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Віїле-Жакулуй () — село у повіті Селаж в Румунії. Входить до складу комуни Кряка.

Село розташоване на відстані 379 км на північний захід від Бухареста, 8 км на схід від Залеу, 54 км на північний захід від Клуж-Напоки.

Населення
За даними перепису населення 2002 року у селі проживали  осіб, з них 19 осіб (95,0%) румунів. Рідною мовою 19 осіб (95,0%) назвали румунську.

Примітки

Села повіту Селаж

redpajama_set_name: RedPajamaWikipedia


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FA Cup: Wolves vs Man Utd Preview & Betting Tips
March 15, 2019 by Nick Dorrington
Wolverhampton Wanderers will progress to the final four of the FA Cup for the first time in over 20 years if they can overcome Manchester United at Molineux on Saturday (7.55pm, live on BBC1).
Wolves have already eliminated Liverpool en route to their first quarter-final appearance in over a decade and now have their sights firmly set on toppling United, the second most successful team in the history of the FA Cup, with 12 triumphs to their credit.
There was a time when Wolves were one of the competition's most successful teams. They were one of a clutch of West Midlands teams to lift the trophy on more than one occasion in the first quarter-century following its establishment in 1883, and then twice more in 1949 and 1960. This is only the fifth time they have reached the last eight in the last 30 years.
There can, though, be optimism that their good run to date can be extended through to an early April semi-final at Wembley. Not only are Nuno Espirito Santo's side performing very well in their first season back in the top flight following a six-year absence, but they have an approach that is ideally suited to knockout football. That has long made them the most likely of the teams outside the Premier League top six to have a good go at lifting the trophy.
The performance was more outrightly defensive than desired, but Wolves nevertheless came away with a 1-1 draw away to Chelsea last weekend to maintain their hold on seventh place in the table and extend their run of good results against the top six sides. Wolves have taken points from all of them except Liverpool in the league, including wins over Chelsea and Tottenham Hotspur, and as previously mentioned, they eliminated Liverpool from the FA Cup.
Wolves give the impression of being a team who are fundamentally sound in all aspects of the game, with underlying statistics to match their current position in the table. They are certainly capable of advancing on Saturday if everything goes their way.
Man Utd will not be easy opponents. They have already eliminated Arsenal and holders Chelsea to make it through to this stage. Even after their 0-2 defeat away to Arsenal last weekend, they still have an impressive record of 14 wins, two draws and two defeats since the mid-December appointment of Ole Gunnar Solskjaer as interim head coach.
The club's situation in all competitions has improved in that time. An impressive series of results in the Premier League have seen them recover a significant deficit to insert themselves into the top-four race. They also progressed to the last eight of the Champions League by overturning a first-leg home defeat to eliminate Paris Saint-Germain.
Solskjaer has undoubtedly lightened the mood around the club and given some of the more talented members of the squad the confidence to express themselves. A few neat tactical tweaks have seen things turns in his side's favour. Man Utd's underlying statistics, while improved since his appointment to somewhere around a league fourth-best level, suggest his side have been somewhat riding their luck through sections of their strong run of form.
In that context, it was interesting that United lost at Arsenal given that it was probably one of their best performances under Solskjaer. Fortune swayed the other way, with a goal in each half seeing them lose in the Premier League for the first time under his command. On Saturday, they will seek to avoid their first consecutive defeats.
Our Preview's Wolves vs Man Utd Betting Tips Verdict
Even in the relatively lean post-Sir-Alex-Ferguson years, United have reached two FA Cup finals, winning in 2016 and then finishing as runners up to Chelsea last season. While Solskjaer, who won two FA Cups under Ferguson's charge as a player, will see the competition as his most viable route to silverware, Wolves are very capable spoilers.
Wolves have already shown themselves to be very competitive against top teams this season and with home advantage, have a solid chance of upsetting the FA Cup odds and making it through to the final four with victory on Saturday.
Bet on Wolverhampton Wanderers to win @ 9/4 with Bet365.
Champions League: Bayern Munich vs Liverpool Preview & Betting Tips
Euro 2020: England vs Czech Republic Preview & Betting Tips
Best Football Bookies
Latest Previews & Tips
Euro 2020 Odds
La Liga Odds
League Cup Odds
Serie A Odds

redpajama_set_name: RedPajamaCommonCrawl


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KPRC 2 News Weekend at 8 a.m.
Get the latest Houston news, weather and sports from KPRC 2.
Doug Feinberg
Updated: March 19, 2022, 11:32 PM
Tags: Bruce Pearl, Dawn Staley, Sports
March Madness descends on women's NCAA Tournament
Published: March 19, 2022, 7:38 PM Updated: March 19, 2022, 11:32 PM
Princeton forward Lexi Weger (33) and the Princeton bench celebrate in the second half of a college basketball game against Kentucky in the first round of the NCAA tournament in Bloomington, Ind., Saturday, March 19, 2022. Princeton defeated Kentucky 69-62. (AP Photo/Michael Conroy)
March Madness is finally part of the women's NCAA Tournament vernacular and the first round has so far aptly fit that phrase.
Six double-digit seeds advanced to the round of 32 — just short of the record seven set in 1998. And that doesn't include two near upsets by No. 14 seeds.
Belmont became the sixth double-digit seed to win when the No. 12 Bruins topped Oregon in double OT. It was the first game to go that long since 2013.
"There's a lot of mid-major teams that are good enough to compete with the big guys. There are," Belmont coach Bart Brooks said. "And doing it on a neutral floor I think was a really big deal for us, that we weren't — if we were in Oregon's gym today, I'm not sure it would have turned out the way it did. But being on a neutral floor, that's a big deal."
It's the second consecutive year that Belmont has pulled off an upset in the opening round as a double-digit seed.
South Carolina, Stanford and UConn also made history on the defensive end. The Gamecocks shattered the previous marks for points allowed in a game and in a half in their rout of Howard. The Cardinal and the Huskies became the second and third teams to not allow a point in a quarter in their easy victories.
Stanford added another piece of history: Fran Belibi's dunk on the break. She became the third women's basketball player to dunk in an NCAA Tournament game, joining Candace Parker and Brittney Griner.
Notre Dame's Olivia Miles became the 18th player to have a triple-double in a women's NCAA Tournament game when she had 10 points, 11 rebounds and 11 assists in the Irish's win over UMass. There have been 37 triple-doubles this season — the second-most in Division I history.
And earlier in the week, the women's basketball tournament had its first-ever First Four; the men's field expanded to 68 teams in 2011.
It was a long time coming, according to Florida State coach Sue Semrau, whose team lost to Missouri State in the new round.
"It's been way too long that this hasn't been part of the women's tournament," Semrau said. "It's a learning process, but it was so vital."
Two 14 seeds, Jackson State and UT Arlington, vied to pull off the first wins ever in the women's tournament for that seed, holding leads in the fourth quarter before falling short.
Not all was crazy in the opening rounds. The No. 1 and 2 seeds all cruised to easy victories, winning by an average of nearly 38 points a game.
Here are a few other highlights from the round of 64:
HOLD THAT TIGER!
The 11th-seeded Princeton Tigers won their second NCAA tourney game by taking down sixth-seeded Kentucky. The Tigers have won 18 consecutive games and will try and advance to the Sweet 16 for the first time when they face Indiana on Monday night. Princeton was undefeated in 2015 heading into the NCAAs before beating Wisconsin-Green Bay in its NCAA opener, but fell to host Maryland in the second round. The Ivy League has one other victory in NCAA play — when Harvard pulled off the only win for a No. 16 seed by topping Stanford in 1998.
AID FOR UKRAINE
Stanford coach Tara VanDerveer announced she'd donate $10 for every 3-pointer made in the tournament to Ukrainian aid efforts, and some of her coaching friends in both the men's and women's fields agreed to jump in as well, including Bruce Pearl and Dawn Staley. Staley hoped that coaches could use their platform to also raise money with each tournament rebound to help homelessness in places like Columbia, South Carolina, or Staley's hometown of Philadelphia.
A CONFERENCE SUPREME
It's been a great start to the tournament for the Big 12, which went 6-0. Baylor, Texas, Kansas, Kansas State and Iowa State were all victorious. Oklahoma capped off the first round with the final win for the conference. Coupled with the Big 12 men's teams in the NCAA Tournament, the league went 12-0 in the first round.
More AP coverage of March Madness: https://apnews.com/hub/march-madness and https://apnews.com/hub/womens-college-basketball and https://twitter.com/AP_Top25


