrl (https://freesound.org/people/zebragrrl/sounds/632226/) “Convenience Store Interior Ambiance” by JohnsonBrandEditing (https://https://freesound.org/people/JohnsonBrandEditing/sounds/244309/) “room-tone apartment suburban 936AM 240215_0653” by klankbeeld (https://freesound.org/people/klankbeeld/sounds/735277/) “Office Chair Rolling.mp3” by bokal (https://freesound.org/people/bokal/sounds/414818/) “Glitch Elements” by Filo_Rossi (https://freesound.org/people/Filo_Rossi/sounds/342118/) “metal mesh stairs steps sound effect” by Garuda1982 (https://freesound.org/people/Garuda1982/sounds/555386/) “Metal Footsteps” by SoftDistortionFX (https://freesound.org/people/SoftDistortionFX/sounds/398937/) “Chair-Folding_Chair-Metal-Person-Sit-01.wav” by DWOBoyle (https://freesound.org/people/DWOBoyle/sounds/146982/) “cakeform.wav” by j1987 (https://freesound.org/people/j1987/sounds/123004/) “Light Cast Skill Loop ( Guidingbolt )” by EminYILDIRIM (https://freesound.org/people/EminYILDIRIM/sounds/567854/) “cardboard box drop, hit, handling” by MadMaxSFX (https://freesound.org/people/MadMaxSFX/sounds/327992/) “plastic case pickup handling handle rattle.flac” by kyles (https://freesound.org/people/kyles/sounds/454115/) “screwing and unscrewing brass” by nettimato (https://freesound.org/people/nettimato/sounds/353245/) “FoldingSeat.wav” by kwahmah_02 (https://freesound.org/people/kwahmah_02/sounds/253975/) “FXSaSc Wind Chimes Close Near” by Profispiesser (https://freesound.org/people/Profispiesser/sounds/521027/) “Short Lullaby Song.mp3” by davo32 (https://freesound.org/people/davo32/sounds/628390/) “Briefcase Open & Close.wav” by kayasavas87 (https://freesound.org/people/kayasavas87/sounds/70755/) “keyboard-typing-long-looping_Gkz4uBVu.wav” by imagery2 (https://freesound.org/people/imagery2/sounds/456906/) “Circuit Breaker Reverb.wav” by DCElliott (https://freesound.org/people/DCElliott/sounds/381447/) “Heavy metal light switch, flipping.wav” by SpliceSound (https://freesound.org/people/SpliceSound/sounds/188194/) “tools rummaging through tools ext metal debris.wav” by kyles (https://freesound.org/people/kyles/sounds/450873/) “sfx-cassette-tape-motor.flac” by Starscade (https://freesound.org/people/Starscade/sounds/397310/) “Cassette tape machine various interaction” by charonfaustinus (https://freesound.org/people/charonfaustinus/sounds/751057/) “Office_ambience.m4a” by servozero (https://freesound.org/people/servozero/sounds/636268/) “mouse click” by Sky_Motion (https://freesound.org/people/Sky_Motion/sounds/612745/) “Keyboard typing sounds: Unidentified Technics keyboard” by zzrion (https://freesound.org/people/zrrion/sounds/665075/) “Finger Tapping Phone” by jentlemen (https://freesound.org/people/jentlemen/sounds/704862/) “lino_09a_highheels_walk.wav” by sturmankin (https://freesound.org/people/sturmankin/sounds/272519/) “SCI-FI_DOOR_2” by alexo400 (https://freesound.org/people/alexo400/sounds/543654/) “Generator” by freekit (https://freesound.org/people/freekit/sounds/846458/) “alarm timer watch countdown.mp3” by BarkersPinhead (https://freesound.org/people/BarkersPinhead/sounds/274806/) “MECHClik-Blue Snowball Microphone, CU_Button, Rectangular, Press_Nicholas Judy_TDC” by desginerschoice (https://freesound.org/people/designerschoice/sounds/810453/) “Tool box sounds 1” by swordofkings128 (https://freesound.org/people/swordofkings128/sounds/398034/) “concrete_17a_boots_walk.wav” by sturmankin (https://freesound.org/people/sturmankin/sounds/272253/) “Tool box sounds 2” by swordofkings128 (https://freesound.org/people/swordofkings128/sounds/398035/) “Closing a tool box.wav” by Chubber1995 (https://freesound.org/people/Chubbers1995/sounds/344642/) “Ambience City Quiet Night Air Tone” by leonelmail (https://freesound.org/people/leonelmail/sounds/427841/) “boots on aluminum ladder 01” by Eelke (https://freesound.org/people/Eelke/sounds/462598/) “lino_17a_boots_walk.wav” by sturmankin (https://freesound.org/people/sturmankin/sounds/272505/) “NPX Male Wet Kiss 2.wav” by noahpardo (https://freesound.org/people/noahpardo/sounds/352340/) “Keyboard Typing 10 (WhiteFox, Mechanical)” by grcekh (https://freesound.org/people/grcekh/sounds/546167/) “sips and gulps” by spanrucker (https://freesound.org/people/spanrucker/sounds/272228/) “Ceramic clank and sliding over wooden table.wav” by kessir (https://freesound.org/people/kessir/sounds/264757/) “USB, plugged in.wav” by 16FPanskaVyskocil_Tom (https://freesound.org/people/16FPanskaVyskocil_Tom/sounds/499077/) “Phone Call Tone 1” by ximian (https://freesound.org/people/ximian/sounds/259598/) “Thrown Object” by Bexhillcollege (https://freesound.org/people/Bexhillcollege/sounds/272065/) “Stepping on broken glass” by LukaCafuka (https://freesound.org/people/LukaCafuka/sounds/757830/) “glass shattering” by logant547 (https://freesound.org/people/logant547/sounds/837703/) From Zapsplat.com Person gets up off of dining chair 1 (https://www.zapsplat.com/music/person-gets-up-off-of-dining-chair-1/) Person sitting down on mattress 3 (https://www.zapsplat.com/music/person-sitting-down-on-mattress-3/) Person gets up off of padded office chair (https://www.zapsplat.com/music/person-gets-up-off-of-padded-office-chair/) Science