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Read about some of our IBCF supporters and why they donate!
Jessica Hunt
ISBVI Orientation and Mobility Specialist
"I support IBCF because I believe in helping make students more independent."
Jessica Hunt started working for ISBVI Fall of 2012. In January 2016 she became an Orientation and Mobility Instructor for the Middle School and High School students. Jessica moved to Indiana from Arkansas where she worked at the Deaf School. She specializes in working with the students who are deaf-blind here at ISBVI on their O&M skills. Jessica is also the Junior Varsity Swim Coach and assists with the Varsity Swim team as well.
Jim Durst
ISBVI Superintendent
"The Indiana Blind Children's Foundation has and continues to provide us with wonderful resources that enhance our programs. Through their efforts we have been able to provide experiences and opportunities for our children that would not have been possible otherwise. Like the faculty and staff of the school, the members of the Indiana Blind Children's Foundation generously and unselfishly donate their time, talents and resources to make our school a better place so that the children they tirelessly serve can be the best that they can be."
Jim Durst has been employed at the Indiana School for the Blind and Visually Impaired (ISBVI) for the past twenty-five years. He was hired as the principal in 1992 and became superintendent in 2001. Transitioning from an administrative position at another school for the blind in the country, he was impressed with the dedication of the faculty and staff at ISBVI. Teachers, teaching assistants, education support staff and house parents, housekeeping, maintenance, laundry, dietary and business office staff, all made it very apparent that they were here to provide opportunities and make a difference for students.
IBCF Board Member & ISBVI Alumni, 1968
"I support the Indiana Blind Children's Foundation because I want the School for the Blind & Visually Impaired to remain strong and vital as a way to ensure that blind and low-vision students will continue to have learning and life experiences on which to build a lifetime of success."
John Huffman attended ISBVI from age 7 until he graduated in 1968. John went on to receive a B.A. in political science from Indiana University in 1972 and a M.A. in labor and industrial relations from the University of Illinois in 1975. His post-graduate education was followed by a 33-year career in human resources for a large federal agency.
Administrative Assistant, Superintendent's Office (ISBVI)
"I support the Indiana Blind Children's Foundation because they truly make a difference in the life of blind and visually impaired students by helping to provide the tools and technology needed to set them on a path towards success."
Karen Keller has been with the Indiana School for the Blind and Visually Impaired since June of 2009. She enjoys her role as an Administrative Assistant because she is able to see first-hand the dedication of school administrators as they work and advocate to provide quality programming and curriculum to students.
Robert Hampton
ISBVI Elementary School Dietary
"I support IBCF because it is truly a worthy cause that benefits many kids."
Robert Hampton has been working for the Indiana School for the Blind and Visually Impaired for over 25 years. He ensures the students in the Elementary School have all of their nutritional needs taken care of through the amazing food he prepares each day.
IBCF Board Member and Chairperson of the "Through the Looking Glass" Gala
"I support IBCF because it's important to increase awareness of the amazing students and staff…and all that they do."
As a Senior Sales Executive at Allergan, I have helped patients preserve vision with the multiple products they have to offer for almost 11 years. Early on in my career, I was formally introduced to the Indiana School for the Blind and IBCF by my company as we aided in a few graduation ceremonies. From that point, I couldn't think of a better place to volunteer my time as I saw how amazing and ambitious these students were despite their disability, and how incredible the staff was helping them. The Through The Looking Glass Gala has raised so much for their educational and technology needs, and I can't wait to see what the coming years brings to the foundation.
IBCF Board Member
"I support IBCF because we believe all children should have access to the world around them."
Toula Oberlies has been affiliated with the Indiana School for the Blind and Visually Impaired since the mid 1990's when her association started through the ISBVI music program known as the Barbershop Singers. Toula has been an active community volunteer and Board member for IBCF since 1996. Toula co-wrote the matching gift grant between Lilly Endowment and Nina Mason Pulliam Trust to renovate and expand the ISBVI library.
Jay Wilson
ISBVI Middle and High School Principal
"I support the IBCF because they help fund assistive technology for our students which helps to even the playing field with their sighted peers."
Jay Wilson has been the Middle and High School Principal for the Indiana School for the Blind and Visually Impaired for nearly nine years. Previously he was a teacher at the Iowa Braille School where his love of sports motivated the launch of Camp Ability, a sports camp for children with visual impairments.
Kristina Davis
"Unfortunately our society is profoundly uncomfortable with the reality of disability. All too often, people with disabilities feel invisible in their communities. I believe every child has the potential to thrive in life, and every child will have an important role in their communities. I support IBCF because they value every child and they support the work of dedicated educational professionals who help each blind and visually impaired child excel in life."
Kristina has over 17 years of experience in nonprofit administration. For the last several years, she has worked as an advocate for the inclusion of people with disabilities in the arts at the state and national levels.
Jill Pangle
ISBVI Parent
"I support IBCF because it has created opportunities for my children and is opening doors for their future. IBCF stands behind the Indiana School for the Blind and Visually Impaired and provides the support needed to bring necessary resources for my children's education. It's difficult to get the comprehensive education that the school has to offer in a typical school. As a parent, we all want the best for our children, and getting the best opportunity for them to grow. This is what IBCF has opened for my children, a future that is bright, independent, and full of opportunities."
Jill Pangle is the mother of two children with a rare genetic disorder that causes blindness. She has advocated for persons with blindness and visual impairment, and she will continue in the pursuit for advocacy for people with blindness and visual impairment. She is completing her master's degree in rehabilitation for the blind, with advanced education in orientation and mobility.
David S. Thomas
Board Member, Indiana Blind Children's Foundation
"All children need a wide range of learning opportunities and experiences in order to discover their gifts and talents. I support the Indiana Blind Children's Foundation because helping children reach their potential is an investment in the future. Children with visual challenges require unique teaching techniques and guidance as well as multi-sensory experiences. The Indiana School for the Blind and Visually Impaired provides the widest scope and highest quality educational experience possible."
David Thomas has been associated with the school since 1990 in providing multi-media art education to the students through the Indianapolis Art Center where he served as Vice President and Director of Programs. He has worked in education and the arts his entire professional life and currently does strategic planning and capacity building for not for profit cultural organizations.
Tiffany Sanders
Elementary Principal and Director of Outreach & Related Services (ISBVI)
"I support the Indiana Blind Children's Foundation because the foundation is continuously exploring and identifying creative ways to support the life-long learning journey of students who are blind or visually impaired."
Tiffany Sanders started as an Outreach Consultant at the Indiana School for the Blind and Visually Impaired in August of 2011. Although her 16 year career in special education didn't begin at ISBVI, Tiffany has had a life-long history with the school. Her parents were both retirees from the school and her sister was a graduate. In addition, Tiffany's niece is currently attending the ISBVI short course program and is an athlete on the school's goalball and track teams.
Executive Director, Indiana Blind Children's Foundation (IBCF)
"Being able to see gives you easier access to the world because so much learning takes place visually. I support the Indiana Blind Children's Foundation because for children with visual impairments they need consistent and unique programs, resources, technology and a community of support to nourish their abilities."
Laura Alvarado started as the Executive Director of IBCF in May, 2016. She has over 15 years' experience working for non-profit organizations impacting underserved audiences. Her leadership throughout the years in the community has helped earn numerous awards and recognition for numerous programs.
Please Note: Indiana Blind Children Foundation (IBCF) is an Indiana non-profit corporation that is recognized by the IRS as a tax-exempt origination under section 501(c)(3) of the Internal Revenue Code. Contributions to the IBCF are tax deductible. Please consult your tax advisor about your specific tax situation. Should you desire a receipt of your donation for your records please contact us at 317.554.2742 or send an email to lalvarado@isbvik12.org


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Inverse Recommends
5 best Nintendo Switch games for under $20
Game for cheap.
Just Lunning
If you're penny-pinching or super saving, enjoying your Switch can be tough. There are so many $60 games out there that it can seem impossible to afford anything. Rather than wring your wallet dry, try purchasing something a bit cheaper. We've found six spectacular Switch games that will cost you less than $20.
5. Baba Is You
Baba Is You
Visually, Baba Is You is a relic reminiscent of every NES-era game you could conceivably imagine. Don't let that halt your purchase, the gameplay builds directly upon modern puzzle conventions. You'll build the rules that you need to follow on the fly by interacting with words on the map that read like "Walk through walls," making Baba Is You one of the most complex puzzle games around.
You'll scratch your head at times, but boy will you leave satisfied.
4. Hollow Knight
Imagine if you took Megaman ZX and threw in a dash of Tim Burton's Nightmare Before Christmas flare, you'd get Hollow Knight. When enjoyed in handheld mode, Hollow Knight is possibly the best Metroidvania on the Nintendo Switch. The combat is challenging, but you'll never feel outpaced by what's ahead of you. New skills will unlock at a gradual pace, right as you're beginning to wonder what else the game has in store for you.
Even accounting for possible frustration, Hollow Knight takes between 30 and 40 hours to complete. If you're looking for a lengthy sidescroller to sate your enjoyment, pick up Hollow Knight. Unfortunately, after you play it, you'll have difficulty finding a Metroidvania game that matches it in quality.
3. Katamari Damacy: Reroll
Katamari Damacy Reroll
A flamboyant king from outer space has arrived on earth and in his wake destroyed all the stars in the sky. Whoops. To fix this mess, his Prince of a son is sent to earth, tasked to collect trash, which the king will use to rebuild the solar system. As the diminutive prince (standing 5cm tall), you'll roll up all the trash you can find. As you continue, you'll begin to collect living creatures like tigers.
This is the perfect game for all the goofballs out there. Katamari Damacy is the epitome of weird experimental goofy games. So long as you enter ready for a good time, Katamari will give you one.
2. Cuphead
Playing Cuphead is like watching a Popeye cartoon that makes you scream in agony whenever you express enjoyment. Cuphead has the aesthetic of old Max Fleischer cartoons like Betty Boop and Popeye, paired with the difficulty of the toughest sidescroller you can imagine.
Luckily, you won't have to play it alone. A friend can join your adventures as Mugman. This is the perfect game to play through if you like sidescrollers, old cartoons, or if you something to play with a pal that will take time, but not too much time.
1.Gris
Finding yourself is a tough ordeal that feels nearly impossible within the moment of searching. It's easy to choose to revel in your own anxiety rather than experiencing an unknown change that could lead to self-improvement. Gris explores the moment of that choice. Using a beautiful side-scrolling adventure, you'll be taken on a journey of discovery to overcome the things that hold you back. Every time you make progress, the world will gain a little bit more color.
Gris is a fantastic game if you're looking for a quick and moving narrative. You likely won't find much or any challenge in the gameplay, but Gris isn't meant to be frustrating. Gris is art before it's a video game, which is exactly why you need to play it right away.