fiction computer interface UI tone, process clicks (https://www.zapsplat.com/music/science-fiction-computer-interface-ui-tone-process-clicks/) Podcast or radio musical filler, break, short music, calm, zen, relaxing, Tibetan singing bowl 3(https://www.zapsplat.com/music/podcast-or-radio-musical-filler-break-short-music-calm-zen-relaxing-tibetan-singing-bowl-3) High tech cyber beep, button (https://www.zapsplat.com/music/high-tech-cyber-beep-button/) Game tone, toggle or scroll, plucked 2 (https://www.zapsplat.com/music/game-tone-toggle-or-scroll-plucked-2/) Science fiction door code unlock 2 (https://www.zapsplat.com/music/science-fiction-door-code-unlock-2/) Person sitting down into a leather office chair, air puffs out from cushion 1 (https://www.zapsplat.com/music/person-sitting-down-into-a-leather-office-chair-air-puffs-out-from-cushion-1/) Body movements on leather office chair 3 (https://www.zapsplat.com/music/high-tech-futuristic-beep-good-as-a-ui-sound-4/) Office chair on wheels set down on tiled floor 4 (https://www.zapsplat.com/music/office-chair-on-wheels-set-down-on-tiled-floor-4/) High-tech futuristic beep, good as a UI sound 4 (https://www.zapsplat.com/music/high-tech-futuristic-beep-good-as-a-ui-sound-4/) Designed drone, dark and empty interior space (https://www.zapsplat.com/music/designed-drone-dark-and-empty-interior-space/) “Torch (small) turn off or on” (https://www.zapsplat.com/music/torch-small-turn-off-or-on/) Person sits down on mattress on metal framed bed (https://www.zapsplat.com/music/person-sits-down-on-mattress-on-metal-framed-bed/) Large shopping mall, voices, environment, ambience, footsteps (https://www.zapsplat.com/music/large-shopping-mall-voices-environment-ambience-footsteps/) Food court in shopping mall, busy lunchtime, people chat and eat, chair movements, Sydney CBD, Australia (https://www.zapsplat.com/music/food-court-in-shopping-mall-busy-lunchtime-people-chat-and-eat-chair-movements-sydney-cbd-australia/) Game sound, processing, loading or waiting mallet tone, clicking and muted (https://www.zapsplat.com/music/game-sound-processing-loading-or-waiting-mallet-tone-clicking-and-muted/) Game sound, coin collect, clean ping (https://www.zapsplat.com/music/game-sound-coin-collect-clean-ping/) Game sound, simple negative hit, vibrate, short (https://www.zapsplat.com/music/game-sound-simple-negative-hit-vibrate-short/) Designed drone, dark and airy, desolate, empty and abandoned tone (https://www.zapsplat.com/music/designed-drone-dark-and-airy-desolate-empty-and-abandoned-tone/) Other sources “Wind Breaker, Loopable” by Badlands Sound “Power Down 111” by Federico Soler Fernandez “Distorted Glitch 28” by Phil Michalski “beep-07” from soundjay “Beep 25” from soundjay “Cellphone Vibrations 07” by Nikko Barrera-Amaya Music “Under Hover” by Stirquoise (https://freemusicarchive.org/music/stirquoise/gloominati/under-hover/) “Calcium Singularis” by Koi-discovery (https://freemusicarchive.org/music/koi-discovery/drakir/calcium-singularis/) “Skin Wax” by Pablo Perez (https://freemusicarchive.org/music/pablo-perez/single/skin-wax/) “58+g” by Monplaisir feat. Southman (https://freemusicarchive.org/music/Monplaisir_feat_Southman/Pass_Compos_Prsent_Improvis/Southman__Monplaisir__Pass_compos_Prsent_improvis__09_58g/) “The Night We Saw Those Strange Lights – Loopable Dark Mysterious music” by JoelFazhari (https://pixabay.com/music/pulses-the-night-we-saw-those-strange-lights-loopable-dark-mysterious-music-157455/) “Upbeat – Upbeat Corporate” by PaulYudin (https://pixabay.com/music/corporate-upbeat-upbeat-corporate-493489/) “Forgotten World” by Art Flower (https://freemusicarchive.org/music/art-flower/the-altland/artflower-forgotten-world/) “Suspense Cyberpunk” by Dmitrii Kolesnikov (https://pixabay.com/music/ambient-suspense-cyberpunk-375986/) “End of the Street - Moody post rock guitar soundtrack” by Kabbalistic_Village (https://pixabay.com/music/end-of-the-street-moody-post-rock-guitar-soundtrack-133102) “Unforseen Consequences” by techtheist (https://pixabay.com/music/post-rock-unforeseen-consequences-224297/) “Waiting Line” by Monplaisir (https://freemusicarchive.org/music/Monplaisir/Loops_1260/Monplaisir_-Loops_09_Waiting_Line/) “YOU” by Monplaisir (https://freemusicarchive.org/music/Monplaisir/IM_NON_BINARY_GENDERFLUID_AND_PROUD/Monplaisir__IM_NON_BINARY_GENDERFLUID_AND_PROUD__06_YOU/) “CARE” by Monplaisir. (https://freemusicarchive.org/music/Monplaisir/IM_NON_BINARY_GENDERFLUID_AND_PROUD/Monplaisir__IM_NON_BINARY_GENDERFLUID_AND_PROUD__04_CARE/) “The Eclipse – Ambient Soundscape” by Dream-Protocol (https://pixabay.com/music/ambient-the-eclipse-ambient-soundscape-135377/) “No One Is Perfect” by HoliznaCC0. (https://freemusicarchive.org/music/holiznacc0/be-happy-with-who-you-are/no-one-is-perfect/) “W31rd - the hallway 02” by Samuel F. Johanns (https://pixabay.com/music/ambient-w31rd-the-hallway-02-119804/) "Atmosphere Pulse" by Nikita Kondrashev (https://pixabay.com/music/pulses-atmosphere-pulse-263075/) “39+g” by Monplaisir feat. Southman (https://freemusicarchive.org/music/Monplaisir_feat_Southman/Pass_Compos_Prsent_Improvis/Southman__Monplaisir__Pass_compos_Prsent_improvis__07_39g)