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INÊS D'AVENA flauto
CLAUDIO RIBEIRO cembalo
MEDIA & CDs
'ANONIMO VENEXIAN'
ARTISTIC RESIDENCY & CD RECORDING: 'BAROQUE VENICE'
The cultural production of Baroque Venice is one of the richest musical legacies in the world and its diverse music-making enjoyed a significant position in the life of the city then. Composers such as Monteverdi, Gabrielli and Vivaldi are still regarded as pillars of classical music, and countless works written for Venice have become part of the classical music canon. Nevertheless, a large amount of the production of the time remains to be discovered and/or made relevant to the modern public.
Recorder player Inês d'Avena and harpsichordist Claudio Ribeiro have been invited by the Emily Harvey Foundation for an artistic residency in Venice. The 1,5 month residency will give us a chance to immerse ourselves in the cultural past of Venice, in preparation for a recording project with Venetian Baroque music. During this residency, we will search for unknown repertory for recorder and basso continuo/harpsichord written and/or performed in Venice, focusing on the 18th century, in order to combine what we find with other Venetian pieces already known to us from previous investigations. The results will be presented on CD as well as promotional video with recordings of a few of the tracks of the CD (to be filmed on the last day of the recording period).
Some of the works that we already look forward to record:
- Vivaldi's Sonata RV 806 (please see in the attached CD-ROM a video of us performing the last movement of this sonata)
- Sonatas by Santini, Siber and Bigaglia only extant in Venetian collections (such as that of the Fondazione Querini-Stampaglia)
- works for harpsichord extant in Venetian collections - one potential such work for harpsichord to be recorded is the unpublished, anonymous 'Suonata' for harpsichord, found by Inês d'Avena a couple of years ago in Venice (please find in the attached CD-ROM a live audio recording of one of the movements performed by Claudio Ribeiro)
Anonymous - Suonata [sic] per cembalo, second movement
Biblioteca della Fondazione Querini Stampalia (MSS 1129)
If we make new discoveries, we would like to edit and publish those pieces in order to make the repertoire more easily available to a wider audience, besides recording.
The residency will have an initial period of research in archives and libraries of the city, such as the Fondazione Querini Stampaglia, the Biblioteca Marciana and the library of the Istituto Vivaldi, which will be preceded by preparatory communication with these institutions (before arriving in Venice). We will also contact the relevant musical institutions of the city (Conservatorio Benedetto Marcello, Scuola di Musica Antica di Venezia, Venetian Center for Baroque Music) to try to develop a connection with the musical scene, in view of possible future release concerts of the CD. In parallel, we will visit previously chosen recording locations and as well as those recommended to us by musicians active in the previously mentioned musical institutions. The recording location will eventually be chosen based on the following criteria:
- acoustic and historical connection with the repertoire: priority will be given to venues from the time the repertoire was composed which haven't been heavily altered since. We aim to find a large room in a Venetian Palazzo (considering much of this music was performed at homes) or a small church.
- costs: as rental prices can be very high in Venice, this is also a factor to be considered in our choice.
- practical issues: ease of access for bringing the harpsichord and recording equipment, sufficient silence for the recording, appropriate and stable temperature etc.
We are in conversation with a few record labels at the moment and will still contact a few others in order to find the best partner for this project. Our aim is to have a quality label with good world-wide distribution.
The motivation for this residency comes from our passion for the Venetian culture, especially that of the Baroque period, combined with our plans to increase our connections with the Italian classical music scene. The motivation for the recording itself was that, aside from presenting new works to a worldwide audience, after various recordings in larger ensembles we look forward to a period of immersion in this repertoire as a duo. This formation gives us great flexibility of performance and offers us a challenge for the recording, where we will strive to present a multitude of textures and colors on only recorder and harpsichord. The acoustic of the historical setting as well as the period of research that will precede the recording should offer further layers of interest for the audience.
In each recording we have to modify our interpretation in order to adapt it to acoustic of the location in which we are recording. By recording at a location as close as possible to the ones in which the performers of the period would have played, we expect to be influenced in the same way they were, and therefore acquire a deeper understanding of the repertoire. This makes this recording project a unique experience to us and, hopefully, to the listener.
© 2020 by Inês d'Avena & Claudio Ribeiro.


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Westworld Season 4: Release, Cast, Plot and Storyline
EntertainmentScience FictionTrending
By Jyothirmayi Ramya On Aug 28, 2020
Westworld is a Hollywood Science fiction Television series created by Jonathan Nolan and Lisa Loy. The series is the adaptation of a 1973 film by Michael Crichton on the same name. Three seasons launched until now. Westworld Season 1 aired on 2 October 2016 following its second release on 22 April 2018. Westworld Season 3 launched on 15 March 2020; all the seasons premiered on HBO with 28 episodes. Westworld is the most-watched show on HBO to date. The series is one of the successful shows and gained immense fanbase, which is soon getting renewed one after the other. Westworld received 9 Primetime Emmy Awards, where Thandie Newton won the Primetime Emmy Award for the Oustanding Supporting Actress in 2018.
Westworld Season 4 Release
HBO renewed Westworld Season 4 in April 2020.
A post shared by Westworld (@westworldhbo)
Like every show, the filming of Westworld has also halted. HBO announced that shooting would soon be resumed and will air in late 2021 or early 2022. Sadly, we had to wait for long!!
Westworld Season 4 Cast
Evan Rachael will return to Westworld Season 4 surely. The role she will play is not yet known!
Thandie Newton as Maeve Millay.
Jeffery Wright will play Bernard Lowe.
Tessa Thompson as Charlotte Hale.
Aaron Paul as Caleb Nichols.
Ed Harris will play the role of a black man, one of the main characters in the season.
Westworld Season 4 Plot
Westworld Season 3's conclusion was spectacular and set its bar high for the other sci-fi series and its sequel. The ending made people more thrilled and thurst for Westworld Season 4. Season 3 is quite different from Season 1 & 2, which is a dystopian sci-fi season. At present, the script is under progress and will soon turn out to shoot. The forthcoming season will follow ten episodes like season 1 & 2?? or eight episodes like season 3??? Well, sources state that this might be the last season!! What do you think?? will this be the finale?? We wouldn't know until HBO making its official announcement.
Bringing up the series to an end with the finale is the most complicated challenge that the makers had to go through!! On this note, we expect Westworld Season 4 to shot at diverse locations and a complete set of a talented cast to make it a grand premiere.
Jyothirmayi Ramya 205 posts 0 comments
Russia released video of the largest nuclear test, 3,333 times stronger than the Hiroshima blast
Supreme Court's seal on UGC guidelines, said- test cannot be passed without taking exams.
Karan Johar Embraces his Luxe Power on the Cover of HELLO!
Jan 6, 2021, Capitol insurrection inspires Billy Ray's next feature film
'Lucifer' tops Nielsen's U.S. list of 2021's most streamed…
Allu Arjun's 'Ala Vaikunthapurramuloo' Hindi release called off


Built-in padded laptop sleeve fits most laptops up to 17".
Made of leather for a sleek sense of style.
2-in-1 removable wheel and handle system for easy transportation.
Quick-access front pocket with magnetic clasp closure holds files and accessories.
Front external access pocket provides magazine storage.


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Audiobooks with Findaway Voices Marketplace // Self Publishing Insiders // EP060
by Kevin Tumlinson | Dec 9, 2021 | Self Publishing Insiders Podcast | 0 comments
If you're looking for more control over your audiobooks, Findaway Voices has just the thing. In this episode of Self Publishing Insiders, we talk to Will Dages about the company's new Marketplace, and how it can help both authors and narrators alike.
Episode Notes
Audiobooks are becoming a bigger part of the party for self published authors, and the company leading the charge is D2D's partner, Findaway Voices! In this episode of SPI, we're talking to Findaway's Will Dages about their new Marketplace, and how it's changing the game for indie authors.
//Draft2Digital is where you start your Indie Author Career//
Looking for your path to self-publishing success? Draft2Digital is the leading ebook publisher and distributor. We'll convert your manuscript, distribute it online, and support you the whole way, and we won't charge you a dime. We take a cut of royalties on each sale you make through us, so we only make money when you make money!
• Get started: https://Draft2Digital.com Get insider info on indie author success from our blog.
• Visit: https://Draft2Digital.com/blog Tune in to our monthly livestreams and ask us anything!
• D2D Live: https://D2DLive.com Promote your books with our Universal Book Links!
• Books2Read: https://books2read.com
//Get ahead of the Self-Publishing game with our Amazing Partners//
Findaway Voices || Find a narrator, produce your audiobook, and distribute it to retailers worldwide, including Audible.com and Apple Books.
• http://findawayvoices.com/d2d
Reedsy || Assemble your team of publishing professionals! Find editors, cover designers, marketing experts, ghostwriters and more.
• https://reedsy.com
BookBrush || Build graphics and video that help you market and promote your books.
• https://bookbrush.com/d2d-mockups/
//Join the D2D Community Online//
Facebook || https://facebook.com/draft2digital
Twitter || https://twitter.com/draft2digital
Kevin Tumlinson 00:01
Well hello everybody, thanks for tuning in to another Self-Publishing Insiders with Draft2Digital. Not just Draft2Digital this time, this time we brought along a friend. We call him a friend of business, FOB. This is Will Dages from Findaway Voices, and we're gonna be talking about audiobooks, but also in particular Findaway Voices' new Marketplace. So welcome to the show, Will.
Will Dages 00:25
Thank you so much, good to see you Kevin, good to see you Mark. Kevin, I just saw you a couple weeks ago at NINC, but Mark it's been a while. It's nice to be here on the show, and love talking about audiobooks.
Mark was there in spirit.
Mark Lefebvre 00:37
I was there in spirit, I was listening to you from afar. But Will, m\Marketplace. What a remarkable new endeavor. And you just announced that last week, wasn't it? Or was it …
Yeah, it's still really fresh. So if listeners here haven't heard about it, don't feel bad. It's still really, really new. We just launched it, the first phase of it last week, along with the announcement and I was on Joanna Penn's Creative Penn podcast and been doing some Clubhouses and stuff. But do you want to just jump in? I'll tell you right about Marketplace?
Yeah, jump, jump. You're talking to, I'm green on this. I know next to nothing about it. Just what you announced on Twitter is all I know. So you get to instruct me.
Okay, I love that. I love that. So Findaway Voices has been around for a little over four years now, right? And obviously we distribute books, I like to tell a lot of people that we are like Draft2Digital but for audiobooks. It's the simple: upload once, you can distribute anywhere, it doesn't matter where you make your book. You don't have to produce with us to distribute with us. But we've had production services from day one. And we've done the making books part the exact same way since the day we've launched, which is a very personalized experience, a very handholding experience. If it's your first audiobook, it's a really great way to go through it when you're about to spend, let's call it $1500 bucks. And you want to make sure that like, I don't trip up and do something wrong and get a crappy audiobook at the end and have to pay this. So we've taken this approach where, hey, we'll help you find the narrator. We'll assign you an agent to help you through the production process. If the narrator needs a nudge, we'll nudge them. If there's a problem, we'll get in the middle and mediate. Like we make sure everything goes great, right? So Marketplace is a second option to make books now. That one's not going away. If that's still good for you, we're still here. And nothing's changing about that. But if you are an author, maybe like Mark, who has made lots of audiobooks, or has a narrator that he trusts and wants to bring it to us, or, you know, just knows the process, we can slow you down in that other way, right? Because we are hand holding and we're sitting in the middle. And Marketplace is a way to open this up with a set of tools that are free from Findaway Voices to let you run a production yourself on our platform, and still stay on the rails. So we don't have casting services. But for the first time ever, we're going to open up our entire narrator database so that you can search, you can filter through, you can listen to samples at your own pace and audition narrators. And then there'll be a whole set of production flow tools to make sure, after auditions you're going to sign a contract, and then you're going to do the extended sample, and then you're going to have a review process. And then you're going to, you know, go through the process in the way that we know good audiobooks get made. We've taken a lot of experience and made a lot of audiobooks. And then we built software tools around that to say, what would this look like today? If we were to build tools today, not 10 years ago, and layer on top of them, right? Today, what is the ideal production flow between an author and a narrator if we're not involved? And so we built those production tools. And the coolest thing is, we're giving them away for free. There's no Findaway markup to use them. So if you're an author and a narrator, and you want to come to Findaway Voices and run the production through us, it's not gonna cost you anything extra, you'll still be able to use our distribution services. But you actually don't even have to use our distribution services. We're giving this as like a great tool for the industry because we want to grow the whole audiobook industry. So if you've been looking for a place to make audiobooks that doesn't serve a single retailer, but serves the entire audiobook industry, that's what we've built here.
It sounds glorious, man. Because it sounds similar to the service that shall go unnamed. Although I have no problem with it, it sounds like a better version of ACX, is what it sounds like. And that's not hard to do. But you guys even get …
Well, it was not easy to build. I'll tell you that. We've been working on this for a long time. We've gotten a lot of input from a lot of narrators and authors, we've done user testing, we've looked at what works on our process and we've used all of that to build it. It's been no simple task, and we've been working on this for over a year. And I have been so excited to tell people about this, but we've had to keep it secret. So yeah, last week was finally the weight off my shoulders to finally be able to start telling people what we're doing here.
So I love that you put the control back in the authors' hands, and you've given them choice. So now, or soon, because I know it's not ready for authors yet. And I'd like you to talk about that in a second. But when I go to Findaway Voices, which I can do through Draft2Digital, I have my ebook set up, I click a button, it ports all my metadata over. And then I have the option of having your awesome project manager process find me a narrator based on what you guys know about the industry, based on the expertise that I've leveraged several times. Or I could, right now I could do that, or I could, you know, I have a narrator I work with on one of my series. So I just have the files he's provided for me and I just upload them directly, and I'm good to go. But then soon, I'll have the option of saying, well, maybe I want to go audition for this other project. I need a different voice. And I know you did help find me a couple narrators that I loved. So thank you. But now you're opening that up. So there'll be three options. Now, as an author, can I ask this question? Is anyone with a really crappy microphone just going to be able to be a narrator on Findaway Voices? Or is there some sort of curation, where you're like, oh, you have to be a certain standard?
Yeah, that's a great question. So Marketplace is much more of an open market, right? Anybody can sign up for Findaway Voices Marketplace and put their samples out there and set their rates. You know, everybody's an independent contractor, they can choose whatever rate they want there. For the productions that we do, you can be confident that nobody's going to be on a casting list that isn't trustworthy, that isn't going to meet quality standards that we've vetted. But Marketplace is going to give you a lot more freedom to just pick anyone in the world. So there's going to inherently be a little bit more risk there for authors. But we've worked really hard on building up a set of trust tools. So you know, we're thinking strategically about Marketplace a year ago, we're thinking, what are the core pillars of what we want to build? And trust and transparency was one of the big pillars for us. We don't want somebody to just be able to sign up and say they're Morgan Freeman. Like, there has to be a little bit more trust and transparency there. So a couple of the things that we're doing is, at the end of every production, the author will be able to rate the narrator. The narrator will be able to rate the author. So both sides are going to have ratings and reviews. We're going to show you how long any narrator has been signed up on Findaway Voices, we're going to show you whether they've been used for a production that we've trusted them for in the past, if they've been hired by us, either for an Audioworks production, which is our high-end studio division, or an Orange Sky, which is our publishing division, or through our managed productions with Findaway Voices over the last four years. So you'll get to see that Findaway has trusted them. You'll also get to see how many minutes they've recorded on our platform. Right? So they can't just say like, "Hey, well I've done 10 books for Findaway." And it's like 10 one-minute books, right? So like, trust and transparency is key. They're also elevating things like how often do they deliver on time? 95% of my projects were delivered on the due date or before. Those kind of transparency metrics are built into the very core foundation of Marketplace, because we are opening it up to the whole world. And we want authors to make informed decisions when they're making these expensive decisions.
That's fair, I love that.
So you're also allowing a new narrator who has skill, but maybe doesn't have the previous experience, they have an opportunity to really use this platform and leverage it to get a foothold in the industry, provided they do it in a professional fashion, and they can rise up, right?
Absolutely. This is, for a narrator who has no work samples, and they may be very talented, they may be an actor who is out of, you know, in between jobs there and has good studio setup, they just don't have a backlog of audiobooks, they may be great. Even in that scenario, it's tough for them to get our attention on a casting list, because we really focus on choosing talent that we know and we trust and we vet them based on their past experience. So it's really hard to get a foothold in the industry in that way. Marketplace we really hope is going to grow the industry, both for narrators and authors, giving everybody a lot more opportunity. There's like 7 million ebooks in the world, and there's only half a million audio books. There is so much more potential to grow this industry and to do that we're going to need more great voice talent that is able to get a foothold and get started in the industry somehow too. So we're all about that.
So we've got a couple of questions coming in. Let's pop this first one up. This is from Michael, and I'm going to pronounce your name as Brain, but you can correct me Michael. Sorry if I got that wrong. But he asked, "Will you offer an option like ACX does, where you can split revenue with narrators, say, 50-50 instead of having to pay up front?"
Great question. So the royalty share stuff is coming down the line. It's not going to be there at launch because it's a little more difficult. But I'm actually trying to, I'm thinking about this a little bit differently, which is, I'm thinking about royalty shares more on a distribution side than a production side. And so there'll be a way to kind of hack this in the system earlier than we officially support the full end to end thing. Because what it's gonna be, what its gonna look like, I think. And I'm gonna give you like, you know, because we're all friends here, and we're live, I'm going to give you a sneak peek into kind of my brain here. But this is not an official announcement, this could absolutely change. What I'm thinking about us changing royalty share to would be more of a, any two parties. It could be two authors, it could be an author and a narrator agreeing on a royalty split, 50-50, 60-40, 70-30, 90-10, whatever it is. If both parties agree to it, I'll split the royalties that way, and there's no minimum term. It's just going to continue as long as both parties don't want out. So if one party wants out, but the other doesn't, that's too bad, it's gonna continue. But if both parties get the little nuclear key and turn them at the same time, then the royalty share kind of explodes and it goes back to the rights holder only. What that means is, you can make a side deal on the production side and say, "Hey, you know, on Marketplace, lower your rate for me down 50%. And then we'll work it out on the distribution side." As opposed to it being coupled, where the production side says, okay, you are at X percent. And then I have to enforce this distribution. So I think I'm gonna, I'm thinking about really putting a, you know, cutting that in half and thinking about those two things very separately. That could change, that could change. That's kind of where I'm thinking about with royalty share. But to answer the question, there's not gonna be anything that specifically addresses this at launch.
At launch. Okay. But you do have the Voices Share program, and you have had that in production for a while now. Which is sort of, it's not paying nothing upfront. Can you explain that, just for people who aren't familiar with it?
Yeah. The way we do it, the way we do royalty shares today is a hybrid royalty share. So we cut the production costs in half, so 50% of what you would have paid, and then you split 20% of the royalties with the narrator. 20% is our cut, which is normal. 60% of the royalties to the author. And that's a 10-year term that the author has the ability to buy out of, for an extra 100%. So let me walk through the buyout option really, because I think it's important to have a buyout option, because the other player doesn't have a buyout option. And that's putting a lot of people in a really bad situation. The way it works, say the book was gonna cost $1000 bucks. You would pay $500 bucks up front for Voices Share, and then you would start splitting royalties. If you had a $1,000 royalty month, then the narrator would get $200, Findaway would take $200 for their fee, and the author would take home $600. And then at any point in that 10 years, if the author wants out of the royalty share, they would pay an extra $1,000, the original 100% cost of the audiobook, bringing them up to 150% total. So that's $1500 bucks all in. The narrator obviously would get to keep all of the royalties they shared up to that point, but then get a bulk payment of another 100% of what they would have made. So we think that's a pretty fair arrangement. I don't think I've ever, we haven't had a single author actually blow up a contract yet. So but that will probably be deprecated to this, you know, obviously we'll honor those contracts. But going forward, we'll probably just offer this new structure when that comes out.
Oh, very cool. And that may in part address some of what our next question was about. Richard Stephens says, "My previous audiobooks were published through Audible's royalty share. I'm now looking to go wide. I have a new audiobook already narrated, wondering how I go about using Findaway to publish, without" in all caps, "WITHOUT incurring the 30% surcharge that I was told I as the author would have to pay up front. Can I use Findaway to upload and distribute through without the extra charge?"
Okay, let's unpack this, because there's a couple interesting things here.
Let me drop off the screen so we can see you. You want me to pop it back up there?
I might need it back up just because I want to make sure I don't miss anything.
Yeah. Move Will up top and put me down there.
Okay, let's do that. Let's do that.
Um, thank you for the question, Richard. This is a really interesting one. I'm actually, I would love. I don't know, can we ask a follow up question and see if he can … So your books are still in a royalty share program, but you want to get them out of royalty share to go wide? Or are you looking at reproducing them? Because the 30% surcharge thing is a production thing for us right now. So because we have all of the infrastructure today, for the casting agents and the production assistants and all of the contracting and everything that we do in the middle, it's actually just as much work for us to manage a production where the author and narrator already know themselves, or know already know each other, versus one that we pair up. So we do charge a 30% upfront fee on top of the pre-negotiated rate if you and the narrator come to us for the manage production. When Marketplace launches, that will go away.