Our richest men are loud and proud with their opinions about government policy and everything else. But why, when we have record numbers of female billionaires, aren’t the women as prominent? Read more about this story at theaustralian.com.au and see the video by subscribing to our YouTube channel. Find this year’s list at richest250.com.au Gina Rinehart leads the 37 women who control $140bn of Australian wealth Inside the secretive empire of White Fox founders and their $429m fashion phenomenon New billionaire Pamela Wall’s plans to give away her entire Codan fortune This episode of The Front is presented and produced by Claire Harvey with Kristen Amiet, and edited by Joshua Burton. Our team includes Lia Tsamoglou, Tiffany Dimmack, and Jasper Leak, who also composed our music. See omnystudio.com/listener for privacy information.

As Iron Fist, Elektra and White Tiger fight off Davos and his minions from accessing gateway technology, Pei and White Fox enter Kun-Lun to find the city in ruins.Issue Reviewed: Deadly Hands of Kun-Lun Volume 1, Issue 2

An Australian air base in the United Arab Emirates was targeted by an Iranian projectile. Plus, White Fox founders make their Richest 250 debut and an acclaimed chef’s grim coffee prediction. Read more: Australian air base in UAE targeted Inside the secretive empire of White Fox founders and their $429m fashion phenomenon Neil Perry’s grim $12 coffee warning amid recession fearsSee omnystudio.com/listener for privacy information.

From a chance meeting at a White Fox event to sharing rooms in the Bahamas, this episode dives deep into the long-distance friendship between two teens navigating life, social media, and growing up in completely different states. They open up about how their bond grew on a Bahamas trip, the early communication struggles and the instant trust they felt as two of the youngest girls sharing a room. They reflect on first impressions and why having a friend who understands the social media world feels different. The girls and Kat wrap with advice for making new friends: talk to everyone, find your people, keep your circle small, and most importantly that real friendships can grow anywhere… even over Baja Blast. Hosted on Acast. See acast.com/privacy for more information.

After another kumiho appears, White Fox and Sword Master investigate the mythical creatures whereabouts. When discovering its true nature, Lin Lie finds himself struggling with being worthy enough to wield the Sword of Fu Xi.Issue Covered: The Death of Doctor Strange: White Fox

In this episode, Marty sits down with the top three agents at WHITEFOX - David Murray, Phillip Rand, and Dylan Francis, to unpack the rise of three leaders shaping the next era of the brand. From Perth to Brisbane to Melbourne's Northside, these three have gone from high performers in their own markets to business partners overseeing more than $20M in annual GCI and leading teams that are rewriting what success looks like.They dive into the early days, from sabbaticals and self-doubt to cold calls, club meetings, and the first FaceTime that set everything in motion. Marty revisits the moments that made each of them: David's restart after leaving the industry, Dylan's leap into leadership and two offices in 12 months, and Phil's transformation into one of the country's most recognised National Project Directors. Together, they explore the real shifts behind their growth: the uplift in average sale prices, the leap into new markets, the responsibility of building teams, and the power of authenticity in an industry obsessed with comparison. They talk culture, pace, and pressure, the kind that makes you better, and what it means to be part of a brand built on speed, energy, and alignment over templates and red tape.This one's about leadership, self-belief, and the art of growing something bigger than yourself, from three very different operators who've each found their own lane and made it work.

In this episode, Marty and Shura sit down with Clint Stanaway - host of Weekend Today, Nova 100 breakfast co-host, and the man with a mic at some of sport's biggest moments.From late-night bulletins to post-match chaos, Clint unpacks what it takes to stay calm on live TV, why interviewing players after a win is one of the toughest gigs, and how a last-minute kick with Cristiano Ronaldo became a career highlight. They talk newsroom culture, media pivots, and the pressure of being the first voice after a grand final, gold medal, or breaking news.He shares the moments that still give him chills, the unpredictability of live crosses, and why tennis players can be the trickiest interviews of all, plus how years in sport shaped his transition to mainstream media and morning radio.This one's about pressure, pace, and keeping perspective, from centre court to the newsroom floor.

The relentless stare of a hundred digital cameras, thousands of glares under masks, all focus in on a certain nobody — Caine Reyes — as they search for Su-jin, the only one they have eyes for. Featuring a split meaning for the title's pun, a way to make doors open, and three new voices… though one's more familiar to some. Trigger warnings for loud sounds, references to surveillance states, yelling, stalking, alarm sounds, and references to police brutality. Find us on our website at undertheelectricstars.com! Transcripts are available on our website. Follow us on social media! Tumblr ➠ undertheelectricstarspodcast.tumblr.com Bluesky ➠ https://bsky.app/profile/utes-podcast.bsky.social Thanks to our patrons Lucas, Christine, Ferris, Chris Magilton, Audrey Pham, Joshua Hazeghazam, Seth Timple, Inigo Sherwani, Tyler Jay, Everett Noir, James P. Olson, resa chiic, Miriam Brown, and No1 InParticular for their support. Team Rhea Anne as Caine Reyes Kevin Paculan as Vic Vass Robin Guzman as Jet Christine Kim as Su-jin Yi John Patneaude as Sebastian Reyes Chaitrika Budamagunta as Lalitha Suravaram Rue Dickey as Ganymede Moreno Lushika Preethraj as Cybil Blanche Philomena Sherwood as Tari de Whitte Katriel Rose as Nell Palomo Jae “GameJae” Shinn as Patton March Stephanie Arata as Elizabeth Haven Rey Yoali Olachea Martinez as Indra Motzie Dapul as Valeria Reyes Additional voices were provided by Eli Ramos and Daniel Mosby. Attribution for sounds and music From freesound.org “custom_scifi_mechanical_blast_door_impact_sounds_03_12142024” by Artninja (https://freesound.org/people/Artninja/sounds/776326/)) “people ambience large hall 01.flac” by klankbeeld (https://freesound.org/people/klankbeeld/sounds/171317/)) “Fountain_2.wav” by skyko (https://freesound.org/people/skyko/sounds/169254/)) “glasses clinking” by waheegle (https://freesound.org/people/waheegle/sounds/738633/)) “Wine Glass Toast Clink” by BennettFilmTeacher (https://freesound.org/people/BennettFilmTeacher/sounds/518598/)) “Crystal Glass Clink” by Clearwavsound (https://freesound.org/people/Clearwavsound/sounds/541032/)) “Man Laughing.mp3” by bvaudio (https://freesound.org/people/bvaudio/sounds/413666/)) “Laugh 03.wav” by makkaydani (https://freesound.org/people/makkaydani/sounds/570894/)) “Woman laugh” by Kalibrk (https://freesound.org/people/Kalibrk/sounds/433921/)) “Crowd Cheering” by SoundsExciting (https://freesound.org/people/SoundsExciting/sounds/365132/)) “[SFX] eerie glow” by waveplaySFX (https://freesound.org/people/waveplaySFX/sounds/187499/)) “Keyboard typing sounds: Unidentified Technics keyboard” by zrrion (https://freesound.org/people/zrrion/sounds/665075/)) “windchime random.aif” by Heigh-hoo (https://freesound.org/people/Heigh-hoo/sounds/9111/)) “steps in high heels.wav” by anagar (https://freesound.org/people/anagar/sounds/267933/)) “Error Bleep 1” by original_sound (https://freesound.org/people/original_sound/sounds/372200/)) “ChangeATire.wav” by jfelz (https://freesound.org/people/jfelz/sounds/617398/)) “Impact Sprinkler on Summer Day, 120 degree rotation” by wmodes (https://freesound.org/people/wmodes/sounds/745744/)) “Squeaky Scrape 41” by Department64 (https://freesound.org/people/Department64/sounds/669012/)) “Tool Box” by NWSP (https://freesound.org/people/NWSP/sounds/240743/)) “Pushing Pulling Chair Table Wooden Furniture Across Floor Squeak Pack.wav” by ralph.whitehead (https://freesound.org/people/ralph.whitehead/sounds/565719/)) “chair_sitting_2.wav” by FreqMan (https://freesound.org/people/FreqMan/sounds/25925/)) “Cabinet_Sliding_Drawers_Open__wooden_kitchen_11” by MattRuthSound (https://freesound.org/people/MattRuthSound/sounds/550363/)) “Turning Pages of a Magazine.wav” by sophiehall3535 (https://freesound.org/people/sophiehall3535/sounds/248045/)) “Grains - 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Julia Hobsbawm and Stefan Stern are joined by John Bond, founder and executive director of Whitefox Publishing, and Toby Mundy, literary agent and former publisher, to explore and evaluate the business of publishing. Toby reflects on his career, from founding Atlantic Books, now as a literary agent and serving as Executive Director of the Baillie Gifford Prize. Against the backdrop of the London Book Fair, they discuss how shifts at book fairs reflect broader industry changes. Toby and John offer an insider's view of the publishing business, from its ongoing challenges to the role of commissioning editors, where the money is, and what makes a book a success. Julia also sits down with Hannah Bickerton, the new Managing Director of Whitefox, to discuss book marketing in an evolving industry and the potential role of AI in publishing's future. This episode is brought to you in association with Whitefox, exceptional publishers for exceptional stories. Learn more at wearewhitefox.com. The Nowhere Office is a Fully Connected Production in partnership with Sandstone Global Productions. Music by Julian Brezon. Discover more at workathon.io. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, we have an extra special episode featuring the incredible Jess Shelton! She's giving us an exclusive behind-the-scenes look at how she has grown both her team and herself to incredible success.Join Lacey and Jess as they dive deep into:✨ Their daily rituals that set them up for success✨ How to stay motivated, even on tough days✨ The power of discipline in leadership and business growth✨ Why showing up for yourself makes you a better leader for your teamIf you're looking for inspiration, motivation, and actionable strategies to lead with confidence—this episode is for you!Listen now!

Julia Hobsbawm and Stefan Stern are joined by John Bond, founder of Whitefox Publishing to discuss the business of publishing.  We hear about how the industry has changed since the 1980s and 1990s when huge advances were handed out at the drop of a hat and books were acquired on professional instinct. That's been replaced by data-driven metrics and a clearer understanding of what consumers want. The episode provides advice for anyone looking to have a book published, explaining the current market, the steps involved and the roles that agents play. The episode features clips for Rebecca Frayn's novel Lost in Ibiza and Emily Ross and Alastair Crowl's Just Evil Enough. Both are published by Whitefox. This episode is brought to you in association with Whitefox—exceptional publishers for exceptional stories. Learn more at wearewhitefox.com. The Nowhere Office is a Fully Connected Production in partnership with Sandstone Global Productions. Music by Julian Brezon. Discover more at workathon.io. Learn more about your ad choices. Visit megaphone.fm/adchoices

Also, who IS the White Fox???

This is a tribute to a dear friend of The Nowhere Office, Charles Handy, the management writer, who died this week aged 92. Julia Hobsbawm and Stefan Stern are joined by the FT's Andrew Hill to discuss Handy's life and legacy, his extremely sharp predictions about work, the humanism at the heart of his thinking, and his unconventional practices like ‘empty chair' exercises. We have included an interview with Charles Handy from the very first episode of The Nowhere Office. In this episode's My Working Life segment, Indrani Sen, Features Editor at Fortune Magazine, tells us about journalism on 9/11 in New York, the sheer fun of her job, anxiety in legacy media, and a possible career shift. This sponsored feature is brought to you in association with Whitefox—exceptional publishers for exceptional stories. Learn more at wearewhitefox.com. The Nowhere Office is a Fully Connected Production in partnership with Sandstone Global Productions. Music by Julian Brezon. Discover more at workathon.io. Books mentioned in the episode: By Charles Handy: The Gods of Management: The Changing Work of Organizations (OUP, 1979) The Age of Unreason: New Thinking for a New World (Random House Business, 1989) The Empty Raincoat: Making Sense of the Future (Random House Business, 1995) The Elephant and the Flea: New Thinking for a New World (Random House Business, 2002) The Second Curve: Thoughts on Reinventing Society (Random House Business, 2015).  Also mentioned:  Dan Davies, The Unaccountability Machine: Why Big Systems Make Terrible Decisions - and How The World Lost its Mind (Profile Books, 2024).  Learn more about your ad choices. Visit megaphone.fm/adchoices

Julia Hobsbawm speaks with Peter Miscovich, Executive Managing Director and Global Future of Work Leader at JLL, to explore the past, present, and future of offices around the world. They discuss the tech transformations in workplaces, quantum computing on the horizon and the massive changes in the past 50 years of work.  In this episode's My Working Life segment, we hear from Birgitte Stoerger of AuPairCare. With years of experience matching au pairs with families, Birgitte shares the joys of her work and the challenges faced by Au Pairs navigating a new life in the US.  This sponsored feature is brought to you in association with Whitefox—exceptional publishers for exceptional stories. Learn more at wearewhitefox.com. The Nowhere Office is a Fully Connected Production in partnership with Sandstone Global Productions. Music by Julian Brezon. Discover more at workathon.io. Learn more about your ad choices. Visit megaphone.fm/adchoices