It looks like he said, this is a new one. And he did say, it's already narrated. So he has all the files. And he just wants, I think, correct me if I'm wrong Richard, but he just wants to upload the files to Findaway. Is there going to be a surcharge for that?
So there's never been a surcharge for just uploading finished files. If you want to work with the narrator on our platform to produce the files, that's where the 30% comes in. So maybe there was a misunderstanding there at some point, but we've never charged anything up front to distribute, ever. In fact, you know, even if you tried to pay us, there wouldn't be a way to do it. So really, the 30% is, if you and the narrator want to make the book on our platform and use our production services and pay through us and have us be in the middle of the contracting phase.
So I don't like for there to be problems without solutions, Will, so if anyone wants to pay Findaway up front, my PayPal account is at your service.
Sorry, no, that is a joke, please don't send money to me for Findaway Voices.
Now, the previous books, though, going through Audible's royalty share is pretty difficult to get out of those royalty shares. And if you are interested in taking those books wide, I don't have clear advice for you other than, you need to contact ACX's support team and see what your options are been. My understanding is there's been a few different versions of those royalty share contracts. And it might depend a little bit on when you had …
I will say they're getting pretty good, because I actually just peeled my Kotler books out of ACX. All I had to do was get the permission. Me and the narrator had to come in together and say it's fine, and then we could move them out. So they're getting pretty good about that, even if you're still in that seven-year deal with them. So the answer then is ask, and make sure your narrator's on board.
Yeah, hopefully, you can still get a hold of your narrator, too. It sounds like, hopefully, if it's the same narrator for this next book, you're still in touch.
I did have a narrator pass away, which did make life very, very challenging.
Yeah. So how did you manage that?
You have to go through their estate and there has to be, there's a whole lot of paperwork that has to be done saying that they own the rights, and then they sign over the rights and you have to cut the deal with them. It's very, it was very challenging, but you know, it could be done. So it does emphasize that you should probably, if you're doing a partnership with someone, you should probably have some sort of paperwork, legal paperwork, that outlines what happens when one of you dies. Not fun to think about on this show, but yearh.
I would also just use this opportunity to caution anybody from entering a seven-year royalty share deal today. The industry is moving so fast. There's so many people who, even just a couple weeks at NINC, Kevin, I was talking to so many people there who had book one of their series locked in royalty share. And that makes it so hard to go wide, even though they've made great decisions since, they're still paying for that one bad decision. Because, you know, I'll be honest with you, if you bring me books two through five in the series, I can never get you featured. There's no merchandising opportunities for you. What retailer would want to advertise book 2 in the series as the first one that they can get to you?
Yeah, exactly. Maybe renumber that series one through four, and then there's a prequel that's only available on Audible.
That's actually, that's not a bad idea. And that is, for some people, when they're more standalone-ish books, and they're not as reliant on the sequential nature, I have recommended that in the past. It's worth, you know, updating the cover and updating the metadata and reordering the series, right? So that book two is now book one. It's still not ideal, though, right?
It's not ideal, of course. Right. But it's the same old challenge. If they won't release the book, then that's, you have to take some kind of extreme measures if that's the plan you have, like if you want to have those deals.
Can I, Richard had a follow up question, which I think is important about our wonderful partnership between Draft2Digital and Findaway Voices. "Can I bring a finished file to Findaway and have you distribute them?" Yes. "Where on the site can you do that?" Well, Richard, if you have a Draft2Digital account, and the ebook version is already published, there's a little audiobook tab there. Click on that audiobook tab. And it'll ask if you want to port the metadata so you don't have to re-enter you know, some of the information. Obviously, the narrator information, you'll have to enter it on Findaway and you have to change the cover from the rectangle to the square, which is custom for audiobooks. But when you do that, it'll port you over to Findaway Voices, create an account for you if you want, and also, you know, save you some keying in right? Because I know Richard, you write hundreds of thousands of words every month, so you don't want to be typing in metadata. You want to be back on the next book. And then you can choose, hey, find me a narrator, or I got everything I need to go, and there's two different options. It's very easy. I love the way Findaway Voices makes it so easy. I love the way Draft2Digital Findaway have partnered that way.
So I just dropped a link in the comments, and I'm gonna add it now to the screen. But it is findawayvoices.com/d2d, if you need a direct URL, it amounts to the same thing. So you can do the easy button from Draft2Digital, if you're distributing with us. If you're not distributing with us, you can always go to them through that link. We appreciate it if you go through our, that's our partner link. I don't think Will minds.
No, I love it. We have a great partnership. And the other thing this link gives you, either when you go through the Draft2Digital dashboard or if you sign up with your account this way, if you do choose to produce with us in the future, and you heard about those casting services that we do, where we go through our whole database, and we find the narrator that's right for you. We normally charge $49 for that service, and we waive that fee for you if you come through Draft2Digital. So definitely sign up there it does not cost you anything.
That's what a good partner does. Can I, you talked about merchandising and promotion, and I bet you there's so many listeners that their ears perked up and went, merchandising and promotions? Can I get merchandising and promotions through Findaway Voices?
Yeah, we have great relationships with our retailers. It's one of the benefits of having direct relationships with all of the 42 retailers that we work with. And I have a team dedicated to merchandising, and every month we're sitting in front of those retailers like a publisher does, pitching their new catalog. And we're going through for some of the best new releases that have come through Findaway Voices, things that are on sale, and we're pitching those. So those are, some of those are reach-out opportunities where you know, maybe Apple will say like, hey, we're doing a carousel in two months that is themed on Halloween. And so we might go out and solicit some discounts from people and say like, hey, would you like to participate in this? They need it to be in this price point. In which case it's kind of a "don't call us, we'll call you" kind of thing. Some are more open calls, like every year in June, June is audiobook month. So we get like a ton of space on retailers to promote audiobooks. And we generally do more open calls for that of like, hey, submit what you would like to have included there. And sometimes we can get 200 or 300 books on some retailers featured in special lists, which is great. And then of course there's things that are more retailer-driven, like Trip Deals, where you would apply directly on the Trip site, the Trips website, the BookBub partner dashboard is where you do it, and you apply for that promotion, then you hear from them whether or not you get it. And then aside from merchandising, you can run a sale through Findaway Voices on either Chirp or Apple at any time you want. If you want to just do a limited time discount, take your $15 book down to $7, you know, or something like that, to run a special sale, maybe you discount book one when book five is released or something like that. And another really good tip, everybody ears, listen right now, this is a great one. If you do get a Chirp deal on book one of the series, we've seen a lot of success with you manually going in and discounting books two, three and four. Depending on how long the series is, maybe just book two. So that if your Chirp deal's at $1.99, maybe you set book two yourself to $2.99. And then book three is $5.99. And what we're seeing is people will find book one, and they'll grab more than that in their cart right with book one right away, as opposed to getting book one, waiting until they finish, and then maybe converting at full price to the next one. We're seeing really good results in that strategy.
I'm just gonna throw in here, by the way, that if you get a deal, and you're setting up a sale like that for your audiobooks, you should do the same on your ebooks and you can schedule price reductions for a temporary time through Draft2Digital. So if you're distributing through us, you can set up a little promo deal. I'm just gonna throw that in there, because that would work really well together.
Yes, it does. It works both ways. We have, even before Chirp launched, we could tell when somebody got a BookBub featured deal. Because more attention would go on the ebook and some people just prefer the audiobook. And it goes both ways. So they're both, think of them both as, you know, curation engines that are reaching consumers you wouldn't have normally reached, and peaking their interest because of the price. But once they get there, you know, I certainly look at BookBub featured deals and Chirp deals as kind of editorial recommendations. And maybe I don't want to buy right then, but maybe I want to get the book on. Maybe I only read ebooks nonfiction, maybe only do audiobooks for fiction, or something like that. You just never know. And it doesn't hurt to cross-pollinate.
That's the way that works by the way, right? Like that's what I do. I'm sure everyone here does. Like I listen to all the nonfiction stuff on audio for some reason, because it's easier to get through.
I do too. I'm a big nonfiction reader and I do almost all of that on audiobook. However, I know a lot of people who will only do nonfiction in print, or will only do a nonfiction in e, so that they can make notes and they can review them easily. And they can make annotations, which is a lot more important in the nonfiction world. So I experience it the same way as you Kevin, but I've met a lot of people who do it the opposite way.
We're auditory learners. So our own Lexi Greene asks, "Marketplace sounds like an exciting opportunity," exclamation point. She used the exclamation point that I gave her last week, by the way. "Is there a projection for when that might be going live?"
Yeah, great question. We kind of skipped over this. We moved past Marketplace and we didn't talk about how it's launching. Yeah. So when I said it was announced last week, we're actually launching in a couple of different phases. So what we launched last week was just for narrators. We have about 15,000 narrators on our platform. And think of them as having old profiles on our platform, we have the information that we needed to be able to cast them and categorize them and sort and filter ourselves. But we were much more ambitious on the tools that we wanted to give authors, when we were opening up the whole database, a lot more data we need to collect in a structured way. So we're having narrators for the next few months update their profiles. And we've seen hundreds already do it just in the first couple days, which is awesome that narrators are jumping on this. But they're, if you're a narrator, log into your Findaway Voices account. And you'll see, you won't be able to miss it, the option to upgrade your profile. You'll be able to add in a whole bunch more information to customize the information, and then actually publish it and get a public link, which you've never had on Findaway Voices before. And it's, you're going to be really excited when you see how good your profiles look. It's like, it's night and day compared to what the industry standards are. We've really leapfrogged everything here and they're beautiful. And so I encourage every narrator that's listening, or every author who knows a narrator, let them know to upgrade their profiles, because we need that critical mass of upgraded profiles before we can launch the author tools, so that we don't want to launch and have an author ever find like just a couple search results. We want thousands of narrators in the database upgraded on those new profiles before we launch. So we're hoping the author tools will be ready to launch before the end of this year. And I'm not going to give a more specific date than that. You guys know how these things go.
I do, I do. Okay, Merrie Housden, I'm gonna say? And if you're from Texas, it's Houston. So she asks, "In author groups that I'm in, there seems to be a growing trend of indie books being claimed and produced into audiobooks by someone other than the author (those using ACX). Do you have any safeguards in place to prevent that from happening on your platform?
Yeah, this has been a big problem lately, and it's caused a lot of headaches for people. Especially people who are outside the areas where you can even have an ACX account. Like if this happens to you in Australia, you're not even allowed to sign up for ACX to claim your own books, which is really, that's really tough. This whole system is really difficult too. We don't have anything like the claiming system, right? Because the whole claiming system works based on the ebook records. You cannot submit a book to ACX unless there's a corresponding ebook. You want to go audio first, or audio only? You can't do it. So and obviously, we're an audiobook company, we don't have the records of every ebook to claim against. Not that we would go that route anyway. Because it's a little too easy to just search for any book and just say it's mine, at the click of a button. Yeah, um, what we do is, we have a human QA team that's looking for certain patterns that we have identified for fraudulent behavior at the submission and resubmission of every single book. We have a pretty robust payment profile setup that will flag us to any suspicious activity, or request extra information like government IDs and stuff from people who trigger certain flags. So we do some work there, there's more coming. But I think much of the problem stemming from ACX's thing there is the $0 upfront ability to make an audiobook. And that is not something that's going to happen on Findaway Voices. I don't believe in the $0 upfront, I don't think narrators should assume all of the risks of production. So we're never going to formally support that. And so I think that's going to help a lot too. But obviously, we're not naive. We know that there's a lot of fraud in the industry. We've seen a lot of fraud try to come through Findaway Voices, we catch them more than you would believe. And I know we've talked about this too, Kevin, and you know, there's a lot of tools that you're like, boy, I'd rather be building something that's getting a lot of value to authors than building something that's just stopping the scammers. But we put a lot of time and effort into that, and we'll be watching the platform really carefully and adapting quickly as we see patterns emerge. If you're listening and you're a scammer, back off. We're gonna find you.
We're gonna come after you. It's gonna become FindaScammer Voices. Yeah so Elyssa, who works with us, talked about this. And I wanted to pop it up here, because it's not just indie authors who are getting hit by this kind of stuff. This was a scam that actually impacted the narrator more than anyone. She says she saw an article about a guy who was hired to read Dune and got duped and didn't get paid. So yeah, that happened.
That's quite the short novel, too.
I know, right? Like, you know, dupe me to read like The Old Man and the Sea or something. Don't dupe me to read like the epic tome. So that's a hard one.
That is heartbreaking. That is why we want reviews on both sides, though. We want narrators to be able to review authors and authors to review narrators, so if you're a narrator and you're picking up a book from somebody who has no reviews, obviously everybody starts with zero reviews. But like, we want those trust factors and transparency to really be key on the platform. It breaks my heart and I would hate to see that happen.
Will, because I've worked with professional narrators through Findaway Voices, do I as an author, will I have the ability to go in and give them a five-star rating because I loved working with them? Would that be a useful thing for authors to do?
Kevin Tumlinon 31:12
Even if you haven't produced with them through that platform?
No no, I worked with a few different narrators through Findaway Voices that Findaway Voices found me, but I don't remember being able to rate them. And i'd love to.
Yeah, we never had that before. We had kind of our own internal tracking and stuff, but I love that idea. I think that's a great way to seed some reviews early on and we obviously have all that data, we know who hired who, because we sat in the middle of all those productions. So I'm gonna take that idea and run with it, and we have a couple months before the tools launch, and that would be a great time to build some stuff around that. Thanks for the idea, I love it.