For this My Working Life edition of the Nowhere Office, Julia Hobsbawm is joined by Iain Dale to discuss his career as a broadcaster, author, publisher, editor, lobbyist and much more. This week's My Working Life segment features Olivia Alexander, a SoulCycle instructor. Olivia shares how the pandemic disrupted her musical theatre career and how SoulCycle has not only "filled her cup" but also helped her navigate grief. This sponsored feature is brought to you by Whitefox—exceptional publishers for exceptional stories. Discover more at wearewhitefox.com. The Nowhere Office is a Fully Connected Production in association with Sandstone Global Productions. Music by Julian Brezon. Learn more at workathon.io. Also mentioned in the episode: Our Brain Bank: ourbrainbank.org. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this News from Nowhere, we bring you a conversation from a recent Workathon event in London: How the Media Works. Ravi Mattu, managing editor of The New York Times' DealBook, and Matthew D'Ancona, editor of The New European, joined Julia Hobsbawm to discuss the state of the media. Stefan Stern talks to journalist Carole Cadwalladr about the Tortoise-Observer deal. Carole shares candid views on paywalled versus free journalism and what she describes as the breathtaking arrogance and contempt of The Guardian's management. In this week's My Working Life, Jess is disappointed in the work ethic of younger colleagues and tells us about hospitality at 30,000 feet. The Nowhere Office is a Fully Connected Production, in association with Sandstone Global Productions. Music by Julian Brezon. This episode's sponsored feature is brought to you by Whitefox—exceptional publishers for exceptional stories. Learn more at wearewhitefox.com. For more information, visit workathon.io. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of The Nowhere Office, Julia Hobsbawm is joined by author and speaker Terence Mauri to discuss his new book The Upside of Disruption: The Path to Leading and Thriving in the Unknown. Terence explores the risks of standing still in an age of rapid change and shares how a serious accident reshaped his career and perspective. The conversation covers warm and cold AI, future readiness, and his philosophy of reduction. This week's My Working Life features Declan Hogan, CFO of O'Dwyer Steel, who discusses the business of building. This sponsored feature is brought to you by Whitefox—exceptional publishers for exceptional stories. Discover more at wearewhitefox.com. The Nowhere Office is a Fully Connected Production, in association with Sandstone Global Productions. Music by Julian Brezon. Find out more at workathon.io. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this week's episode of The Nowhere Office, fresh off the UK government's budget announcement, Julia Hobsbawm and Stefan Stern welcome economist Vicky Pryce. They delve into the Economy of Work, exploring workforce inactivity and persistent challenges to productivity, with a special focus on the overlooked challenges faced by women in the workforce and the economic cost of prisons.  In our My Working Life segment, meet an entrepreneurial couple who run a cutting-edge retreat in the Bavarian Alps—one of whom sees himself as the “Winston Wolf” of tech. This sponsored feature is brought to you in association with Whitefox, exceptional publishers for exceptional stories. Discover more at wearewhitefox.com. The Nowhere Office is a Fully Connected Production in association with Sandstone Global Productions. Music by Julian Brezon. Learn more at Workathon.io and https://www.linkedin.com/showcase/thenowhereoffice/ Learn more about your ad choices. Visit megaphone.fm/adchoices

I visited Mark Alice Durant at his home in Maryland to talk about his book, Summer of the White Fox, and After, published by Saint Lucy Books. We talk about how Mark came to photography and why he started his own publishing imprint. Summer of the White Fox, and After is a memoir and a monograph, with a touch of history and philosophy weaved into the essay. It is a recounting of grief and loss that enveloped Mark and his family through distinct events and all during the pandemic. It is also a story about experiencing love and care in ways that were, perhaps, unforseeable before all of the tragedies struck Mark's family. https://www.saintlucybooks.com/shop/p/summer-of-the-white-fox-and-after | https://www.instagram.com/saint_lucy_books/ This podcast is sponsored by the Charcoal Book Club Begin Building your dream photobook library today at https://charcoalbookclub.com Mark Alice Durant is a photographer whose photographs, installations, and performances have been presented internationally including the Los Angeles County Museum of Art, the Museum of Contemporary Art in Chicago and Artist's Space in New York. In 1991, he co-founded the performance duo ‘men of the world' that for 10 years performed on the streets of Chicago, Toronto, Seattle, New York, Houston, San Francisco, and other cities. He has written extensively on the nexus of photography, performance and cultural phenomena with essays appearing in such journals as Art in America, Art on Paper, ArtUS, Art Journal, Afterimage, Dear Dave, Exposure, New Art Examiner, and PLUK. Durant is the editor of the online journal Saint Lucy which is devoted to writing about photography, contemporary art and the lovely people of Baltimore. He has contributed to numerous catalogs, monographs and anthologies including The Passionate Camera: Photography and Bodies of Desire, The Gothic, Jimmie Durham and Marco Breuer: Early Recordings. He is author of McDermott and McGough: A History of Photography, Robert Heinecken: A Material History and co-author of Vik Muniz: Seeing is Believing and Dressed for Thrills: 100 Years of Halloween Costume and Masquerade. In 2005, Durant co-curated and co-authored Blur of the Otherworldly: Contemporary Art, Technology and the Paranormal. Durant was co-curator of Some Assembly Required: Collage Culture in Post-War America in 2002 and in 2008, he curated Notes on Monumentality at the Baltimore Museum of Art. He has served on the faculties of the School of the Art Institute of Chicago, UCLA, the University of New Mexico, Syracuse University, and the Milton Avery Graduate School for the Arts at Bard College. He has received grants and fellowships from the National Endowment for the Arts, the Fleishhacker Foundation, the Center for Creative Photography, the Illinois Arts Council, and the MacDowell Colony. Professor Durant received his B.F.A. from Massachusetts College of Art and M.F.A. from the San Francisco Art Institute. Support Real Photo Show with Michael Chovan-Dalton by contributing to their tip jar: https://tips.pinecast.com/jar/real-photo-show

Italian author Ilaria Bernardini is a big deal in her home country. And rightly so. Her latest novel in English, We Will Be Forest, was longlisted for Italy's presitigious Strega Prize when it originally came out in 2018, and she's received a tankload of plaudits for her works for the page and screen. In this episode, Mick's chatting to Ilaria about the pain, hope and renewal of change, particularly in relationships and events that affect our physical health, the invisible lines that connect us all – and what part plants and nature can play in all of that.  We Will Be Forest is translated by Livia Franchini, published by Whitefox and out now. Learn more about your ad choices. Visit megaphone.fm/adchoices

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This week our guest artist is one of the most dedicated people I know (that I'm lucky enough to call my friend) Jess Shelton.  Jess owns Whitefox Styling in Amarillo, TX.  We are getting an inside look of what Jess looks for in team members, Whitefox social strategies and the Friday rituals that became a game changer inside her business.  Jess explains how working less behind the chair has made her a better leader, the investments in education that she recommends, and her best advice when bringing on an assistant.  The amount of energy that Jess pours into her team is inspiring, you don't want to miss this episode!  Go give her a follow @jess_whitefox_styling  Join The Assistant University waitlist here- https://lg-education.mykajabi.com/AUpresale Apply for LEAD here-  https://www.honeybook.com/widget/lg_education_229356/cf_id/62c33ace23027f0dd2e4790a Suggest podcast topics here ⤵️ https://forms.gle/gbvrjqTuhbmBc3S46 Follow us on social! Instagram: @lacey_gebo Facebook: The New Era of Assistant Training

Wouldn't work be great if the human was put at the heart of the experience of working? And how do the all-too-human issues of conflict and difference play their part in well running workplaces with satisfied workers and customers?  In a wide-ranging and candid discussion KeyAnna Schmiedel, Chief Human Experience Officer of leading talent and employee reward and recognition platform Workhuman talks about this with Julia Hobsbawm.Also in this episode we hear about how award-winning writer and New Yorker journalist Ed Caesar  works in our sponsored feature My Working Life,  brought to you in association with Whitefox: exceptional publishers for exceptional stories: find out more at wearewhitefox.com

Meet Michaela Wessels, CEO and co-founder of Style Arcade. Forbes described her innovative AI merchandising solution as the 'first of its kind' for retail, so I wanted to learn more. Michaela shares her industry insights and insights into the AI-powered tool that replaces spreadsheets with intelligent analytics and digital range planning.  About MichaelaWith background in finance and over a decade of global retail experience, including formative roles at Truworths, Lacoste and The Iconic as VP of Merchandise, Michaela went on to found Style Arcade in 2018. Described by Forbes as 'first of its kind' for retail, Style Arcade has seen some of the world's most notable brands replace spreadsheets with intelligent analytics and digital range planning.Style Arcade is an AI-powered merchandise buying and planning platform, providing intelligent merchandising recommendations to brands and retailers internationally. The software is the ideal merging of Michaela's passion for efficiency and technology alongside her extensive career in retail.Style Arcade is venture backed by Acadian Software (Klaviyo, Convoke) and has grown in excess of 200% annually since inception, garnering the trust of over 6,000 global users. Working with pure-play e-commerce giants like The Iconic, Princess Polly and White Fox, to cult designers like Aje, Christopher Esber and Dion Lee.  About MichaelMichael is the president and founder of M.E. LeBlanc & Company Inc, a senior retail advisor, keynote speaker and media entrepreneur. He has been on the front lines of retail industry change for his entire career. He has delivered keynotes, hosted fire-side discussions and participated worldwide in thought leadership panels, most recently on the main stage in Toronto at Retail Council of Canada's Retail Secure conference with leaders from The Gap and Kroger talking about violence in retail stores, keynotes on the state & future of retail in Orlando and Halifax, and at the 2023 Canadian GroceryConnex conference, hosting the CEOs of Walmart Canada, Longo's and Save-On-Foods Canada. Michael brings 25+ years of brand/retail/marketing & eCommerce leadership experience with Levi's, Black & Decker, Hudson's Bay, Pandora Jewellery, The Shopping Channel and Retail Council of Canada to his advisory, speaking and media practice.Michael also produces and hosts a network of leading retail trade podcasts, including the award-winning No.1 independent retail industry podcast in North America, Remarkable Retail, Canada's top retail industry podcast; the Voice of Retail; Canada's top food industry and the top Canadian-produced management independent podcasts in the country, The Food Professor, with Dr. Sylvain Charlebois. Rethink Retail has recognized Michael as one of the top global retail influencers for the fourth year in a row, Coresight Research has named Michael a Retail AI Influencer, and you can tune into Michael's cooking show, Last Request BBQ, on YouTube, Instagram, X and yes, TikTok.Available for keynote presentations helping retailers, brands and retail industry insiders explaining the current state of the retail industry in Canada and the U.S., and the future of retail.

Plus: My Working Life with Tina Fordham This episode sees Julia Hobsbawm and Stefan Stern discuss whether a 32-hour working week with no loss of pay can work across the board and if not why not? To argue the case they are joined by Joe Ryle of 4dayweek the British campaign. Also in this episode we hear about how geopolitical strategist Tina Fordham of Fordham Global Foresight works in a new feature bringing a snapshot of working life to our audience. My Working Life is brought to you in association with Whitefox: exceptional publishers for exceptional stories: find out more at wearewhitefox.com

Discover the remarkable journey of Manu Srivastava, a prominent figure in the Phoenix Valley known for his strict Hindustani classical music teaching style, Manu is the Chief Revenue Officer at White Fox, an anti-drone company. Unveiling his multifaceted identity, Manu is also the founder of Phoenix Gharana and channels his passion for bodybuilding. In this special Pride Month episode, we delve into Manu's courageous narrative of embracing his true self as a gay human. From poignant childhood anecdotes to the inner struggles of self-discovery and the complexities of coming out, Manu candidly shares his transformative experiences. Hailing from a conservative Indian background and navigating his formative years in Canada, he sheds light on the arduous yet enlightening path towards self-acceptance. Supported unwaveringly by his ex-wife and son, Manu navigated the dissolution of his marriage to eventually find love and companionship with Adam, his life partner whom he married in 2023. Through compelling storytelling, Manu challenges societal norms, explores impactful parenting approaches, and advocates for LGBTQ rights with fervor on social media. Join us in commemorating Pride Month 2024 as we amplify Manu Srivastava's voice, stand in solidarity with the LGBTQ community, and champion inclusivity and acceptance., don't forget to check out Manu's instagram account for more of his stories on the topics we discussed. Other Soul in the Game episodes on: Spotify: https://open.spotify.com/show/0Ujrnj4DwVPBFc6ROaOekN YouTube: https://youtu.be/w9lnDhDr-hg Disclaimer: This podcast is for informational purposes only and should not be considered as legal or health or professional advice. --- Send in a voice message: https://podcasters.spotify.com/pod/show/soulinthegame/message

As The RAIN escapes House Toulan, they head to House Zephroth to end Matron Zesstra for The White Fox's deal. It seems the deal is pretty off with Matron Chathi, revealing she also wants the Soul Shard. But Riku still has his honor, if not for himself but for Grim's Code. Will Riku be able to fulfill his contract? Does The Rain have enough strength to take down a matron? Will Ka'Narlist let go of the Soul Shard so easily?