All right, we'll send you the bill. Yes, speaking of that, I mean you guys are always working on something new and I know you can't reveal much of the secret sauce going on. But are there some things that you're excited about coming up that you can talk about?
We put a lot of energy into Marketplace. You know, I see Marketplace not as just this production feature right? That is the first launch for Marketplace. But if you think of Marketplace as a new platform, I think it's really going to be the center of the audiobook industry for creators. I see this, we're starting with productions, but shortly after we're going to take on some more complex productions. Dual narrator, duet productions, even full cast, we want to be able to support those things. I want to bring in other professions too. Mark, if you're self-narrating and you need somebody to do mastering, why should you have to go to Fiverr for that, or Upwork for that? Like, we should really be the hub.
Now you're talking my language. Yeah.
We want to empower everybody. Yeah, exactly. We want to empower everybody who wants to make an audiobook to come up with the best experience possible. And we're just going to keep building tools and the other ones are a little more far-fetched. So I'm gonna stay with those easy to conceptualize ones.
Pulling it directly out of our brain as we hear it in the voices we prefer.
Think of Marketplace as the future of Findaway Voices, and the future the audiobook industry. We are going to build so many tools around this and features around this, Marketplace is a huge area of focus for us. And it's really strategically core to the direction that I want to move Findaway Voices. So this is just the first of many launches, we have a lot of really cool ideas up our sleeves, and there's a lot more to come. And obviously you know, there's always new partners on the horizon, there's always more opportunities for distribution, we're never gonna stop thinking about that. People have been asking us forever about international pricing support, we're working on that kind of stuff, we want to have more integrations with Books2Read and have it easier to find your links everywhere, like there's all kinds of stuff that we want to do and that we're not gonna stop innovating in those ways either. The reason we've gotten to this point is because we keep building, you know, great products and keep building great features that people want. That's not going to stop, it's only going to accelerate.
I have to give kudos to you and your company and the team because for the productions I have done myself, every single time I go to master a file through Adobe Audition, Wes has provided such amazing step by step video tutorials. And because I'm not a pro at this, I'm a writer, every single time I master an audiobook I go through his steps, step by step by step. And I just was like, thank you so much for creating this really comprehensive, even for relative beginners, way. If you want to do it yourself it's going to take some work, but here's how you do it. So thank you so much.
It's a fantastic resource. We should have just put that thing on Masterclass.com and retired because, yeah, it's so valuable people would pay for it. But you can also see Marketplace as being a hub for education, right? You can also see this as being, like we talked earlier about this platform as a springboard for new talent getting into the industry, it'll be the perfect place to focus educational materials too. And we've obviously seen success with things like Wes's video, that tutorial on mastering that you just referenced. And there's a lot more things that we can do to really help bring up, you know, we're incentivized to grow the entire industry. We're not here to grow a single retailer, that's not what we're doing. We are growing the entire audiobook industry so that everybody wins. And it's so fun to think about all the tools you can build when you have that mindset.
A couple of questions here. The first one I want to pop up real fast, Gil Jackson says, "Hi, team Sorry I'm late. Will, go back to the beginning." No, I'm sorry. There's no comma. I know, I know. I just had to throw that in there because that's the way I read it at first, and I was like, start from the beginning? What are you crazy? Okay, so Sharon Jansen says, "I've heard about authors hiring narrators," and we addressed this a little bit earlier, but we can come we can swing back around. "I have heard about authors hiring narrators with an agreement for royalty split instead of upfront payment. How does this work?"
So that's on the other platform, that's on ACX. We don't do any $0 upfront work on Findaway Voices, and I don't think we ever will. I don't believe in that model. I don't think it's a healthy model for the industry. But to answer your question, the way it works on ACX is, you pay nothing up front, the narrator assumes all the risk, the narrator does the production and delivers it to you at their expense. And then you split royalties 50-50 for 7 years. So half the royalties go to you, half the royalties go to the author or the narrator. But you have to be exclusive to Audible that entire seven years. So you're at the 40% royalty rate, so you're each making a 20% royalty rate. And it is sometimes difficult to get out of those agreements. Obviously, if the narrator doesn't want out, there's no getting out of the agreement. But also at the end of those seven years, you don't own the audiobook. You have the right to take down the audiobook, but the narrator owns the recording, the performance, and you own the source materials, and neither one of you can do anything with it without negotiating a rights transfer at the end. And then obviously, when you pull the book down at the end of those seven years, you lose all your ratings and reviews on Audible and you have to submit fresh, so it's really, in my opinion, and this may be a little too brutal for some people to hear, it's a really short-sighted decision. You want to own your, this is an asset that you are going to leverage in your audiobook business and your author business for a while. You want to own that. You want to own that and have the rights to make a move when the industry shifts. And don't be beholden to a single retailer who may not always have your best interests in mind.
Yeah, it's kind of a Faustian bargain you strike, and you end up with, you end up holding basically nothing at the end. For all that work, if the two of you decide, you know, you're going to go forward or whatever, then it becomes even more complicated later. So yeah, I wouldn't do it. That, again, is ACX, not Findaway. Findaway has a way to test their own process and you can usually find a narrator at a pretty good rate that is generally affordable for most authors, I think. You know, the cost of producing audiobooks is always going to be a little on the high side for some authors. But you guys are working on ways to kind of mitigate that, right?
Well, we want to give people more options. Cheaper is not always the better business decision. You know, I was talking to a couple authors at NINC a couple weeks ago. I know I keep coming back to this, but they got rockstar narrators and they paid a lot for them. But they attribute the majority of the success of their audiobook to the audience those narrators brought with them. You know, like, there are people there who said, RC Bray. You know, I would pay as much as RC Bray wanted to charge me for the book because I know he brings an audience and I know it will end up being worth it. There's some narrators out there like that. So it's not it's not always about driving the price down. But it's where you are at in your in your career and where you are as far as what you can afford to do, is obviously a factor. But I would say, just to put the seven year commitment in context, Findaway Voices has only been around for four years. And when we launched, Chirp didn't exist, right? Google didn't sell audiobooks. Apple was still exclusive with ACX. We launched with, like, 17 partners, and we have 42 today. We have changed the audiobook world in just four years. And if somebody was, you know, doing a royalty share on that day, they'd still have to wait three more years. Just wait to see what we can do in three years. This industry is moving so fast, seven years is a lifetime. And you don't want to lock yourself into that kind of term.
Well, can you add? Can you talk a little bit about, because I know in just the last year, people expected with a pandemic, with lockdowns, and people not driving to work, there was an expectation that oh, people listen to audiobooks in their cars. But I heard you recently share a stat that indicates that people have still continued to listen to audiobooks and it's growing, but not necessarily in their cars. Can you talk a bit about that?
Yeah. I mean, real talk here. When the pandemic hit, and even I who had an hour commute each way to work, was now all of a sudden working from home, I was nervous. I was like, oh boy, what is this gonna do to the audiobook industry? That is where I listened, right? That is where my personal habits fell. And so I was very, very nervous there. And we did see a pretty significant drop in those first couple weeks when the lockdowns happened, but then it bounced back. And it settled at a much higher baseline than it was before, which shocked all of us. The APA stats, which is what you're mentioning there, the Audio Publishers Association, they do some statistical reports every year which are always interesting to read. And they found that there are a ton of people who are just sitting in their home with headphones on listening to audiobooks. This is their leisure time. This is their TV time, but they're doing it with audiobooks instead as their escape. And you know, after asking around and being like, you know, trying to find some people in my life who do this, it's like, oh, crap, like a ton of people do this that I know. I just didn't even know it. Yeah, so I encourage you to even like ask around to your family and friends who you know listen to audiobooks and ask them where they listen. There's a lot of people who do when they exercise, when they're on the treadmill, when they're on the bike, you know, or just like sitting at home listening. So we really saw listener habits adapt and shift a little bit last year, but the baseline is like more people are reading and listening than ever before
Yeah, I got a question for both you guys. Do you listen to audiobooks at 1x? Regular speed? Or do you speed it up, like 2x or 1.5, or whatever?
Rarely do I ever listen at 1x. So it's a minimum of one and a half. But if the narrator is really slow, I can easily hit two times and I'm fine, because that allows me to read faster, because I'm a slow reader.
I am different between fiction and nonfiction. So when I'm doing nonfiction, I find 1.3 to 1.4, when the app allows that kind of fine-grained control, I love it. That's the sweet spot for me. But if it's fiction, and the performance is really like part of the reason that I'm picking it up and enjoying it, then I got to listen to it at 1x. I gotta follow the narrator's lead and trust their performance there. But if it's really, 1.4x all the way, baby, that's right. That is the sweet spot for me. Mark, my head would be spinning at 2x.
I listen at 2x. And it took a little bit to get used to it. But one of the things that's happened while we've been doing the whole van life thing is, you know, Kara and I have discovered that we can only talk so long before we start getting on each other's nerves. And, oh, I almost lost my mic there. And so I'll pop that in and there are so many books I want to listen to that I decided I would try 2x to see if I could kind of speed up the consumption. And once you get used to it, it's fine. I mean it's clippy, you know, it's very, it's like listening to an old timey radio guy for like, 10 hours. But you know, I pick it up, I retain it. So interesting. Dan Wood popped up, says "1.5 to 2x? You monster."
Yeah, I just want to read more, I want to consume more. I mean, I have subscriptions to both Audible and Kobo. And so I'm going back and forth between the two platforms and listening to more audiobooks than ever before. You know, walking the dog, going for a run, washing the dishes, even just walking around the house making breakfast or whatever, I've got the headphones on, and I'm listening to podcasts or audiobooks. And it just allows me to consume more. And I find that I still retain the stuff. Yeah, there are some there are some performances, I agree with you Will. I think Lincoln in the Bardo, like that was a multicast performance. Because of all the voices and stuff, that that was one I probably, I think I listened to at regular speed. But I'm the kind of person who's looking for the fast forward button on people's foreheads when I see them in person.
Yeah, it messes with your brain. Okay, listen, we got like a minute left. And I want to make sure we get this question from E.M. Kelly on YouTube. Says, "I have two years left with my split royalty contract with ACX. When the seven years expires, can I pull it down, reproduce it, and list it on Findaway Voices?"
If you buy the rights from the narrator. Like I mentioned before, my understanding … and you really should check with your specific contract and ACX's support on this, because I do not know what every single royalty share contract looks like. And my understanding is there have been some differences between contracts over the years. So this is not legal advice. This is not policy advice for ACX because I'm not ACX, so you should check with them. My understanding is at the end of the seven-year term, you are able to pull it down, but you don't own the production. You need to get the rights from that production from the narrator at that point, and if hopefully they're willing to deal with you to give that to you, at that point, you absolutely would be able to resubmit it to ACX not excuse and submit it to us, or you could submit it to us and we'll send it everywhere. We're not all or nothing. So if you want to upload a book to us and uncheck ACX, go direct there, that's totally fine with us. We're happy to help you with district distribution everywhere else. But what I would say is, if you do plan on reproducing it, like your thing says, you actually don't have to wait till the seven years expires. The royalty share is for that production. And you cannot put a second book up on ACX, but if you are going to reproduce it anyway, you can make a new production at your cost and distribute that wide anytime you want. Because you sign an exclusivity contract for that production, not the source material.
Interesting. That's the first time I've heard that. So that's interesting.
Yeah, it's an expensive solution. But if you're planning on doing it anyway, you actually don't have to wait another two years.
Interesting. Yeah, because they make you think that you're exclusive. Like you couldn't, you could not produce that book elsewhere. But you're right, in the language of it, that's true.
Again, check your contract. Check your contract. I'm not a lawyer. I'm not giving you legal advice here.
That's Will Dages everybody, he's an attorney. He is giving you legal advice right now over the air. No, no. Yeah, always check your contracts. And if you have an attorney, which by the way you don't, if you need legal advice and things like that, you can use a service like … what's the LegalZoom.com, you can actually pay a very low rate to have some someone review, sorry, your contract. So it's usually worthwhile. Okay. So that is going to wrap us up, probably just in time. I'm starting to choke. Pardon me. Um, but Will, thanks so much for hopping in. I've actually learned a lot about everything you guys were doing. And I thought I already knew a lot.
We got some exciting stuff ahead of us, too. Thanks for having me on. It's been way too long. I love this. And thank you, for everybody who sent in a question during this time as well, like that makes this so much more valuable to everybody, I think, to get everybody's questions out there and answered. And I would love to come back on again in a couple months when we launch this tool for authors to just talk about it again. So hopefully we can make that happen.
Yeah, we'll do it. And we'll figure out other ways to help push this around. So Mark, did you have any last minute questions or anything you wanted to … ?
I just wanted to say thank you, Will, so much for your great insights.
Always a pleasure, guys.
All right, everybody, thank you for tuning in. Of course, the URL currently at the bottom of your screen, findawayvoices.com/D2D will get you to Findaway Voices. And then you where you go from there is up to you and your dreams. But also make sure that you are doing other fine things, such as subscribing to us on YouTube and on Facebook. If you go to youtube.com/draft2digital or Facebook.com/draft2digital, you can like and subscribe and click little bells and all kinds of things to make sure you don't miss out on stuff like this in the future. But heck, just type any URL/draft2digital and see what it gets you. You never know.
Not any URL.
Any URL. Well, okay. Let's limit that. Let's not go to the not safe for work sites. So be sure you bookmark D2Dlive.com, because that's where we'll give you a little countdown for each of these live events. We've got another one coming up. So I'm going to go ahead and say it, even though I haven't locked it in, but we should be chatting with Honoree Corder next week at this time, so you're going to want to tune in for that. If you haven't met Honoree, I love her. She's one of my favorite people. She's a lot of fun to talk to, so we're gonna have a good time there. All right, everybody. Thank you for being a part of today's Self-Publishing Insiders with Draft2Digital and Findaway Voices, and all the skulls on Mark Lefevbre's shelves. And we will talk to you all next time. Take care.