Today we have a special guest who we think will be of particular interest, especially to aspiring writers. Kit Nevile is a Commissioning Editor at publishers Canelo. He is particularly interested in thrillers, horror, and action/adventure books, and just so happens to be Steven's editor! Before working at Canelo he was at Persephone Books and Whitefox publishing services, both in an editorial role. In this episode we will try to find out what a commissioning editor actually does, what they look for in a new book, how he thinks the publishing business will change in coming years, how artificial intelligence (AI) will impact things, and lots more! Welcome to RPS, Kit Nevile! https://www.canelo.co/ Patreon: https://www.patreon.com/RockPaperSwordsPodcast Facebook: https://www.facebook.com/RockPaperSwordsPodcast  X: x.com/rock_swords

Live Show Melbourne tickets on sale 6PM MONDAY!! Let's oge. The boys are back in the studio to record EP 107 and Pat's got a spring in his step. Will gets a long awaited update on Pat's flake girl, and it is very very exciting. The boys share their love for the White Fox cult and their hate for TikTok comments. Is there a You Wouldn't move in the works?? Watch this space...Pat works for himselfSZAHate CommentsDoes everyone wear different shirts?You Wouldn't MovieHotline Hosted on Acast. See acast.com/privacy for more information.

Triel of House Zephroth sees who is really with whom and how the RAIN isn't as subservient as the Drow thought. Just a few hours after being sold, they are ready to bring the drow city and all of its houses crashing down. Will the RAIN be able to survive without their Ishi? Will Airis survive without his pendant? Will the White Fox's mission be stopped before it can even begin?

www.taletellerclub.comThe home of awesome free lyrics#lyricshop

The Fated Three recover from the attack at night they just barely survived. They also learn they weren't the only ones attacked and that this is connected to a bigger mystery. If you want to get The Wandering Tavern on Kickstarter click right here and support us in the process: ⁠⁠https://www.kickstarter.com/projects/homieandthedude/the-wandering-tavern?ref=6y3l5g⁠⁠ Check here for all further information: You can find us on the Web under these Links: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.doubledm.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/DoubleDMpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/doubledmpod/?hl=de⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://ko-fi.com/doubledm⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you want to reach out to us via E-Mail use: doubledmpod@gmail.com Attribution: -Our Intro Music was created by Screwdiver, find him on Spotify: ⁠⁠⁠⁠⁠https://open.spotify.com/intl-de/artist/2H2bSfkRbeEksjbwMZ2dbX⁠⁠⁠⁠⁠ -The Titan Sounds as well as the Magical Built-Up Sound were both created by Eli through their Ko-Fi Commissions: ⁠⁠⁠⁠⁠https://aghostofeli.carrd.co/⁠⁠⁠⁠⁠ -(Audio by) Michael Ghelfi Studios ⁠⁠⁠⁠⁠https://michaelghelfistudios.com/⁠⁠⁠⁠⁠ Tracks include: -The Forbidden Room -I Dream of Broken Machines -The Forbidden Garden -Nothing Left The Music Used in our Wandering Tavern Ad: "Aquarium" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License ⁠⁠http://creativecommons.org/licenses/by/4.0/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/doubledm/message

Matron Zephroth's plan seems to be stopped… for now. How will the RAIN end her terrible plan? Will the White Fox be able to complete his mission and get his friends out of the Underdark? Can any of these matrons really be trusted?

The Daily Quiz - General Knowledge Today's Questions: Question 1: What is the name of the white fox terrier owned by boy explorer Tintin? Question 2: What was the name of the space shuttle that exploded? Question 3: In language, 'me' is which type of pronoun? Question 4: What did a shepherd boy discover at Qumram, Israel in 1947? Question 5: What is it called when a photograph is excessively bright due to too much light? Question 6: What is a male swan called? Question 7: What Does Dracula Mean? Question 8: What chemical element gets is name from the greek word meaning 'stranger'? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

On today's show... Sarah's Day has accused a phone repairs shop of overcharging her. In a heated series of Instagram stories, she called the staff ‘dogs' and asked her followers if they thought she'd been scammed. Olivia Rogers defends her dress choice for her friend's wedding. A UK influencer's WhiteFox mishap… AND Molly Mae's reappearing designer coat.    There are three ways you can become an Outspoken Plus subscriber. Apple users can subscribe via Apple Podcasts here: apple.co/outspoken, while Android users can subscribe via Spotify here: https://podcasters.spotify.com/pod/show/outspoken-plus/subscribe or Patreon here: https://www.patreon.com/outspoken_plus. * An annual subscription is only available on Apple Podcasts. Follow Outspoken Follow Outspoken on Instagram and TikTok, plus join in on the conversation in our Facebook Community. Podcast hosted by Amy Taeuber, Kate Taeuber and Sophie Taeuber.   See omnystudio.com/listener for privacy information.

Controversial fashion brand, White Fox Boutique has been accused of ruining Christmas, with customers complaining they've been waiting weeks for their orders to arrive. While GenZer's have been cancelling White Fox across TikTok, the story has also hit the mainstream with A Current Affair launching an expose into the brand's delays. Ashy Bines has offered up her 8 year-old Christmas tree to Gold Coast flood victims. Steph Claire Smith's Christmas Eve Santa prep video has gone viral for all the wrong reason. Rumours are circulating that Tammy Hembrow and Matt Zuckoswki tied the knot at a lavish New Year's Eve party. Victoria Beckham shows she's one of us, after viral video of her taking out the bins on Christmas Day. The Kardashians blatant, but undisclosed, Christmas Eve party sponsorship deal with Coca Cola. And why we can't get enough of the ‘What I got for Christmas,' viral TikTok hauls.  Subscribe to Outspoken Plus Outspoken Plus is our subscription offering that provides subscribers with exclusive access to BONUS weekly episodes. Every week, we'll be dropping content so juicy, we've had to put it behind a paywall. A monthly Outspoken Plus subscription costs $5.99 a month, or save with our annual package, for just $49.99 a year*. There are three ways you can become an Outspoken Plus subscriber. Apple users can subscribe via Apple Podcasts here: apple.co/outspoken, while Android users can subscribe via Spotify here: https://podcasters.spotify.com/pod/show/outspoken-plus/subscribe or Patreon here: https://www.patreon.com/outspoken_plus. * An annual subscription is only available on Apple Podcasts. Follow Outspoken Follow Outspoken on Instagram and TikTok, plus join in on the conversation in our Facebook Community. Podcast hosted by Amy Taeuber, Kate Taeuber and Sophie Taeuber.     See omnystudio.com/listener for privacy information.

Original Air Date: February 03, 1951Host: Andrew RhynesShow: Challenge of the YukonPhone: (707) 98 OTRDW (6-8739) Stars:• Paul Sutton (Sgt. Preston) Writer:• Fran Striker Producer:• George W. Trendle Director:• Fred Flowerday Exit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK

Original Air Date: February 03, 1951Host: Andrew RhynesShow: Challenge of the YukonPhone: (707) 98 OTRDW (6-8739) Stars:• Paul Sutton (Sgt. Preston) Writer:• Fran Striker Producer:• George W. Trendle Director:• Fred Flowerday Exit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK

On this episode of Ghost-Spider Groupies: Abigail and Pax discuss Spider-Gwen Annual (Vol. 2) #1! Ghost-Spider gets roped into participating in Agatha Harkness' Contest of Chaos where her opponent is the Tiger Division's White Fox! Who will come out on top and what is Agatha's goal? Plus: The Week-Gwend Update! E-mail us at ghostspidergroupies@gmail.com or tweet us @GSGroupies with any questions or thoughts on the show and next week's review of Spider-Man: Across the Spider-Verse. Thanks for listening. Spider-Gwen/Ghost-Spider Reading List and Where to Buy This week's comic: Spider-Gwen Annual (Vol. 2) #1 Music: Green Daze by Audionautix http://audionautix.com

White Fox is known for the quality of its visual and light novel adaptations, often demonstrating an understanding of the source material and its appeal to fans. Ionatan and Ravi discuss the studio's founding as well as its success with two massively popular franchises in 'Steins;Gate' and 'Re:Zero.' Then, they pick their top five White Fox anime, from existential science fiction like 'Girls' Last Tour' to underrated gems like 'Jormungand' and 'Katanagatari.'

With Eliot traveling for both business and family celebrations, Eric hosts historian, journalist and novelist Owen Matthews whose new book, Overreach: The Inside Story of Putin and Russia's War Against Ukraine, has just been published in the US by Harper Collins. Owen has been a journalist with The Moscow Times and served as the Newsweek Bureau Chief in Moscow and Istanbul. He is author of several works of history about Russia and the thrillers, Black Sun, Red Traitor, and White Fox. They discuss Owen's family connections to Russia and Ukraine, the backstory of the war, Putin's decision to invade in 2022, the role of the intelligence services in Putin's rise, and the prospects for war termination. Shield of the Republic is a Bulwark podcast co-sponsored by the Miller Center of Public Affairs at the University of Virginia. Email us with your feedback at shieldoftherepublic@gmail.com https://www.amazon.com/Overreach-Inside-Russias-Against-Ukraine/dp/0008562741/ref=sr_1_1?crid=3TUERNR9JJG81&keywords=overreach+the+inside+story+of+putin%27s+war+against+ukraine&qid=1682532898&sprefix=Overreach%2Caps%2C331&sr=8-1 https://www.amazon.com/Black-Sun/dp/0552176575/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=&sr= https://www.amazon.com/Red-Traitor/dp/0552178357/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=&sr= https://www.amazon.com/White-Fox-Novel-Owen-Matthews/dp/0385543441/ref=tmm_hrd_swatch_0?_encoding=UTF8&qid=&sr= Learn more about your ad choices. Visit podcastchoices.com/adchoices

At Suvla Bay Being the notes and sketches of scenes, characters and adventures of the Dardanelles campaign, made by John Hargrave ("White Fox") while serving with the 32nd field ambulance, X division, Mediterranean expeditionary force, during the great war.

Sarah Tilse, more commonly known as ‘Sarah's Day' is an Australian fitness influencer and YouTuber best known for her fitness, diet and wellness content. Whilst studying to become a teacher, Sarah began her online journey by posting about her hormonal acne online as a way to source advice but also to help others who were struggling with it as well. This expanded into fitness, wellness and lifestyle content, and on the date of this recording Sarah has over 3 million followers across her Instagram and YouTube channels, and is the founder of multiple companies including Sarah's Day, her personal brand, fitness ebooks and app, Sunee App - her recipe app, The Healthcode Podcast and The House of Groms, a creative strategy and production company. Sarah has also created products with several global brands including multiple drops on her own activewear line with White Fox, and her own protein and supplement powders with Tropeaka. Having shared her life online for over 10 years including the birth of her two sons, Sarah has grown up in the digital space, and has had a lot of learnings along the way. Going from 5am wake ups and spending hours in the gym each day adhering to an incredibly strict diet, to juggling several businesses and two children, Sarah has seen incredible success from her work online but of course there have been some sticky moments too. - brief overview of Sarah's backstory - how Sarah blew up on social media - Sarah's health and fitness journey - how Sarah met her husband.- the creation of her first e-book and how it caused a viral event - the financial success of the ebook and paying off $40k in debt - dealing with cancel culture and being part of toxic Fitspo culture - losing her period due to weight-loss - should we platform 20 year olds? - moving from fitness content to family vlogging - the concept of context collapse - would Sarah's Day do anything differently? - Sarah on becoming a Mother - do we really want children? Sarah on questioning having children - dealing with Mum advice online - mum guilt and being a working Mother - how Sarah dealt with the tough news about her second pregnancy - why Sarah doesn't speak about her son's condition Hosted on Acast. See acast.com/privacy for more information.

Zach is joined once again by Disc Dump podcast and High on Horror host, Miles Trout for the second part of the Maestro 2-pack! This time, Marvel's Contest of Champions from 2015. What happens when a rag-tag band of heroes and villains are chosen at random and forced into life-or-death combat against one another to please two powerful, cosmic beings?Find out in Contest of Champions!---------------------------------------------------Get more of Miles!Check out his podcast The Disc Dump!He's also co-host of High on Horror!Follow him on Instagram! Or on Twitter!---------------------------------------------------Check out Dreampass and all their killer tracks on Spotify!---------------------------------------------------Join the Patreon to help us keep the lights on, and internet connected!https://www.patreon.com/tctwlWant to try out all the sweet gigs over on Fiverr.com? Click on the link below and sign up!https://go.fiverr.com/visit/?bta=323533&brand=fiverrcpaTune in here for every episode of the show!https://kite.link/the-comics-that-we-loveFollow on Instagram for Comics Obscure and More!The Comics That We LoveFollow on Tiktok!The Comics that We LoveFollow on Twitter!@Z_Irish_Red

Print on demand makes it easy to sell print books without the hassle of storage and shipping — but it's limited to what the established POD printers allow. What if you want to do a special print run, either for a crowdfunding project, or because you want higher quality print production with extras? White Fox […] The post Self-Publishing And Crowdfunding Special Print Editions with John Bond and Chris Wold from White Fox first appeared on The Creative Penn.