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If one of the following celebrities was a computer programmer, who would it more likely be ?


Help Needed: We have not travelled to this particular location. It's located very close to the potash silo (site of Ragnar station and the Temple of Five). If you have a chance to check it out, please send us a picture of the exterior of the business for the site--it would be very appreciated! You can use the contact form on our about us page.


Thelma R. Allen, a resident of Hampton Bays for 56 years, died on September 5, 2018, at home. She was 88.
Survivors said Mrs. Allen was a devoted and loving wife, mother, grandmother, and friend.
She was predeceased by her husband of 58 years, Herbert Allen; she is survived by a son, Wayne and wife Winifred; two daughters, Linda Axelson, and Andrea Allen-Wiehl and husband Bernie; a brother, Andrew Lesnak and wife Marie of Hampton Bays; sister-in-law Pat Allen; two grandsons, Robert Axelson and D'Artagnan Wiehl; two great-grandchildren, Victoria and Katlynn Axelson; and many cousins, nieces and nephews.
She was predeceased by two brothers-in-law, Richard and Robert; and a son-in-law, Fred Axelson.
A parish prayer service was held at the Scott-Rothwell Funeral Home in Hampton Bays on September 7. A funeral Mass was held on September 8 at the Church of St. Rosalie in Hampton Bays followed by burial at Good Ground Cemetery in Hampton Bays.
Memorial donations may be made to East End Hospice, Box 1048, Westhampton Beach, NY 11978.


When the Steelers walked onto the field before yesterday's game against the Chicago Bears, the booing they received wasn't just because they were the away team.
Shortly before the game began, Steelers head coach Mike Tomlin told Jamie Erdahl of CBS Sports that Pittsburgh's NFL team would remain in its locker room at Soldier Field for the duration of the national anthem prior to the game. And while Tomlin said the decision was initially intended to be explicitly non-political, different interpretations took hold in an atmosphere of recent heightened tensions.
But in the light of multiple antagonistic remarks this weekend from President Trump toward professional athletes symbolically protesting by kneeling during the national anthem, some individuals and media outlets took offense to what they saw as the Steelers' protest. Among the most common condemnations of the move was that it disrespected the sacrifices of American soldiers who have died protecting civil rights and liberties in the United States.
While criticisms of professional football players' right to voice their political opinions in public are already dubious regardless of how they're justified, the claim that it disrespects the sacrifices of American troops is simply absurd. What's more, the tradition of playing the national anthem and standing is one that is far from historically set in stone.
The argument that refusing to stand during the national anthem prior to a sporting event is anti-veteran relies strongly on a false belief — that doing so materially affects veterans in any way. The national flag and the national anthem are symbols, and protests against either are symbolic. And because there's no tangible connection between anthem protests and the welfare of our troops, arguments against players exercising their First Amendment rights are based almost exclusively on appeals to emotion, not logic.
Never mind that American soldiers died for the preservation of precisely the same liberties that opponents of player protests want stripped away — the traditions of ostentatious patriotism at football games do nothing to protect troops' lives.
According to one 2015 estimate from the offices of Republican Sens. Jeff Flake and John McCain of Arizona, the Department of Defense spent $10.4 million on marketing contracts with teams in the nation's various professional sports leagues. That money, which went to pay for displays of patriotism, could have been spent on technology to save soldiers' lives.
Standing for the national anthem at sporting events — a relatively new American tradition — does nothing to protect our rights and liberties. Far from improving the lot of American soldiers and American citizens, those who oppose players' rights to protest are clearly harming the liberties the flag symbolizes.


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I was disappointed to read Rob Jordan's Aug. 31 Viewpoint piece arguing in favor of a Bar Harbor Port Authority. Jordan crafted an argument for a Bar Harbor Port Authority that was both confused and confusing. I offer my opinions as a lawyer who has advised banks in making loans and whose firm advises towns in negotiating loan terms.
The most troubling aspect of Jordan's argument was its suggestion that, only with a Bar Harbor Port Authority, could the town develop the ferry terminal site in a manner "that Bar Harbor taxpayers will not be on the hook financially for the cost of purchasing and developing the site." This is dead wrong, factually and legally. Let me explain why.
There are two types of bonds that any town can use for financing any project it undertakes. The first is a general obligation bond, and the second is a revenue bond.
General obligation bonds do put taxpayers at risk for any default. Were the town to build a cruise ship terminal that failed to generate the anticipated revenue, any shortfall in payments on a cruise ship terminal general obligation bond would have to be made up out of real estate tax revenues, other user fees the town charged or forced sale of town property. The modifying phrase, "general obligation," describes the breadth of the town's liability: it is an obligation that the town must satisfy without question unless it seeks the protection of a federal bankruptcy court.
A revenue bond limits the town's exposure to a specified source of revenue. Were the town to issue a cruise ship terminal revenue bond, the lenders could only look to the flow of revenues to the cruise ship terminal for repayment of the bond. These revenues would be from monies paid by cruise ship operators for the privilege of bringing cruise ship passengers to Bar Harbor. Current revenues from cruise ships could be used to satisfy the bond.
The town of Bar Harbor can issue a revenue bond for development of a cruise ship terminal and never put taxpayer dollars at risk. It does not need to create a Bar Harbor Port Authority to do this.
A port authority would have no ability to assess or collect real estate taxes. Thus, the only bond it could issue would be a revenue bond. It would stand in the same position as the town if the town were to issue a revenue bond. Both would pay a higher interest rate to reflect the greater risk the lender is taking. I suspect the town of Bar Harbor, because it has a good track record in repaying bonds, would pay a slightly lower interest rate than a Bar Harbor Port Authority with no credit history.
Why, then, have some continued to advocate for a Bar Harbor Port Authority if the town, without any port authority, could issue a revenue bond and never put taxpayer dollars at risk?
One possible reason is that they know that the town charter requires any revenue bond to get an up or down vote at the annual town meeting. A bond to install parking meters downtown was defeated in a close vote at the June 6, 2017 town meeting. In contrast, a port authority could borrow money through a revenue bond by a simple majority vote of its directors.
The size of a cruise ship terminal revenue bond will determine the size of any cruise ship terminal. Any voter who wants final approval of the size of any cruise ship terminal to rest with the voters themselves should adamantly oppose creation of a port authority. It would strip the voters of direct control over the size and scope of any proposed cruise ship terminal. It would take power from the voters on an issue that voters care deeply about.


Hello everyone, I hope you are having a great day. Thanks for stopping by.
I created this card using the MFT mime from their Pure Innocence lineup. It wasn't until I had her stamped out and a basic idea for a layout that I realized I had no idea how a mime was really coloured, I knew they wore black and white, but not really how the outfit was put together. TG for google, right?
I coloured the mime with copics and used clear Wink of Stella on her hat and pants to add a bit of shimmer, because why wouldn't they sparkle?
The background panel was created with Lawn Fawn's "A Birdie told me" speech bubble stamp set. Given the sentiment that I chose from the MFT set, I thought the empty speech bubbles were a perfect compliment for the card. The panel was then put on a piece of heart patterned paper. And finished it off with enamel hearts from CTMH.
The sentiment inside says "No Words. Just Love." Sometimes there aren't words to express how you feel, not only is this super cute, it's also quite clever.


Should Indians trade rice, fruit and bread for high-fat foods such as ghee and eggs in order to combat the rising number of diabetics in their country? Dr. Aseem Malthora thinks so!
If you are Indian, I would recommend no more than two portions, three maximum of fruit a day.
India has the second highest percentage of diabetics in the world. Dr. Malthora, one of the most influential people in medicine and science in Britain and the youngest person to be appointed to the board of trustees by the King's Fund, has a few suggestions to reverse this problem that go against conventional advice.
First of all, sugar should be avoided, along with vegetable oils, refined carbohydrates and juice. Fruit should be limited to no more than two portions per day. Dr. Malthora emphasizes that there is no proven benefit of lowering cholesterol through dietary means. It doesn't seem to prevent stroke, heart attack or death, so people should not be afraid of eating high-fat foods.
Furthermore, exercise has many benefits, but it treats neither obesity nor diabetes. Only diet does!
"Should Indians trade rice, fruit and bread for high-fat foods such as ghee and eggs in order to combat the rising number of diabetics in their country?"
I've been to India and was surprised with how carbaceous their food was. I also had trouble keeping people's attention in meetings after lunch time. Their metabolism would crash. Their desserts were super super sweet. They use sugar syrup that literally made my mouth hurt, for how sweet it was.
I know the benefits of the Low carb diet for weight loss but the high fat diet does have an impact on your cholesterol levels. Is it possible that having the Indians switch to lower carb diets could be substituting one comorbid illness for another?
If you read the literature on this website you will find that the high fat diet does NOT have an impact on your cholesterol levels. The body makes its own cholesterol it does not get it from the food we eat. My mom is from India and her health has totally turned around since she started eating low carb. She ditched the fruit (she used to eat tons of fruit) and stopped eating roti which she used to eat with every meal. She skips the rice, sweets and potatoes. The benefits have been: cholesterol has remained the same, she has way more energy, her legs are not as swollen, blood pressure is not out of control and she seems to be less confused. I feel like my mom will get extra years of a good, healthy life because of LCHF. She is 83 right now and her health has vastly improved over the last couple of years after starting LCHF. Thank you Diet Doctor.